DiMaria delves into how playwrights not only brought inventive new dramaturgical methods to the genre, but also incorporated significant aspects of the morals and aesthetic preferences familiar to contemporary spectators into their works.
DiMaria delves into how playwrights not only brought inventive new dramaturgical methods to the genre, but also incorporated significant aspects of the morals and aesthetic preferences familiar to contemporary spectators into their works.
Salvatore DiMaria is a professor in the Department of Modern Foreign Languages and Literatures at the University of Tennessee.
Inhaltsangabe
Preface Chapter I. Imitation: The link between past and present 1. The Humanists turn to the Ancients 2. From the Classical stage to the theater of Renaissance 3. The poetics of the new theater Chapter II. Machiavelli’s Mandragola 1. The characters: imitation vs. source 2. New characters 3. Machiavellian morality Chapter III. Clizia. Form stage to stage 1. The sons 2. The fathers 3. The wives 4. A Machiavellian perspective Chapter IV. Cecchi’s Assiuolo: An apian imitation 1. A contaminatio of sources 2. Ambrogio: An original amator senex 3. Oretta’s immorality as a reflection of the times Chapter V. Groto’s Emilia: Fiction meets reality 1. From the sources to the adaptation 2. The stage pretense of realism undermined 3. Erifila: a Venetian courtesan. Chapter VI. Gli duoi fratelli rivali. Della Porta adapts Bandello’s prose narrative to the stage 1. The source’s King vs. the play’s Viceroy 2. Eufranone vs. Lionato 3. The women 4. New characters and the comic element Chapter VII. Orbecche: Giraldi’s imitation of his own prose narrative 1. The plot 2. Orbecche and the question of womanhood 3. Sulmone vs. Malecche: The debate on kingly prerogatives 4. Machiavellian princeship anchored to religious morality Chapter VIII. Dolce’s Marianna: From history to the stage 1. The historical source 2. Josephus’ Herod vs. Dolce’s Erode 3. Mariamme vs Marianna 4. Erode and the theater audience Conclusion Endnotes Bibliography
Preface Chapter I. Imitation: The link between past and present 1. The Humanists turn to the Ancients 2. From the Classical stage to the theater of Renaissance 3. The poetics of the new theater Chapter II. Machiavelli’s Mandragola 1. The characters: imitation vs. source 2. New characters 3. Machiavellian morality Chapter III. Clizia. Form stage to stage 1. The sons 2. The fathers 3. The wives 4. A Machiavellian perspective Chapter IV. Cecchi’s Assiuolo: An apian imitation 1. A contaminatio of sources 2. Ambrogio: An original amator senex 3. Oretta’s immorality as a reflection of the times Chapter V. Groto’s Emilia: Fiction meets reality 1. From the sources to the adaptation 2. The stage pretense of realism undermined 3. Erifila: a Venetian courtesan. Chapter VI. Gli duoi fratelli rivali. Della Porta adapts Bandello’s prose narrative to the stage 1. The source’s King vs. the play’s Viceroy 2. Eufranone vs. Lionato 3. The women 4. New characters and the comic element Chapter VII. Orbecche: Giraldi’s imitation of his own prose narrative 1. The plot 2. Orbecche and the question of womanhood 3. Sulmone vs. Malecche: The debate on kingly prerogatives 4. Machiavellian princeship anchored to religious morality Chapter VIII. Dolce’s Marianna: From history to the stage 1. The historical source 2. Josephus’ Herod vs. Dolce’s Erode 3. Mariamme vs Marianna 4. Erode and the theater audience Conclusion Endnotes Bibliography
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