Pub Date : 2018-08-21DOI: 10.1515/9783110536690-007
Bernhard Huss
The present paper examines Luigi Groto’s tragedy Adriana , with occasional references to the author’s dramatic oeuvre in general, and to his second tragedy Dalida in particular. An analysis of the Adriana ’s poetics reveals that two different generic templates were superimposed in the play’s composition: im-plementing a poetic program which will be illuminated in the following pages, Groto transferred Petrarchan lyricism to the genre of tragedy. The issue we are dealing with thus pertains to two thematic fields at the same time, namely the Poetics of Early Modern Drama , and the History of Genres / Cross-fertilization between Genres . If we subsequently focus our attention on the Adriana , this is only due to constraints of space: as it were, Groto’s dramatic oeuvre as a whole could well be called a large-scale laboratory experiment on literary genre. Given its sheer volume, however, – it consists of the published plays Dalida (1572) , Il pentimento amoroso (1576), Adriana (1578), Emilia (1579), Il tesoro (1580), Calisto (1582), Alteria (1584), and the “dramma sacro” Isac (first printed in 1586, but premiered as early as 1558 1 ), while other works remained unpublished and were consequently lost, among them several tragedies 2 – a more comprehensive survey will have to be deferred to another occasion. Unlike today, Groto often called in extremely well-known literary figure during lifetime. Ben Jonson’s Volpone
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Pub Date : 2018-08-21DOI: 10.1515/9783110536690-005
Esther Schomacher
Throughout the history of European theatrical poetics the relation between the representation onstage and the audience’s perception has been one of its central issues. Questions as to how the audience perceive what is happening on the theater’s stage, and how this perception in turn is connected with the techniques and skills applied by the actors, haunt the whole range of theatrical discourse from antiquity onwards. Ever since Plato’s and Aristotle’s famously contrary opinions on this matter, the medial effects of performance have been at the heart of theatrical disputes;1 consequently, they have been linked to basic anthropological and epistemological questions – questions, that is, concerning human ways of perception, of gaining knowledge and understanding, and especially the disruptive and/or enabling effects of representations and emotions in this process.2
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Pub Date : 2018-08-21DOI: 10.1515/9783110536690-013
Igor Grdina
Around 1860 two distinguished Slovenian cultural and political figures discussed matters of a literary nature and national importance. One of them, the young and ambitious liberal Josip Vošnjak (1834–1911), had taken up writing a verse drama; the other, the somewhat older conservative Luka Svetec (1826– 1921), thought it was too soon for such an endeavor.1 In his opinion (which had been molded by the lyceum of the Austrian type) drama was the epitome of literature. Due to the complexity of its structure, the concentrated matter, and the necessary staging (i.e., all that went into a developed theater infrastructure), the tested capacity for reproduction, and the suitably cultured audience, drama always held a particularly representative place in the imagery and ideology of any Central European national space, transcending the artistic sphere. Impressive theatrical buildings of the nineteenth century, which were usually built in a historicizing fashion, were a monument of a sort to this very conception. They were meant to create an impression that it had always been thus. However, only three generations earlier – a mere century – drama and theater were not concerned with such preconceptions. For Slovenes, who, as a modern national community, had not established themselves along the historicizing lines of a grand tradition and its associated appeal, but rather with a vision of an emancipated future, the forgetting of the past in the nineteenth century was somewhat understandable. Nationalistic leaders who often felt compelled to create dramatic oeuvres, thus expressing their cultural and political leadership and imposing personalities, found it helpful (at least initially) to treat the past as needing denial – and only denial. It was only later that they were able to acknowledge that they were not in fact the first to have done everything. Josip Vošnjak thus wrote a theatrical piece at the pinnacle of his career in which he quoted the entire comedy Županova Micka (Micka, the Mayor’s Daughter) by Anton Tomaž Linhart (1756–1795) of 1789, adding an introduction and an ending which addressed the circumstances in which the comedy was premiered.2
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Pub Date : 2018-08-01DOI: 10.1515/9783110536690-008
C. Savettieri
The of . London: Duck-worth,
的。伦敦:Duck-worth,
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