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Strategie polskich tłumaczy włoskich librett w XVIII wieku

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Miszalska J.

Między Oryginałem a Przekładem

2013

vol. 22

11-25

Polish dramatic writers of the 18th century very often referred to the European repertoire. The majority of Polish dramas in fact were translations or adaptations of foreign texts. Among Italian sources opera and oratorio librettos were the most important. The paper is an attempt to review Polish translations of Italian librettos in the 18th century, to reconstruct the translators’ motivation and to discover their translation strategies. In the first half of the 18th century a huge part of translated dramas were created by the Jesuits in order to be presented on school stage. Apart from this kind of texts at that time there were also Polish translations whose aim was to accompany performances in Italian language as texts „for reading”. Only in the late 18th century translation were used in performances with original music. Specific circumstances and finality of translations would have a decisive impact on translation strategies which could affect the story, the ideology but also the form of dramas and usually resulted in change of genre. These modifications prove that the translation of theater texts is especially submitted to a pressure of target system cultural context because the target text has to establish a direct contact with the public. Examining the history of translations and the evolution of translator’s approach helps to reconstruct an important share of the history of Polish dramaturgy and to indicate its sources.

Historia zaklęta w dźwięki – weryzm historyczny w I Medici Ruggera Leoncavalla

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Czemerys A.

Kwartalnik Młodych Muzykologów UJ

2020

issue 4(47)

141-156

My consideration of the historical opera I Medici is based on the analysis of the piece’s dramaturgy. In my opinion, libretto is a key to understanding any operatic dramas; it constitutes their primary foundation on which subsequent semantic layers of this naturally syncretic musical genre are being formed. Therefore, in my paper I have analysed individual components of the libretto, with a special emphasis placed on the characters, their personality traits as well as their musical representation in Leoncavallo’s work. Analytical operations concerning dramaturgic aspects of the opera are an essential first step in consideration of the musical layer, which lies at the heart of my research. In my paper, I follow the path marked out by a musicologist Luca Zoppelli; however, his work is only a starting point for a more detailed study of the opera’s expression and the procedures used in musical representation of veristic ideas. Verity – not only in historical sense – becomes a leading category which unifies the opera at every level: from its original source recorded in the chronicles to composer’s embodiment of the story.

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1 Kwartalnik Młodych Muzykologów UJ

1 Między Oryginałem a Przekładem

1 Czemerys A.

1 Miszalska J.

1 2020

1 2013

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Strategie polskich tłumaczy włoskich librett w XVIII wieku

Historia zaklęta w dźwięki – weryzm historyczny w I Medici Ruggera Leoncavalla