Carlo Goldoni

Carlo Goldoni , born the February 25th 1707 with Venice and dead the February 6th 1793 with Paris, is an author of Italian theater , languages Italian, Venetian and French.

Creator of the modern Italian comedy, it S `, following esthetic disagreements, is exiled in France in 1762.

Childhood and studies

Carlo Goldoni was born with Venice into 1707 from a father apothecary. As of childhood, it was attracted by the theater while playing with puppets and, later, sent to make its studies with Rimini, it leaves the college to accompany a troop by travelling actors and returns to Venice.

In 1723, his/her father registers it in austere Collegio Ghislieri of Pavia which imposes the tonsure and the monastic dress to the students. Carlo Goldoni continues studies of right and, discovering the Greek and Latin comedies, starts to write. At the time of its third year, it composes a satirical poem ( It Colosso ) in which he ridicules the girls of certain families of the city, which - addition with other overflows - the fact of excluding from the college and obliges it to leave Pavia in 1725.

It then continues its studies of right to Udine and Modena and begins a career of lawyer to Chioggia then in Feltre before returning in its Venice native where it succeeds professionally.

It gives up then partially its career of lawyer to deal with theater and to write parts. In 1732, after the death of his father and to escape a marriage which it does not wish, it leaves for Milan then Vérone where the theater director Giuseppe Imer encourages it to write in the comic vein and Nicoletta Conio presents to him that Goldoni will marry before returning once again to Venice with her in 1743.

Its life will be consequently related to its theatrical activities.

Its theatrical career in Italy

Its first work is a Tragédie ( Amalasunta ) represented without success with Milan: Goldoni accepts criticisms and evolving to the Italian drama by forsaking the rules of Aristote, it makes play with more success Belisario in 1734.

He writes then several tragedies but he realizes quickly that its true way is that of the Comédie: he will combine several influences of which that of the Commedia dell' Arte and Molière and will produce its first true work in 1738 with Uomo di mondo .

He will not cease writing by traversing Italy and will settle finally with Venice: named directing of the theater Sant' Angelo, he becomes the appointed author and gives up the bar definitively about it. By its talent, it will found the modern Italian comedy with works as Momolo Cortesan (which remains partly impromptu) or Gave It di garbo in 1744 ( the decent sort - first entirely written comedy.)

In 1757 a polemic opposes it to traditionalism Carlo Gozzi which criticizes in its fiabe the dangerous realism of the comedies of Goldoni. He is also criticized by the partisans of the theater baroque like Chiari of which the theater buffoon and poetic conquers the spectators. Wearied by these quarrels and marked by the disaffection of the public, it accepts in 1761 the invitation to come to work in Paris which make him the actors of the Théâtre of the Italians. Its last Italian parts , Baruffe chiozzotte ( Baroufe in Chioggia ) and ultimate Una delle sere di Carnovale ( One of the last evenings of Carnival ), are represented in Venice at the beginning of 1762.

Its career in France

In 1762, it gains France: adoptee at the Court (he teaches Italian with the royal princesses) and named with the head of the Theater of the Italians in Paris, he writes the majority of his French parts. Very appreciated by the French public, he writes in particular beneficial Bourru , at the time of the marriage of Louis XVI and Marie-Antoinette: the part is represented with the Comédie-Française in 1771. The king will grant a pension to him which the Révolution will suspend before it is restored for its widow by the Convention as Marie-Joseph Chénier required it.

During several years, of 1784 to 1787, he writes in French his Mémoires to be used for the history of his life and that of his theater and dies in Paris on February 6th, 1793.

Glances on work

On the whole Carlo Goldoni wrote in 20 years more than 200 parts of various importance and in various kinds: Tragedy S, Interlude S, drama S, Booklet S of opera or Saynète S of Carnival; but they are its Comédie S, written after 1744, which ensures its celebrity.

Carlo Goldoni transformed the Italian comedy by its productions more than in its theoretical writings ( It Teatro comico - 1750). It knew to keep the dynamism of the Commedia dell' arte and the play of the masks by associating them with the comedy of intrigue and by seeking a certain realism in the representation of the behaviors. In Italy, it will run up against the esthetic choices of its fellow-members: he will be made fun by the playwright traditionalist Carlo Gozzi, who condemns his dangerous realism, and also criticized by the partisans of the theater baroque like Chiari with his theater buffoon and poetic. Besides these oppositions and the disaffection of the public will lead it to the exile in France.

He will always proclaim admiror of Molière while admitting being able to equalize his genius. He is different from it however by lightness from the topics and the absence from pessimism. Its work is indeed marked by its confidence in the man and its humanistic approach defends the values of honesty, the honor, civility and rationality. One can also bring it closer for certain topics to the theater to Marivaux.

The characters whom it created are neither of the virtuous abstractions nor of the immoral monsters but of the ordinary representatives of the people and the middle-class. This glance amused and mocker on the social classes in a world which changes always make the charm of its comedies which also fit in the current of the Lumières while fighting against the intolerance and the abuses of power. A remark is however necessary: in its Italian parts, Goldoni never tackles the subjects concerning the Church and the religion whereas its French comedies often have a tone anticlerical and criticize the hypocrisy of the monks and the clergy.

The Italian parts are written in Toscan literary, at the base of modern Italian, or in Venetian dialect according to the moments and the places where they were written.

Prolongations

The modern time has redécouvert works of Carlo Goldoni and of the brilliant settings in scene the memories like that marked, hyperrealist, of Locandiera by Visconti in 1952, taken again in Paris in 1956 or like the inventive spectacles of Giorgio Strehler with the Piccolo Teatro of Milan taken again several times at the Théâtre of Odéon, with Paris (in particular Arlequin servant of two Masters of 1977 to 1998).

The parts of Goldoni are always regularly played today by many troops.

One of the theaters of Venice bears today the name of Teatro Carlo Goldoni .

Works

the Rose in love (1749)
Femmine puntigliose (1750) ( fastidious women ) - comedy
Harlequin servant of two Masters (groundwork in 1745 - comedy entirely written in 1753)
Locandiera (1753) ( beautiful the landlord ) - comedy
Massere (1755) ( the Cookers )
It Campiello (1756) ( the crossroads ) - comedy
I Rusteghi ( the Louts ) (1760)
will villegiatura It (trilogy: Holiday ) (1761)
Baruffe chiozzote ( Baroufe in Chioggia ) (1762)
One of the Last Evenings of carnival 1762 (translated into French by the Theater of moods of the self-managed College of Paris in 1986)
It Ventaglio ( the range) (1764)
the Widow crafty one
beneficial Bourru (1771) (French comedy)
Memories to be used with the history of my life and that of the theater ( 1787)) (Autobiography in French)

Tragedies

Amalasunta , burned by Goldoni after the first (1733)
Rosmonda (1734)
Griselda (1734)
Enrico Re di Sicilia (1736)
Gli amori of Alessandro Magno (1759)
Enea nel Lazio (1760)
Nerone (1760)
Artemisia (ever played)

Tragi-comedies

Belisario (1734)
Rinaldo di Montalbano (1736)

Giustino (17??)
the sposa persiana , the Wife Persian , in worms (1753)
Ircana in Julfa , Ircana in Julfa (17??)
Ircana in Ispaan , Ircana with Isfahan (17??)
Peruviana , Peruvian the (17??)
Bleated It Selvaggia , the Beautiful Savage (17??)
Dalmatina , Dalmatienne (17??)
Gli Amori di Alessandro Magno , Loves of Alexandre Large the (17??)
Artemisia , Artémise (17??)
Enea nel Lazio , Énée with the Latium (17??)
Zoroastro , Zoroastre (17??)
Bleated It Giorgiana , Beautiful Géorgienne (17??)

Comedies

Don Giovanni Tenorio O sia It dissoluto , Don Giovanni Tenorio or Dissolu (17??)
a broken curioso , a Curious Accident (1760)
Uomo di mondo , the Society man (17??)
It Prodigo , the Spendthrift (17??)
It Momolo cortesan , partly written, partly improvised (1738), Momolo the Courtier
It Mercante fallito O sia the bancarotta , Failed the or the Bankruptcy (1741)
Gave It di garbo (1743), the Decent sort
It servitore di due padroni , often called Arlecchino servitore di due padroni (1745) Arlequin Servant of two Masters ]]
It Frappatore (17??) Misleading the
I Due Gemelli veneziani , Two Venetian Twins (1745)
Uomo careful , the careful Man (17??)
Vedova will scaltra , the worn Widow (1748)
Putta onorata , the honourable Maidservant (1749)
Buona moglie , the Good Woman (1749)
It Cavaliere E rammed it , the Mister and the lady (17??)
Avvocato veneziano , the Venetian Lawyer (17??)
It Padre di famiglia , the Father (17??)
Famiglia LED' antiquario , the Family of the antique dealer (1750)
Erede fortunata , the fortunate Heiress (1750)
Femmine puntigliose (1750 - 1751) the Woman been obstinated
Bottega LED coffee , the Coffee (1750 - 1751)
It Bugiardo , the Liar (1750 - 1751)

Adulatore , Flattering the (17??)

It Poeta Fanatico , the fanatic Poet (17??)

the Pamela , Pamela (17??)

It Cavaliere di buon gusto , Gentilhmmme of good taste (17??)

It Giuocatore , the Player (17??)

It Vero Amico , the true Friend (17??)

Finta Ammalata , the False patient (1750 - 1751)

Rammed It Careful , the careful lady (17??)

Incognita , the Unknown factor (17??)

Avventuriere onorato , the honourable Adventurer (1750 - 1751)

I Pettegolezzi delle gives , the Pewters of the women (1750 - 1751)

It Moliére , Molière (17??)

Castalda (17??) the Administrator

Amante militare , the military Lover (17??)

It Tutore , Gardian (17??)

Moglie saggia , the wise Woman (1752)

It Feudatario (17??) the Lord

Gives It gelose , the jealous Women (1752)

Serva amorosa , the Maidservant in love (1752)

I Puntigli domestici , the domestic Troubles (17??)

Figlia obbediente , the obeying Girl (17??)

I Mercanti , the Merchants (17??)

Locandiera , the Landlord (1753)

Gives It curiose , Curious the (1753)

It Contrattempo O sia It chiacchierone imprudent , the Hitch or imprudent Chattering (17??)

Gave It vendicativa , the vengeuse Woman (17??)

Part of opening for the Comic Theater of San Luca, October 7th 1753

It Geloso avaro , Miserly the jealous (17??)

Gave It di tested debole , the Woman with the weak spirit (17??)

Cameriera brilliant , the brilliant Maidservant (17??)

It Filosofo inglese , the English Philosopher (17??)

It Vecchio bizzarro , the odd Old man (17??)

It Festino , the Banquet (17??)

Impostore , Impostor (17??)

Part of opening for the Comic Theater of San Luca, Fall 1754

Veined the amorosa , the Mother in love (17??)

Terenzio , Terence (17??)

Torquato Tasso , the Cup (17??)

It Cavaliere giocondo , the Merry Gentleman (17??)

Massere (1755) the Maidservants

I Malcontenti , Dissatisfied the (17??)

Part of opening for the Comic Theater of San Luca, autumn, 1755

Buona Famiglia , the Good Family (17??)

Gives It put soa , the Women of at his place (1755)

Villeggiatura , Holiday (17??)

Gave It stravagante , Extravagant the (17??)

It Campiello (1756) the Small Place

Avaro , miserly the (17??)

Amante di medesimo , in love one with itself (17??)

It Medico olandese , the Dutch Doctor (17??)

Gave It sola , the Woman alone (17??)

Pupilla , the Pupil (17??)

It Cavaliere di spirito O sia gave It di tested debole , the Gentleman of spirit or the Weak one of spirit (17??)

Vedova spiritosa , the spiritual Widow (17??)

It Padre per amore , the Father by love (17??)

Lo Spirito di contraddizione , the Argumentativeness (17??)

It Ricco insidiato , the required Rich person (17??)

Morbinose

Gives It di buon umore , the Women of good mood (17??)

Apatista O sia indifferent the , Apathetic the or Indifferent the (17??)

Gave It will bizzarra , the odd Woman (17??)

sagacious Sposa , the sagacious Wife (17??)

Gave It di governo (17??) the Women of government

Gave It strong , the Energetic Woman (17??)

I Morbinosi (1759)?

Scuola di ballo , the School of ballet (17??)

Gli In , the Lovers (1759)

Pamela maritata , married Pamela (17??)

the Business manager delle Smirne , the Business man of Smyrna (1759)

Guerra , the War (17??)

I Rusteghi , (1760)

It broken Curioso , the Curious Accident (1760)

Gave It di maneggio (17??) the Cleaning lady

Put It nova , the New Residence (1760)

Buona Madre , the Good mother (1761)

Smanie per will villeggiatura it , the Desire of holidays (1761)

Avventure beyond will villeggiatura , the Adventures of holidays (1761)

It Ritorno paved will villeggiatura , the Return from holidays (1761)

Lo Scozzese , the Scot (17??)

It Buon Compatriotto , the Good Compatriot (17??)

It Sior Todero brontolon O sia It vecchio fastidioso , Grumpy Mr. Todero or the Tedious Old man (1762)

Baruffe chiozzotte (1762) the Scuffles of ultimate Chioggia

Una delle sere di carnevale , One of the last evenings of carnival (1762)

Osteria beyond posted , the Tavern of the post office (17??)

Amore paterno O sia the serva riconoscente , Paternal love or the grateful Maidservant (17??)

It Matrimonio per concorso , the Marriage by contest (17??)

Loves of Harlequin and Camille , (1763)

Jealousy of Harlequin , (1763)

Concerns of Camille , (1763)

Gli Amori di Zelinda E Lindoro , Loves of Zelinda and Lindoro (1764)

Gelosia di Lindoro , Jealousy of Lindoro (17??)

Inquietudini di Zelinda , Concerns of Zelinda (17??)

Gli Amanti timidi O sia the imbroglio de' due ritratti , timid Lovers gold the Business of the two portraits (17??)

It Ventaglio , The Fan (1765)

Burla retrocessa nel contraccambio (17??) the turned over Joke

Chi F the aspetti O sia I chiassetti LED carneval (17??)

It Genio buono E it genio cattivo , Great genius and the evil genius (17??)

beneficial Bourru (1771) (17??)

sumptuous LAvare (1776)

Operas

Amalasunta (1732)
Gustavo (C. 1738)
Oronte, Re de' Sciti (1740)
Statira (C. 1740)

Opera-puff out

Fondazione di Venezia (1734)
Contessina , the Young Countess , music of Maccari (1743)
Favola dei tre gobbi (1748)
Arcadia in Brenta , the Arcadie with Brenta music of Galuppi (1749)
It Filosofo di campagna , the Philosopher of countryside , music of Galuppi (1752)
It Mercato di Malmantile , the Market of Malmantile , music of Fischietti (1757)
Buona Figliuola , the Good girl , music of Piccinni (1760)
It FESTINO , the Feast
I Viaggiatori ridicoli , the ridiculous travellers
Vittorina
It Re went caccia the King to hunting
the Hot-water bottle
I Volponi
Gli Uccellatori
Arcifanfano, Re de' matti , Arcifanfano, King of matti
Insulated It disabitata , the uninhabited Island
Calamità de' cuori the Negligent Heartbreak
It , Negligent the
I Bagni d' Abano , the Baths of Abano
the ridicole Virtuoso , Virtuous ridiculous the
It Finto principle the False prince
Astuzia felice the Happy Easy way
Bertoldo, Bertoldino E Sascasenno , Bertoldo, Bertoldino and Sascasenno
I Portentosi effetti beyond veined will natura the Effects natural Mother
Lucrezia romana , Lucrezia Roman
It Mondo went rovescia Le Monde to back
Buovo d' Antona
It Paese delle cuccagna the Country of Feast
Mascherata , Masked the
Pescatrici
It Tells Caramella
Gave It di governo , the Woman of government
Nozze , the Weddings
Will trust It di Sinigaglia , the Fair of Sinigaglia

Cantatas and serenades

Ninfa saggia , the wise Nymph (17??)
Gli Amanti felici , the Happy Lovers (17??)
Quattro Stagioni , the Four Seasons (17??)
It Coro delle MUSE , Chorus of the Muses (17??)
Pace consolata , comforted Peace (17??)
Amor beyond patria , Love of the fatherland (17??)
Oracolo del Vaticano , the Oracle of the Vatican (17??)

Oratorios

Magdalena conversio , the Conversion of Madeleine (17??)

Religious parts

Unione LED reale profeta Davide , the Marriage of the royal prophet David (17??)

Performances

Metempsicosi O sia the pitagorica trasmigrazione , the Métempsycose or the Transmigration Pythagoréenne (17??)
It disinganno in corte , Disappointment at the Court (17??)

Poetry

It Colosso , the Colossus , satire against the girls of Paviequi made expel the author of the College Ghislieri (1725)
It Quaresimale in epilogo (1725 - 1726)

Intermezzos

It Buon Padre , the Good father (1729)
the Professional singer , (1729)
It Gondoliere Veneziano O sia Gli sdegni amorosi , Venetian Gondolier or the contempts in love (1733)
Pupilla , the Pupil (1734)
Birba (1734)
It Quartiere fortunato (1734 - 44)
Amor F the uomo cieco the Love returns blind man (dubious date)
It Disinganno (dubious date)

Books

It Teatro comico 1750 - 1751
Nuovo teatro comico , Venice, Appresso F. Pitteri, Venice, 1757 - 1763
Memories , Paris, Duchesne, 1787
Operates teatrali , Venice, A. Zatta E figli, 1788 - 1795

Translations

Storia di Miss Jenny , History of Miss Jenny of Marijuana Riccoboni

External bonds

Card on the site '' theatreonline.com ''.
Card on the site of the theater of Odéon.
'' memories of Goldoni '' (complete French text).

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