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Dipingere sulla scena i «toni dell’anima»

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Dygul J.
Studia Romanica Posnaniensia
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2018
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vol. 45
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issue 1
127-141
EN
Emotions are expressed not only with words but also with a gesture, body posture, miming or voice modulation. Actor reproduces on stage the external effects of emotions which the audience can read. In the 18th century, theatre and actor became the subject of theoretical reflection comprising two contrasting theories: either living or pretending the feelings of a character played. In Italy, the first theory prevailed, presented by Luigi Riccoboni in his treaties: Dell’arte rappresentativa (1728) and Pensées sur la déclamation (1738). The main objective of this article is to examine how the emotional acting was performed in practice in the 18th century Italian theatre. To this aim, two examples will be closely analysed which are very different in terms of style but not distant in time and what is more, intended for the same Venetian audience. For the purpose of analysis, two monologues were chosen which show an outbreak of anger leading in consequence to a revenge: Mirandolina’s first monologue from Carl Goldoni’s comedy titled La locandiera (1753) and Tartaglia’s first monologue from a scenic fable by Carlo Gozzi titled Il re cervo (1762). The analysis will focus on the power of word expressing emotions and performative traces buried in the text as well as indirect and direct reports of the contemporary audience which will approximately allow to reproduce the style of acting.
2
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Parateksty polskich przekładów z literatury włoskiej w czasach stalinowskich

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Dygul J.
Italica Wratislaviensia
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2010
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issue 1
85-97
EN
The aim of the article is to present the strategy of political manipulation in the paratexts which contain the translations of Italian literature in Poland of Stalinist era. To demonstrate different editorial procedures, the analysis takes into consideration two most significant examples: three editions of the novel by Renata Viganò entitled "Agnese va a morire" (the first two from 1951, the third from 1955) and the publication of a fragment of the novel by Elio Vittorini entitled "Sempione strizza l’occhio al Frejus" in “Przekrój” magazine in 1953. The selection of these examples shows a specific modal frame into which the translations of Italian Literature were forced. Due to that procedure, the Italian novel could be read in connection with other propaganda texts which constitute the intertextual context, determine the interpretation key and intensify the propaganda message.
IT
L’articolo si pone come obiettivo quello di presentare la strategia della manipolazione politica nei paratesti che accompagnano le traduzioni della letteratura italiana nella Polonia stalinista. Per mostrare diversi procedimenti editoriali si analizzano due esempi tra i più significativi: tre edizioni del romanzo "Agnese va a moriredi" Renata Viganò (le prime due del 1951, la terza del 1955) e la pubblicazione di un brano del romanzo "Sempione strizza occhio al Frejusdi" Elio Vittorini sulla rivista „Przekrój” del 1953, che permettono di individuare una specifica cornice modale in cui vengono iscritte le opere italiane, non solo quelle letterarie.
3
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Pietro Chiari – autor prawie zapomniany

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Dygul J.
Italica Wratislaviensia
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2013
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issue 4
165-169
4
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Kłopoty z pamięcią? – o technice „premeditato” w osiemnastowiecznym teatrze włoskim

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Dygul J.
Acta Universitatis Lodziensis. Folia Litteraria Romanica
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2013
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issue 008
175-183
IT
L’articolo analizza la diffusione della tecnica del premeditato nel teatro italiano del Settecento. L’esempio dei più grandi drammaturghi italiani, soprattutto del secondo Settecento, come Carlo Goldoni, Pietro Chiari, Antonio Piazza, Carlo Gozzi e Vittorio Alfieri, dimostra un’opposizione da parte degli attori ad accettare la riforma del teatro, che valorizzava il ruolo dell’autore del testo, riducendo la funzione dell’attore al semplice interprete del testo interamente scritto. Il repertorio modificato sconvolge la tradizionale struttura dei ruoli della commedia dell’arte, ma l’organizzazione teatrale non cambia, per questo il teatro italiano rimane a metà strada tra la riforma e il vecchio sistema teatrale.
5
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Gennaro Sacco, słynny Coviello, i jego trzy sztuki

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Dygul J.
Pamiętnik Teatralny
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2023
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vol. 72
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issue 1
141-157
EN
This article analyzes three plays published by Gennaro Sacco, a dell’arte actor-playwright who visited the Polish royal court in 1699. Sacco became famous for his role as Coviello. He initially performed in Naples, then in the northern part of the Apennine Peninsula, and, like many Italian actors, he offered his talent to various European rulers (in Celle, Warsaw, Madrid). We hardly know anything about his stay at the Warsaw court of king Augustus II; there are no sources that would reveal the repertoire or the names of troupe members. What is extant, however, is the dramatic text of Commedia smascherata, ovvero i comici esaminati, published in Warsaw. The analysis of this play against the background of its two predecessors, published by Sacco in Italy more than a decade earlier, contributes to our knowledge of role structure, distribution, and variation in dell’arte theater. It also helps identify the impact of local conditions on the work of travelling Italian dell’arte artists.
PL
Przedmiotem artykułu jest analiza trzech utworów dramatycznych wydanych przez aktora-autora teatru dell’arte, Gennara Sacca, który gościł na dworze polskim w 1699 roku. Sacco zasłynął z roli Coviella. Początkowo grał w Neapolu, potem na północy Półwyspu Apenińskiego i jak wielu włoskich aktorów oferował swój talent różnym władcom europejskim (w Celle, Warszawie, Madrycie). Prawie nic nie wiemy o jego pobycie na warszawskim dworze Augusta II, brakuje źródeł na temat repertuaru oraz składu osobowego zespołu. Zachował się jednak opublikowany w Warszawie tekst dramatyczny Commedia smascherata, ovvero i comici esaminati. Przeprowadzona w artykule analiza tej sztuki na tle dwóch poprzednich wydanych przez aktora ponad dziesięć lat wcześniej we Włoszech poszerza wiedzę o strukturze, dystrybucji i wariantowości ról w teatrze dell’arte. Przyczynia się także do określenia wpływu lokalnych warunków na sztukę włoskich artystów dell’arte przemieszczających się między ośrodkami.
6
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Sceny strachu, czyli lazzi di paura w komedii dell’arte

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Dygul J.
Acta Universitatis Lodziensis. Folia Litteraria Romanica
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2022
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vol. 17
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issue 2
171-181
EN
Lazzo is a short scene of a comic nature that can be compared to a modern-day gag. Italian actors had various categories of such scenes in their repertoires (mimic-gestual, acrobatic, verbal or mixed). Such a ready-made stage sequence was suitable for editing into various plots. The purpose of this paper is to analyze scenes of fear in selected scenarios dell’arte. To illustrate the variety of fear scenes improvised by Italian actors, four scenarios were chosen to adapt a single literary text, Calderón de la Barca’s La dama duende, a very popular work in the 17th and 18th centuries (La Dame Diablesse, manuscript from the Bibliothèque Nationale in Paris; La dama Demonio, manuscript from the collection of the Vatican Library; La dama creduta spirito folletto from the Neapolitan collection; La dama demonio e la serva diavolo from the collection of arguments of the court of August III).
FR
Le lazzo est une courte scène de nature comique qui peut être comparée à un gag moderne. Les acteurs italiens disposaient de plusieurs catégories de scènes de ce type dans leurs répertoires (mimico-gestuelle, acrobatique, verbale ou mixte). Une telle séquence scénique toute prête pouvait être montée dans diverses intrigues. L’objectif de cet article est d’analyser les scènes de peur dans une sélection de scénarios dell’arte. Pour illustrer la variété des scènes de peur improvisées par les acteurs italiens, quatre scénarios ont été choisis pour adapter un seul texte littéraire, La dama duende de Calderón de la Barca, une œuvre très populaire aux XVIIe et XVIIIe siècles (La Dame Diablesse, manuscrit de la Bibliothèque nationale de Paris; La dama Demonio, manuscrit de la collection de la Bibliothèque du Vatican; La dama creduta spirito folletto de la collection napolitaine; La dama demonio e la serva diavolo de la collection d’arguments de la cour d’Auguste III).
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