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oapen-20.500.12657-562442022-06-02T03:24:12Z Chapter Con chi vengo vengo di Michele della Marra fra Calderón e Angiola D’Orso CAPPELLI, FEDERICA Calderón Con quien vengo vengo Michele della Marra Angiola d'Orso theatrical rewriting This paper aims at studying the Italian fortune of the Calderonian play Con quien vengo vengo , firstly, by focusing on its first version by Michele della Marra (1665) and then moving on to a triple textual comparison between the Calderonian source-text, the rewriting of Della Marra and the second adaptation by the actress Angiola D'Orso, whose first edition came out in 1666. Despite his faithfullness to the plot of the original text, the first translator remodels the text either by summarizing it, or removing certain typically Calderonian rhetorical artifices, or replacing the figure of the gracioso by that of the southern servant, who uses the dialect. On the contrary, Angiola D'Orso shows greater respect for the Spanish play, displaying more sensitiveness toward its rethorical beauty, which she is able to reproduce successfully. 2022-06-01T12:17:12Z 2022-06-01T12:17:12Z 2020 chapter ONIX_20220601_9788855181501_427 2704-5919 9788855181501 https://library.oapen.org/handle/20.500.12657/56244 ita Studi e saggi application/pdf Attribution 4.0 International 14602.pdf https://books.fupress.com/doi/capitoli/978-88-5518-150-1_17 Firenze University Press 10.36253/978-88-5518-150-1.17 10.36253/978-88-5518-150-1.17 bf65d21a-78e5-4ba2-983a-dbfa90962870 9788855181501 209 21 Florence open access
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This paper aims at studying the Italian fortune of the Calderonian play Con quien vengo vengo , firstly, by focusing on its first version by Michele della Marra (1665) and then moving on to a triple textual comparison between the Calderonian source-text, the rewriting of Della Marra and the second adaptation by the actress Angiola D'Orso, whose first edition came out in 1666. Despite his faithfullness to the plot of the original text, the first translator remodels the text either by summarizing it, or removing certain typically Calderonian rhetorical artifices, or replacing the figure of the gracioso by that of the southern servant, who uses the dialect. On the contrary, Angiola D'Orso shows greater respect for the Spanish play, displaying more sensitiveness toward its rethorical beauty, which she is able to reproduce successfully.
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14602.pdf
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14602.pdf
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Firenze University Press
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2022
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https://books.fupress.com/doi/capitoli/978-88-5518-150-1_17
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