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Carlo Goldoni and Carlo Gozzi. The dramaturgy of the librettos
Abstract
This study aims to reach and illuminate at the first level, dramaturgically and comparatively the librettos of the comedians playwriters of the Italian 18th century Carlo Goldoni and Carlo Gozzi. The Venetians playwriters are two of the "fundamental cornerstones" of world theater history, which affected the work of the modern and postmodern world dramaturgy and stage practice. This theatrical production, placed in the context of the original boom of comedian theater in Europe in the 18th century, simultaneously with the establishment of the Rococo style. Goldoni and Gozzi like to permeate their works eloquently didactic messages and realistic elements, innovative for their time. The innovation brought about in the theatrical genre of commedia dell'arte and the Italian comedy in general. The novelty of this research is aimed at promoting a new dramaturgical area, inherent in the field of musical theater namely melodrama. The fact that Goldoni wrote fifty-five drammi giocosi, fifteen intermezzi and six drammi per musica during the heyday of success of his career, certifies the uniqueness and specificity of a theatrical phenomenon cultivated through historical symbiosis two theatrical genres: the Italian melodrama and commedia dell'arte. During his lifetime and beyond, GoldoniВ’s librettos were set to music by composers of international reputation: Antonio Vivaldi, Baldassarre Galuppi, Niccolo Puccini, Gaetano Latilla, Giuseppe Scarlatti, Giovanni Paisiello and outside of Italy Franz Joseph Haydn and Wolfgang Amadeus Mozart to name but a few. Their operas were performed well beyond Italy and Europe, even reaching Moscow and the young United States before the turn of the 19th century. Early studies of GoldoniВ’s opera texts appeared to immediately sense a synergic relationship between comedies and librettos. Carlo Gozzi, through his plays, preserves the theatrical tradition of commedia dellВ’arte, paying tribute to this purely Italian kind which had led the Italian theatrical culture to its peak and had given it trans-nationality, with the frequent use of its heroes. In the 21st century are represented on stage his fairytale dramas Turandot -set to a libretto for opera by Giuseppe Adami and composed by Giacomo Puccini (1926) -, The Love for Three Oranges, -set to a satirical opera by Sergei Prokofiev (1921)- and Re cervo, -set to e libretto by Paolo Bosisio and composed by Angelo Inglese (2017). To sum up, this particular study deals with the theatrical performances of Carlo GoldoniВ’s and Carlo GozziВ’s works in the field of musical theatre.
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References30
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