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1
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Kyōgen, japońska komedia szalonych słów i komedia dell’arte

100%
Zalewska A.
Porównania
|
2016
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vol. 18
219-238
EN
Kyōgen, a form of Japanese comic theater, was created and developed alongside Noh theater and in the beginnings it was mostly improvised on stage. Later, the actors started to write down whole texts of kyōgen pieces. In this article the language of kyōgen drama is discussed, especially some of the frequently used elements, like the phrases used by the main character to introduce himself in the beginning, phrases used as a reaction to the words of other actors or phrases and even full sentences repeatedly used in many dramas in certain situations. Although until the 19TH century Japanese theater was functioning without any contact with European theater, some resemblances can be noticed between kyōgen and Italian commedia dell’arte. These resemblances and differences are also discussed in the article.
PL
Japońska farsa kyōgen kształtowała się w ścisłym związku z teatrem nō i początkowo była formą w dużym stopniu improwizowaną; później teksty sztuk zaczęto ustalać i spisywać w ich pełnym brzmieniu. Artykuł przedstawia język sztuk kyōgen, ich stałe elementy, takie jak przedstawienie się na początku, sposoby reagowania na słowa drugiego aktora, i powtarzające się w wielu tekstach stałe zdania lub frazy. Do XIX wieku teatr japoński rozwijał się bez kontaktu z teatrem europejskim, można jednak dostrzec pewne zbieżności pomiędzy farsą kyōgen a włoską commedia dell’arte, dlatego też formy te zostały skonfrontowane i wyliczone zostały podobieństwa i różnice.
2
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Maska czy gęba? Operetka Witolda Gombrowicza w kontekście komedii dell’arte

86%
Bąkowska N.
Poznańskie Studia Polonistyczne. Seria Literacka
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2020
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issue 38
103-123
EN
The article is an attempt at placing Operetka (Operetta) in the context of commedia dell’arte by comparing the basic structural and ideological characteristics of Witold Gombrowicz’s drama with the key traits of the commedia dell’arte genre. The author of Ferdydurke, who coined the phrase przyprawiać (komuś) gębę (put the screws to someone’s mug), brings to the grotesque distortion any manifestations of form domination both in life and in art. Ironically, it is the elements of Operetka, related to commedia dell’arte – a thoroughly conventionalised and schematised genre, that become the tool for a sort of removal of mask or mug. Given the mask, protagonists are given “a mug”, and cannot be themselves, they can only be what is allowed by the mask they were given and so they become its prisoner, in a way. The only antidote to “the mug” is nudity that frees one from any mask that forces them to play the designated roles. The article aims to present the relationship between Operetka and the commedia dell’arte genre, with particular emphasis on analysing the Gombrowicz’s concept of form against the convention of mask and costume in the commedia dell’arte, and on the “nudity” vs. “mask” opposition that focuses the drama’s main artistic and existential issues, while it is also precisely the point where the relationship between Gombrowicz’s work and Italian commedia dell’arte is seen most clearly.
3
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L’anti-cristiana. Sulle attrici professioniste della prima età moderna

83%
Majorana B.
Italica Wratislaviensia
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2019
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issue 10.2
85–101
EN
The profession of the commedia dell’arte actress acquires a markedly visible position in the broad public horizon of Modern-Age Italy. The actress, in that context, places herself both at the borders of the male amateur theatre practices and amongst the virtuous feminine models (nuns, wives, virgins), conflicting with both. These counter-positions must have been very visible, particularly to the spectators, who could easily draw comparisons both with the amateur shows, where only male actors played, and with different kinds of feminine characters. These contrasts are explored in this article using moral essays of the time, including the equivalence between actress and prostitute put forward by a lengthy treatise in 1646 by G.D. Ottonelli.
IT
Il mestiere di comica dell’Arte assume una posizione marcatamente visibile nell’orizzonte pubblico dell’Italia cattolica di età moderna, dove l’attrice si colloca tanto sui confini delle pratiche teatrali maschili edificanti dei dilettanti quanto su quelli dei modelli femminili virtuosi (monache, spose, vergini), confliggendo con gli uni e con gli altri. Queste contrapposizioni dovevano essere ben presenti in primo luogo agli spettatori, i quali potevano operare un confronto sia con spettacoli non professionistici e dunque recitati soltanto da uomini, sia con modelli diversi di donna. I contrasti vengono indagati attraverso la trattatistica morale del tempo, soffermandosi infine sull’assimilazione fra attrice e prostituta proposta in un corposo trattato del 1646 di G.D. Ottonelli.
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Diana, Aurelia e le altre: attrici e capocomiche dell’ultimo duca di Mantova

83%
Zaccaria M.
Italica Wratislaviensia
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2019
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issue 10.2
103–117
EN
This article introduces the activity of artistic directors Teresa Costantini, Angela Paghetti, and Colomba Coppa in the service of Ferdinando Carlo Gonzaga-Nevers, their generous patron and the last Duke of Mantua. Referencing studies that were initiated 30 years ago in the field of musicology and using recent historical research and archival sources, the essay highlights the artistic, organisational, and management responsibilities of commedia dell’arte directors. It reconstructs their relations with Ferdinando Carlo, ducal agents, and the Gonzaga court, while also focussing on their relations with Venetian Grimani impresarios, with whom the Duke of Mantua had established a lasting and generous collaboration. Performing women, prejudicially equated with prostitutes and beneficiaries of gifts and privileges, were depictions of love and glory for a discredited prince, whose array of artists was, however, amongst the most dense and dynamic in Italy. Actresses progressively moved away from the codes of courtliness and, as professionals registered and paid with money, they came to have strong bargaining power and levels of autonomy. However, they were subjected to rules and obligations, especially in Venice, where theatre owners made spaces available only to companies under the protection of the princes who were politically aligned with the Serenissima. During the years of the so-called Spanish succession war, Diana, Aurelia, and the others moved between Venice, Mantua, and Casale, where Ferdinando Carlo had moved after the blockade of Mantua, accompanied by a colourful procession of women, musicians, and commedia actors. Through theatrical misadventures mingled with military manoeuvres in Mantuan territory, and via changes of destination, programme, or repertoire, we read the story of a duchy that had lost its identity and of a rapidly changing theatrical market.
IT
Il contributo presenta l’attività delle capocomiche Teresa Costantini, Angela Paghetti, Colomba Coppa al servizio di Ferdinando Carlo Gonzaga-Nevers, ultimo duca di Mantova e generoso mecenate. Sulla linea di studi iniziati trenta anni fa sul versante musicologico e delle recenti ricerche storiche, il saggio, condotto su fonti d’archivio, mette in evidenza le responsabilità di ordine artistico, organizzativo e gestionale delle capocomiche della Commedia dell’Arte e ricostruisce da un lato i loro rapporti con Ferdinando Carlo, gli agenti ducali e la corte gonzaghesca; dall’altro con gli impresari veneziani Grimani, con i quali il duca di Mantova aveva stabilito una duratura e generosa collaborazione. Le donne di spettacolo, pregiudizialmente equiparate alle prostitute e beneficiarie di regali e di privilegi, erano raffigurazioni d’amore e di gloria per un principe screditato, la cui schiera di artisti fu però fra le più folte e dinamiche d’Italia. Le attrici si allontanarono progressivamente dai codici della cortigianeria e in qualità di professioniste scritturate e retribuite in denaro vantarono forte potere contrattuale e margini di autonomia; ma furono sottoposte a regole e obblighi soprattutto a Venezia, dove i proprietari dei teatri rendevano disponibili gli spazi solo alle compagnie sotto la protezione dei prìncipi politicamente allineati con la Serenissima. Durante gli anni della cosiddetta guerra di successione spagnola, Diana, Aurelia e le altre si mossero fra Venezia, Mantova e Casale, dove Ferdinando Carlo si era trasferito dopo il blocco di Mantova accompagnato da un variopinto corteggio di donne, musicisti e commedianti. Le disavventure teatrali si incrociarono con le manovre militari nel territorio mantovano e dietro i cambi di destinazione, di programma o di repertorio leggiamo in filigrana la storia di un ducato che aveva smarrito la propria identità e di un mercato teatrale in rapida trasformazione.
5
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Vittoria Piissimi zingara medicea: analisi di un’ “interpretazione”

83%
Liberto A.
Italica Wratislaviensia
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2019
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issue 10.2
51–64
EN
This paper analyses Vittoria Piissimi’s best performance in La Zingara (The Gypsy), performed on the occasion of the Medici marriage of Grand Duke Ferdinando with Cristina di Lorena in Florence in 1589. Piissimi was an excellent artist of the 16 th century with a great talent for fascinating the audience. Examining records about gypsy tales and plays, this paper explores similarities and differences amongst Piissimi’s descriptions and interpretations of the gypsy.
IT
Vittoria Piissimi è stata un’attrice eccezionale del XVI secolo, avvezza sia alle parti serie che a quelle comiche e di servetta, che esercitò un grande fascino sul pubblico dell’epoca. È stato analizzato, in particolare, il suo cavallo di battaglia: La Zingana, che propose a Firenze nel 1589 con la Compagnia dei Gelosi in occasione delle nozze tra il Granduca Ferdinando De Medici e Cristina di Lorena. Prendendo in esame la sola testimonianza diretta sull’occasione, le informazioni in essa presenti sono state incrociate con fonti di varia natura: descrizioni della Piissimi, testi coevi (letterari e teatrali) e dipinti a tema zingaresco, che hanno potuto avere o ricevere un’influenza dalla versione della zingara “interpretata” dall’attrice.
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Il professionismo delle attrici: stato degli studi e nuove domande

83%
Megale T.
Italica Wratislaviensia
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2019
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issue 10.2
15–36
EN
In the second half of the 16 th century, the arrival of women on the stage caused a revolution, the effects of which extended to the entirety of modern society. A troupe on the move and always at risk, faced with waves of condemnation, the women actors, nomads by trade, were preceded by a diffidence that was both twofold and simultaneous: towards the principal makings of professional work in the theatrical arts and towards the moral qualities of which they had been regarded as the heralds, not individually but as a social group. The process of deconstructing the artistic identity of these pioneering actresses, who tended to be equated with harlots or to their opposites, that is, virgin actresses, was not limited to the first appearance of women on the professional scene, but, rather, it became a long-standing historical category. The article is concerned with removing prior moral judgments that were stratified over the actresses and freeing the historiographic field from preconceived viewpoints; it is concerned with dismantling misogyny and anachronistic sidelong glances. Between masks and prejudices regarding the perturbing aesthetic perception represented by the entrance of women into the world of art, distinguishing that which separates the actress’s profession from sexual adventures, talent from reputation, art from seduction, is essential to provide new historiographic categories and new coordinates to the study of the commedia dell’arte. In this way, other past experiences come to light: the launch towards professionalism, the role of marriage, and the violence that women underwent are a few of the problematic issues to reconsider and overcome based on prior documentary studies.
IT
Nella seconda metà del Cinquecento, l’arrivo delle donne in scena provocò una rivoluzione i cui effetti si estesero all’intera società moderna. Sommerse da un’ondata di condanna, le attrici, nomadi per mestiere, furono precedute da una doppia e simultanea diffidenza: verso le potenzialità precipue dell’arte teatrale professionistica e verso le qualità morali di cui sono state ritenute portatrici non singolarmente, ma come gruppo sociale. Il processo di decostruzione dell’identità artistica delle attrici pioniere, assimilate alle meretrici o al loro rovescio, ossia all’attrice vergine, non si è limitato al primo apparire del professionismo femminile, bensì è diventato una categoria storica di lunga durata. Si tratta qui di rimuovere i preventivi giudizi moralistici stratificati sulle attrici e sgombrare il campo storiografico da posizioni preconcette, di smantellare misoginia e anacronistici sguardi obliqui. Fra maschere e pregiudizi circa la perturbante percezione estetica rappresentata dall’ingresso in arte della donna, distinguere ciò che separa il mestiere di attrice dalle vicende sessuali, il talento dalla reputazione, l’arte dalla seduzione è essenziale per dare nuove categorie storiografiche e nuove coordinate allo studio della Commedia dell’Arte. Vengono così alla luce altri vissuti e altre esperienze: l’avvio verso la professione, il ruolo del matrimonio, la violenza subita sono alcuni nodi problematici da riconsiderare e vagliare sulla scorta di preventive indagini documentarie.
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Caterina Bresciani, l’Ircana famosa

83%
Dygul J.
Italica Wratislaviensia
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2019
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issue 10.2
135–146
EN
While writing for the Venetian stage, Carlo Goldoni adhered to the requirements of the commedia dell’arte theatre, and thanks to his successful cooperation with actors, he gradually introduced changes to the ossified convention. The comedian-playwright wrote many of his texts for particular performers, using their personal qualities, stage experience, interpersonal relations within the team, and even biographies. Caterina Bresciani is an actress with whom Goldoni worked for as many as 10 theatre seasons, from 1753 to 1762, yet Goldoni does not mention much about her in his memoirs. To her, he owes his greatest stage success in Venice, La sposa persiana (1753), and two subsequent episodes of the story of the wild slave of Ircana. The aim of this article is to analyse the new typology of a female role, created for her first female performer, as well as to examine the performative traces hidden in the texts that will allow us to recreate the Bresciani style of acting.
IT
Carlo Goldoni si adattò alle esigenze del teatro dell’arte e grazie alla collaborazione con valenti comici, muniti di eccellenti doti interpretative, introdusse dei cambiamenti nella tradizionale convenzione. L’autore scrisse molte commedie per degli attori concreti sfruttando la loro indole, l’esperienza professionale, le relazioni interpersonali all’interno della compagnia e perfino la loro biografia. Caterina Bresciani, attrice fiorentina che per 10 stagioni, dal 1753 al 1762, collaborò con Carlo Goldoni, nelle sue memorie compare poco. A lei l’autore dovette il suo più grande successo scenico, ossia La sposa persiana (1753) e altri due episodi della fortunata storia. L’obiettivo dell’intervento è indagare la nuova tipologia del personaggio – concepito su misura per la Bresciani – presente nella famosa trilogia dell’Ircana (La sposa persiana, Ircana in Julfa, Ircana in Ispaan) e cercare le tracce performative della prima interprete del ruolo sparse nel testo.
8

W „ogródku” i teatrze repertuarowym. Sceniczne realizacje dramatów Adolfa Dygasińskiego

67%
Skała A.
Roczniki Humanistyczne
|
2018
|
vol. 66
|
issue 1: Literatura polska
179-194
PL
Zakres problematyki przedstawionej w artykule wyznacza twórczość dramaturgiczna Adolfa Dygasińskiego. Pozytywistyczny pisarz jest autorem czterech utworów scenicznych. Dzieła powstały w latach 1891-1894, wszystkie doczekały się realizacji scenicznych – w teatrach „ogródkowych” i repertuarowych. Badaczka koncentruje uwagę na konwencjonalnych wyznacznikach poetyki dramatów Dygasińskiego, związkach utworów z dramatem Aleksandra Ładnowskiego, a na tym tle prezentuje nowoczesny charakter monodramu Rogieluk – przykład dramatu statycznego, w którym nieruchomość organizuje tzw. intymną sztukę duszy. Zasada intymizacji dramatu wyzyskuje pozawerbalne środki wyrazu: mowę ciała i ruch postaci oraz milczenie – grę niemą, skorelowaną z ograniczeniami psychomotorycznymi bohatera.
EN
The scope of the problems presented in this article is determined by the dramatic works of Adolf Dygasiński. The positivist writer is the author of four stage plays, created in the years 1891-1894, all of which were staged – in “open-air” and repertory theatres. The author focuses on the conventional determinants of the poetics of Dygasiński’s dramas, the relationship of his works to Aleksander Ładnowski’s drama, and on this background she presents the modern character of the monodrama Rogieluk – an example of a static drama in which the lack of motion organises the so-called intimate art of the soul. The principle of intimacy of the drama exploits non-verbal means of expression: body language and the movement of characters, as well as silence – silent acting, correlated with the hero’s psychomotor limitations.
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