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Carlo Goldoni

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Carlo Goldoni

  1. 1. … è una città così straordinaria, che non è possibile formarsene un’idea esatta senza averla veduta. […] Tutte le città del mondo si assomigliano dal più al meno: essa non assomiglia ad alcun’altra
  2. 2. Venezia città cosmopolita, tranquilla, festosa attivo centro di propagazione di idee Vivacità arte e cultura maschera segni declino
  3. 3. Giambattista Tiepolo Canaletto GA. e F. Guardi
  4. 4. La vita culturale cittadina si esprime nelle accademie: Accademia dell’Arcadia (di cui fa parte anche Goldoni) Accademia di matematica e fisica Accademia di pittura Centro di orientamento letterario Granelleschi (difesa del purismo linguistico)
  5. 5. Attivi nella città veneta 16 teatri pubblici, oltre a teatri privati Aprire un teatro è una forma d’investimento fiorisce la produzione teatrale Forme di spettacolo predilette dal pubblico sono il melodramma e commedia dell’arte
  6. 6. Tale esigenza si traduce in FILOSOFIA PRATICA ILLUMINISMO POPOLANO Sente l’esigenza di accogliere nel teatro i nuovi valori di naturalezza e razionalità Non è impegnato attivamente nella diffusione dei principi riformatori (Beccaria, Parini) Ma è sensibile all’evoluzione culturale del proprio tempo
  7. 7. vive dei proventi della sua professione di intellettuale (anticipa la figura dello scrittore della società borghese dell’800) scrive per il mercato (il teatro è un’impresa commerciale, il pubblico vi accede a pagamento, lo spettacolo deve incontrare il gusto del pubblico) fanno parte dei ceti privilegiati (nobiltà, clero) e vivono delle loro rendite sono al servizio dei privilegiati e godono della loro protezione (mecenatismo)
  8. 8. deriva dalla fusione di
  9. 9. La società contemporanea entra nel teatro e diventa materia della scena teatrale Il teatro da luogo di evasione fine a se stesso diventa occasione di critica e di stimolo alla riflessione su questioni sociali e morali Ilmondo Ilteatro
  10. 10. ORIGINI •L’espressione Commedia dell’Arte risale al XVIII secolo •ARTE “ indica la corporazione dei comici di mestiere •Prima identificata con commedia all’improvviso o commedia a braccio DEFINIZIONE •Nasce nel 500 in Italia •Si diffonde poi in tutta Europa •Diviene molto popolare in Francia •Priva il teatro italiano della commedia d’autore, cosa che non avviene nel resto d’Europa
  11. 11. Ripetitività e volgarità situazioni proposte Presenza maschere, figure fisse e stereotipate Non rispecchia il contesto sociale (ascesa borghesia)
  12. 12. Superare astrattezza commedia letteraria, scritta a imitazione di modelli classici da autori privi di esperienza del palcoscenico Superare la volgarità connaturata alla Commedia dell’arte, eliminando dallo spettacolo comico il gusto dell’eccesso Restituire dignità culturale al genere comico, affrontandone i problemi tecnici (rapporto testo, attore, recitazione) Riportare il testo teatrale a contenuti reali e verosimili, improntati ai valori della borghesia in ascesa e restituire allo spettacolo la sua funzione educativa Esigenze di natura diversa sono alla base del progetto riformistico di Goldoni
  13. 13. Unità di tempo l’arco di tempo della vicenda rappresentata non supera le 24 ore Unità di luogo i personaggi agiscono sempre nello stesso luogo Unità di azione la vicenda si limita allo sviluppo di un’unica situazione Commedia riformata Rispetto canone classicista
  14. 14. COMPONENTI FONDAMENTALI DEL TEATRO Goldoni ha bisogno del favore di entrambi per riuscire dove altri hanno fallito: riformare il teatro
  15. 15. A T T O R I
  16. 16. P U B B L I C O
  17. 17. Scheda La locandiera
  18. 18. Scheda Le smanie per la villeggiatura

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