Un curioso accidente, "A Curious Mishap" “The world is a beautiful book, but of little use to him who cannot read it”. Ircana in Ispaan, "Ircana in Isfahan" His works include some of Italy's most famous and best-loved plays. Goldoni's first dramatic venture, a melodrama named Amalasunta, was unsuccessful. Galuppi composed the score for more than twenty of Goldoni's librettos. Gli amori di Zelinda e Lindoro, "The Love of Zelinda and Lindoro" Spencer Kennard, Joseph Goldoni and the Venice of his Time Macmillan, 1920, http://en.wikipedia.org/wiki/Carlo_Goldoni, “The world is a beautiful book, but of little use to him who cannot read it”, Carlo Goldoni and Eighteenth-Century Theatre. La dama prudente, "The Prudent Lady" Enea nel Lazio, "Aeneas in Latium"
Il ricco insidiato, "The Sought After Rich man" L'incognita, "The Unknown Woman" La donna forte, "The Strong Woman" Important plays from this period are the Italian comedy of manners La locandiera (performed 1753; Eng. During this period he also wrote librettos for opera seria and served for a time as literary director of the San Giovanni Grisostomo, Venice's most distinguished opera house.[4]. Le smanie per la villeggiatura, "Pining for a Holiday" L'impostore, "The Impostor" La figlia obbediente, "The Obedient Daughter" La buona famiglia, "The Good Family" Le morbinose, "The Good-Humoured Ladies" Goldoni returned with her to Venice, where he stayed until 1743. trans., Mine Hostess, 1928) and two fine plays in Venetian dialect, I rusteghi (performed 1760; “The Tyrants”) and Le baruffe chiozzote (performed 1762; “Quarrels at Chioggia”). Il teatro comico - Comic Theatre - Translated by John W. Miller, Four Comedies: I due gemelli Veneziani (1750), La vedova scaltra (1748), La locandiera (1753), and La casa nova (1761) - Translated by Frederick Davies. Il buon compatriotto, "The Good Compatriot" Submitting it to Count Prata, director of the opera, he was told that his piece "was composed with due regard to the rules of Aristotle and Horace, but not according to those laid down for the Italian drama." Le baruffe chiozzotte, "The Chioggia Scuffles" As a result of that incident (and/or of a visit paid with some schoolmates to a local brothel) he was expelled from the school and had to leave the city (1725). La donna vendicativa, "The Vengeful Woman"
To suppress the last of these forms the great comedian devoted his utmost efforts, but though he succeeded partially, and for a time, the task was beyond him; for in the comedy of masks was the real dramatic life of the nation, and though, except in the hands of Gozzi, it never assumed the form of dramatic literature, it was transplanted into several European nations in the costume of Harlequin, Columbine and Pantaloon. La putta onorata, "The Honourable Maid" Mirandolina / the Housekeeper: Goldoni Plays | Carlo Goldoni | ISBN: 9781870259484 | Kostenloser Versand für alle Bücher mit Versand und Verkauf duch Amazon. Le donne curiose, "The Curious Women" He then called for a good supper, which he consumed with relish, after which he went to bed and slept tranquilly throughout the night. In reality, it seems that Giulio was an apothecary; as for the grandfather, he had died four years before Carlo's birth. Il ventaglio, "The Fan" Il teatro comico, "Comic Theatre" 1750 - Goldoni coins the term 'La commedia dell'arte' in his play Il teatro comico "Comic Theatre". La donna di governo, "The Government Woman" It was his principal aim to supersede the comedy of masks and the comedy of intrigue by representations of actual life and manners, and in this he was entirely successful, though not until after powerful opposition from Carlo Gozzi, who accused him of having deprived the Italian theatre of the charms of poetry and imagination.
From 1753 to 1762 Goldoni wrote for the Teatro San Luca (now Teatro Goldoni). In the outset of his career, Goldoni found the comic stage divided between two different species of dramatic composition--classical comedy and the comedy of masks.
La locandiera, "The Mistress of the Inn" also known as "Mirandolina " Audiences have admired the plays of Goldoni for their ingenious mix of wit and honesty. L'avare fastueux, "The Ostentatious Miser" Updates? La sposa persiana, "Persian Wife" La jalousie d'Arlequin, "Harlequin's Jealousy" No thoughts are expressed about death or repentance in his memoirs or in his comedies. Il feudatario, "The Feudal Lord" He also wrote Momolo Cortesan in 1738. Cope, Scroll down to the bottom for a list of Goldoni's plays. Among the plays which he wrote in French, the most successful was Le bourru bienfaisant, dedicated to the Marie Adélaïde, a daughter of Louis XV and aunt to the dauphin, the future Louis XVI of France.
For these innovations Goldoni is considered the founder of Italian realistic comedy. There he increasingly left commedia dell’arte behind him. returns to Venice. Il cavaliere e la dama, "The Gentleman and the Lady" La donna di garbo, "The Fashionable Woman" Most of his plays are either comedies featuring the masked characters of la commedia dell'arte, or comedies of manners/comedies of errors (without masks). Translations of Goldoni's plays into English: Il servitore di due padroni - The Servant of Two Masters (1747) - Translated by Frederick H. Davies Drabble, Margaret - Editor The Oxford Companion to English Literature Oxford University Press, 1995 La serva amorosa, "The Loving Maid"
I pettegolezzi delle donne, "Women's Gossip"
In his Memoirs Goldoni amply discusses the state of Italian comedy when he began writing.
Giustino, "Justin"
Zalta, Venice (1788–1795), Richards, Kenneth (1995). Le Bourru bienfaisant, "The Beneficent Grumbler" G… His dialogue was extremely animated, earnest and full of meaning; and with a very exact knowledge of the national manners he combined the rare faculty of giving a lively picture of them on the stage. Most of his plays are either comedies featuring the masked characters of la commedia dell'arte, or comedies of manners/comedies of errors (without masks). https://www.britannica.com/biography/Carlo-Goldoni, Theatre Database - Biography of Carlo Goldoni, Southern Utah University - Utah Shakespeare Festival - The Servant of Two Masters, Catholic Encyclopedia - Biography of Carlo Goldoni, Carlo Goldoni - Student Encyclopedia (Ages 11 and up). The Holiday Trilogy: Three Comedies - Translated by Antony Oldcorn. Let us know if you have suggestions to improve this article (requires login). Audiences have admired the plays of Goldoni for their ingenious mix of wit and honesty. Goldoni was inspired by his love of humanity and the admiration he had for his fellow men. Italian audiences even yet take delight in his pictures of their ancestors. La casa nova, "The New House" trans., 1814, 1926). Il cavaliere di buon gusto, "The Gentleman with Good Taste" His next play, Belisario, written in 1734, was more successful, though of its success he afterward professed himself ashamed. The play was a critical and financial failure. "The appearance of Goldoni on the stage," says Voltaire, "might, like the poem of Trissino, be termed: 'Italy Delivered from the Goths.'". His innovative comedies, including The Hostess (1753) and The Boors (1762), placed a new emphasis on realistic representation in drama. In tragedy other names have appeared since the death of Alfieri, but Goldoni still stands alone. His works include some of Italy's most famous and best-loved plays. They occupy the middle ground of human temperament. Pages in category "Plays by Carlo Goldoni" The following 16 pages are in this category, out of 16 total. Goldoni took to himself the task of superseding the comedy of masks and the comedy of intrigue by representations of actual life and manners through the characters and their behaviors. Les inquiétudes de Camille, "Camilla's Worries" La burla retrocessa nel contraccambio, "The Joke Rebounds" In any case, Goldoni was deeply interested in theatre from his earliest years, and all attempts to direct his activity into other channels were of no avail; his toys were puppets, and his books, plays. Il matrimonio per concorso, "The Marriage Contest" After 1748, Goldoni collaborated with the composer Baldassare Galuppi, making significant contributions to the new form of 'opera buffa'. His father died in 1731. Goldoni was born in Venice in 1707, the son of Margherita Salvioni (or Saioni) and Giulio Goldoni. I malcontenti, "The Unsatisfied Men" Goldoni says that he took for his models the plays of Molière and that whenever a piece of his own succeeded he whispered to himself: "Good, but not yet Molière." Una delle ultime sere di carnevale , "One of the Last Carnival Evenings” Le donne di buon umore, "The Good Humoured Women" This list may not reflect recent changes (). Goldoni's plays that were written while he was still in Italy ignore religious and ecclesiastical subjects. I rusteghi, "The Tyrants" Encyclopaedia Britannica's editors oversee subject areas in which they have extensive knowledge, whether from years of experience gained by working on that content or via study for an advanced degree.... Get exclusive access to content from our 1768 First Edition with your subscription. Il padre per amore, "The Father for Love" Le donne gelose, "The Jealous Women" Il mercante fallito o sia La bancarotta, "The Bankrupted Merchant" or "The Bankruptcy" Our editors will review what you’ve submitted and determine whether to revise the article. 1793 - Dies in poverty in Paris afflicted by blindness. Rinaldo di Montalbano, “Rinaldo from Montalbano” Il ritorno dalla villeggiatura, "Back from Holiday" La bottega del caffè - The Coffee House (1751) - Translated by Jeremy Parzen La famiglia dell'antiquario, "The Antiquarian's Family" (in alphabetical order without the articles), L'adulatore, "The Flatterer" "In France", continued the count, "you can try to please the public, but here in Italy it is the actors and actresses whom you must consult, as well as the composer of the music and the stage decorators. For writing a satire on the ladies of the town, Goldoni was expelled from the Ghislieri College in Pavia, and he reluctantly began law studies at the University of Pavia. In his memoirs, written by himself, is depicted with the utmost liveliness the born comedian, careless, light-hearted and with a happy temperament, proof against all strokes of fate, yet thoroughly respectable and honourable. This may be partly explained by the absence in comedy of a literary style which at the same time was national.