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Lelia's Kissanalyzes gender roles, sexuality, and marriage in the Italian Renaissance through the lens of a large number of comedies from the period, ranging well beyond the traditional canon

In this second volume of Renaissance Comedy , Donald Beecher presents six more of the best-known plays of the period, each with its own introduction, reading notes, and annotations. Beecher's general introduction, though stand-alone, complements and extends the historical and critical essay prefacing the first volume. Together, the eleven plays in both volumes illuminate the range, variety, and development of the Italian comedy. The second volume of Renaissance Comedy raises fascinating questions about the uses of classical literature, the conventions of comedy, the politics of theatrical production, and the representation of contemporary social issues. Though it is clear that comedic plays exercised considerable influence over the development of European drama, these plays are above all remarkable for their sheer wit and invention, and their capacity to generate laughter and admiration in readers nearly half a millennium later.

In 1921, Sergei Prokofiev's Love for Three Oranges—one of the earliest, most famous examples of modernist opera—premiered in Chicago. Prokofiev's source was a 1913 theatrical divertissement by Vsevolod Meyerhold, who, in turn, took inspiration from Carlo Gozzi's 1761 commedia dell'arte–infused theatrical fairy tale. Only by examining these whimsical, provocative works together can we understand the full significance of their intertwined lineage. With contributions from 17 distinguished scholars in theater, art history, Italian, Slavic studies, and musicology, Three Loves for Three Oranges: Gozzi, Meyerhold, Prokofiev illuminates the historical development of Modernism in the arts, the ways in which commedia dell'arte's self-referential and improvisatory elements have inspired theater and music innovations, and how polemical playfulness informs creation. A resource for scholars and theater lovers alike, this collection of essays, paired with new translations of Love for Three Oranges, charts the transformations and transpositions that this fantastical tale underwent to provoke theatrical revolutions that still reverberate today.

'There are so many servants looking for a master and I have found two! Yay. What the hell do I do now? I can't serve both, can I?' Hungry servant Truffaldino bites off more than he can chew when he agrees to serve two masters at the same time! Now he must hold everything together without exposing his scam and woo his love interest, spicy Smeraldina, all at the same time. Meanwhile, Beatrice and Florindo pine for each other, desperately seeking one another in Venice. On the flipside, young lovers Silvio and Clarice seesaw from swearing undying love to pledging eternal hatred. A calamitous comedy unfolds as Truffaldino skids and schemes his way through multiple beatings, mistaken identity and love gone awry on the streets of decadent 18th-century Venice. This new translation and adaptation of Carlo Goldoni's classic by Rosa Campagnaro and Make A Scene maintains the traditional improvised spirit and grotesque masks of Commedia dell'Arte in a contemporary reimagining.

This book explores how the Italian commedia dell'arte has profoundly affected the Russian artistic imagination for over three hundred years, providing a source of inspiration for leading artists as diverse as Nikolai Gogol, Evgenii Vakhtangov, Vladimir Nabokov and the pop star Alla Pugacheva.

This chapter contains sections titled: Romeo and Juliet A Midsummer Night's Dream Love's Labour's Lost “Every Word Doth Almost Tell My Name”

This paper closely analyzes the endings of the comedies by Ariosto, highlighting the scenes featuring oral contracts, which resolve the main conflicts of the plot. A commercial and economic logic permeates the negotiations among the characters, which eventually lead to a promise of marriage, following the conventions of early modern weddings. These inherently public scenes – in which even the audience fictionally function as witnesses whose presence is necessary to officially ratify the new order – represent moments of exception in the context of plays focused exclusively on private adventures.

\"6 The present essay builds on the work of Patricia Parker, who has noted connections among the comedy's various meanings of translation, as well as the recent analysis of Kathryn Vomero Santos, who focuses on the ways the comedy's English language is simultaneously hospitable and hostile to immigrant characters.7 Instead of reading the play's foreignlanguage scenes as pointing up the triumphant status of English, we can view these moments as precisely the comedy's point; specifically, these instances stand as staged articulations of the period's polyglot manuals that also return to print in the play's published versions. Written by authors such as John Florio, John Eliot, and the French Protestant refugee Claudius Hollyband, these books set Italian and French in conversation with English in dual-column or facing-page mise-en-page arrangements, often employing typeface differentiation across languages as well.8 Studies of the playwright's familiarity with language-learning publications have overlooked, however, Noel de Berlaimont's Colloquia et Dictionariolum, an immensely popular dictionary and language manual that, I suggest, appears to have influenced Shakespeare's plays. [...]when Falstaff first devises his pursuit of Mistress Ford in act 1, he frames his amorous intentions as an act of translation. Here, the voracious eater Sir John faces the threat of being eaten himself, and by a foreigner, too.18 \"Bless thee, Falstaff,\" we might say, \"thou art translated!\" By way of this final translation, Shakespeare urges his audience not only to laugh at Falstaff's folly, but to recognize the power of translation-also visible through Frau Schnellfuss in the Venice Second Folio-to turn upon those who employ it for oppressive purposes.

Homme aux savoirs multiples et homme de vulgarisation, Charles Estienne (1514–1564) s’intéressa à la traduction et à l’édition théâtrale parallèlement à ses activités éditoriales et scientifiques, tant en latin qu’en français. Non pas en marge, mais au centre d’une carrière consacrée à la parole du partage des savoirs, l’intérêt pour le théâtre de Charles Estienne se manifeste d’abord par la traduction française d’une comédie italienne contemporaine, rééditée au moins deux fois, puis par des éditions annotées pour la jeunesse d’une comédie de Térence, l’Andrie, qui se continuent par la traduction française de cette comédie, accompagnée d’un traité sur les Jeux des Anciens. Ces deux pièces de théâtres sont représentatives de l’entreprise de Charles Estienne visant à rendre accessible à un plus grand public les grandes oeuvres du passé classique comme de la modernité italienne. Surtout, ces textes sont conçus pour la représentation, dans un cadre éducatif mais aussi, simplement, pour le plaisir du spectacle théâtral. La mise en français, mais aussi la mise en lisibilité (par des lexiques, annotations, commentaires, abrègements etc.) paraissent de fait constituer une mise sur scène du texte source, qui sera dit lors de la représentation mais également par son médiateur, le vulgarisateur (qui traduit, édite, rend compréhensible et diffuse). Ainsi, la traduction pour la scène illustre une parole humaniste, de la transmission et du partage des savoirs : une représentation de la reprise et de la vulgarisation. A man of much learning and a man of popularisation, Charles Estienne (1514–1564) was interested in theatrical translation and edition both in Latin and in French, as well as in many other editorial and scientific activities. Interest in theatre was at the centre of Charles Estienne’s career consecrated to knowledge sharing; it manifested itself first in the French translation of a contemporary Italian comedy, re-edited at least twice. Then he produced several annotated editions for young people of a comedy by Terence, Andria. These were followed by the French translation of this same comedy, accompanied by a treatise on the Jeux des Anciens [Plays of the Ancients]. These two plays are representative of Charles Estienne’s endeavour to make the great works of from classical past as well as contemporary Italy accessible to a wider public. Above all, these texts are designed for performance, in an educational context but also simply for the pleasure of theatrical spectacle. The rendering of the French, and the rendering of readability (through lexica, annotations, commentaries, abridgements etc.) stage the source text, which would be spoken during the performance but also stage its mediator, the populariser (who translated, edited, made comprehensible and disseminated the text). Thus translation for the stage illustrated a humanist position on the transmission and sharing of knowledge: a performance of revival and popularisation.