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oapen-20.500.12657-553292022-06-01T03:25:47Z Lo spettacolo senza riforma Galletti, Lorenzo bic Book Industry Communication::A The arts::AN Theatre studies bic Book Industry Communication::A The arts::AS Dance & other performing arts The San Samuele theatre company from Venice constitutes a perfect example of the extraordinary vitality of the early-eighteenth-century troupes, before the success of Carlo Goldoni’s dramaturgy. Reconstructing the chronology of the training activity led by the theatre company manager Giuseppe Imer makes it possible to observe the extraordinary versatility of the actors from the Commedia dell’Arte, and the breadth of a repertoire which, between 1726 and 1749, spaced from dramas to musical interludes, passing through the “canovacci” of the commedia all’improvviso and tragedies. Thanks to unpublished documents and to a critical analysis of the repertoires, the author appoints the actors as the main protagonists of the spectacular Venetian scene, and offers important updates on the migrations of troupes in the second quarter of the 18th century. 2022-05-31T10:26:51Z 2022-05-31T10:26:51Z 2016 book ONIX_20220531_9788864533612_613 2705-0297 9788864533612 9788864533605 9788892732643 https://library.oapen.org/handle/20.500.12657/55329 ita Premio Ricerca «Città di Firenze» application/pdf Attribution 4.0 International 9788864533612.pdf https://books.fupress.com/isbn/9788864533612 Firenze University Press 10.36253/978-88-6453-361-2 The San Samuele theatre company from Venice constitutes a perfect example of the extraordinary vitality of the early-eighteenth-century troupes, before the success of Carlo Goldoni’s dramaturgy. Reconstructing the chronology of the training activity led by the theatre company manager Giuseppe Imer makes it possible to observe the extraordinary versatility of the actors from the Commedia dell’Arte, and the breadth of a repertoire which, between 1726 and 1749, spaced from dramas to musical interludes, passing through the “canovacci” of the commedia all’improvviso and tragedies. Thanks to unpublished documents and to a critical analysis of the repertoires, the author appoints the actors as the main protagonists of the spectacular Venetian scene, and offers important updates on the migrations of troupes in the second quarter of the 18th century. 10.36253/978-88-6453-361-2 bf65d21a-78e5-4ba2-983a-dbfa90962870 9788864533612 9788864533605 9788892732643 50 296 Florence open access
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The San Samuele theatre company from Venice constitutes a perfect example of the extraordinary vitality of the early-eighteenth-century troupes, before the success of Carlo Goldoni’s dramaturgy. Reconstructing the chronology of the training activity led by the theatre company manager Giuseppe Imer makes it possible to observe the extraordinary versatility of the actors from the Commedia dell’Arte, and the breadth of a repertoire which, between 1726 and 1749, spaced from dramas to musical interludes, passing through the “canovacci” of the commedia all’improvviso and tragedies. Thanks to unpublished documents and to a critical analysis of the repertoires, the author appoints the actors as the main protagonists of the spectacular Venetian scene, and offers important updates on the migrations of troupes in the second quarter of the 18th century.
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