Pub Date : 2023-08-01DOI: 10.4000/studifrancesi.54235
Vittorio Fortunati
{"title":"Andrea Frizzera, Roma: la sovranità e il modello. Le istituzioni politiche romane nel IV libro del “Contrat social” di Jean-Jacques Rousseau","authors":"Vittorio Fortunati","doi":"10.4000/studifrancesi.54235","DOIUrl":"https://doi.org/10.4000/studifrancesi.54235","url":null,"abstract":"","PeriodicalId":41340,"journal":{"name":"STUDI FRANCESI","volume":"15 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135053625","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-08-01DOI: 10.4000/studifrancesi.54798
Laura Rescia
Studies concerning the first reception of Molière’s comedies in Italy need to be updated, due to the renewal of research methodologies. In this paper we present and analyse an unknown manuscript conserved in Florence National Library (Capponi viii): probably dated of the 18th century, and accomplished for stage performances, this manuscript shows how L’Avare, influenced by Commedia dell’Arte and not very respectful of classical theatrical aesthetic, was perceived in Italian theatres in that century, when Italian comedy was in search of renewal, to overpass the clichés of masks and the invraisemblances of the commedia all’improvviso.
{"title":"Nuove ricerche sulle traduzioni italiane manoscritte del xviii secolo. Il caso dell’“Avaro”","authors":"Laura Rescia","doi":"10.4000/studifrancesi.54798","DOIUrl":"https://doi.org/10.4000/studifrancesi.54798","url":null,"abstract":"Studies concerning the first reception of Molière’s comedies in Italy need to be updated, due to the renewal of research methodologies. In this paper we present and analyse an unknown manuscript conserved in Florence National Library (Capponi viii): probably dated of the 18th century, and accomplished for stage performances, this manuscript shows how L’Avare, influenced by Commedia dell’Arte and not very respectful of classical theatrical aesthetic, was perceived in Italian theatres in that century, when Italian comedy was in search of renewal, to overpass the clichés of masks and the invraisemblances of the commedia all’improvviso.","PeriodicalId":41340,"journal":{"name":"STUDI FRANCESI","volume":"34 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135054992","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-08-01DOI: 10.4000/studifrancesi.54334
Lise Sabourin
{"title":"Claudie Bernard, Si l’Histoire m’était contée… Le roman historique de Vigny à Rosny aîné","authors":"Lise Sabourin","doi":"10.4000/studifrancesi.54334","DOIUrl":"https://doi.org/10.4000/studifrancesi.54334","url":null,"abstract":"","PeriodicalId":41340,"journal":{"name":"STUDI FRANCESI","volume":"34 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135055011","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-08-01DOI: 10.4000/studifrancesi.53580
Marta Colleoni
The Impromptu de Versailles set an important precedent in the history of theatre. Molière demonstrated that a playwright could go on stage and showcase his talent as an actor by playing himself, all while directing his actors, responding to the accusations of his worst critic, Edmé Boursault, and defending his vision of authentic representations in plays. About three centuries later, this prospect attracted several 20th-century French playwrights who rewrote his impromptu for their theatre company and their times: Jacques Copeau, Jean Giraudoux, Albert Camus, Eugène Ionesco, Jean Anouilh, and Jean Cocteau. Our goal in this article is twofold. First, we want to map these impromptus chronologically to understand how these playwrights rewrote Molière’s impromptu and why they chose it as an hypotext. Did they merely employ it as an apt means to introduce their directorial take on the Molière’s comedy they were staging as the main play on a particular night? Or did they take this chance to address their own Boursaults? And in that case, how did they use this theatrical form as a weapon against their critics? Secondly, we would like to point out the instances where the memory of Molière emerges from these impromptus as a meaningful legacy that we should not get rid of, not even in modern times.
{"title":"Du New York de Copeau au Tokyo de Cocteau. Impromptus moliéresques des auteurs modernistes","authors":"Marta Colleoni","doi":"10.4000/studifrancesi.53580","DOIUrl":"https://doi.org/10.4000/studifrancesi.53580","url":null,"abstract":"The Impromptu de Versailles set an important precedent in the history of theatre. Molière demonstrated that a playwright could go on stage and showcase his talent as an actor by playing himself, all while directing his actors, responding to the accusations of his worst critic, Edmé Boursault, and defending his vision of authentic representations in plays. About three centuries later, this prospect attracted several 20th-century French playwrights who rewrote his impromptu for their theatre company and their times: Jacques Copeau, Jean Giraudoux, Albert Camus, Eugène Ionesco, Jean Anouilh, and Jean Cocteau. Our goal in this article is twofold. First, we want to map these impromptus chronologically to understand how these playwrights rewrote Molière’s impromptu and why they chose it as an hypotext. Did they merely employ it as an apt means to introduce their directorial take on the Molière’s comedy they were staging as the main play on a particular night? Or did they take this chance to address their own Boursaults? And in that case, how did they use this theatrical form as a weapon against their critics? Secondly, we would like to point out the instances where the memory of Molière emerges from these impromptus as a meaningful legacy that we should not get rid of, not even in modern times.","PeriodicalId":41340,"journal":{"name":"STUDI FRANCESI","volume":"112 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135053397","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-08-01DOI: 10.4000/studifrancesi.53505
Monica Pavesio
The theatre of the last thirty years of the seventeenth century was strongly influenced by the early myth of Molière. The study analyzes the works of Molière’s successors with particular attention to the Comédie italienne and to the theatre of Marc’Antonio Romagnesi, one of the main actors and playwrights of the Italian troupe that, at the death of Molière, tries to grasp his heritage.La nature qui semblait avoir épuisé les dons en faveur de Molière parut en être avare pour les poètes qui vinrent après lui: on négligea la perfection des plans et des intrigues, on dédaigna les caractères, on abandonna la noble simplicité de la diction; et soit incapacité, soit indolence dans les auteurs qui suivirent ce grand homme, ses ouvrages occupèrent longtemps le théâtre français avec la supériorité et la justice qui leur étaient dues1.
{"title":"«La nature parut être avare de dons pour les poètes qui vinrent après lui». I drammaturghi secenteschi successori di Molière","authors":"Monica Pavesio","doi":"10.4000/studifrancesi.53505","DOIUrl":"https://doi.org/10.4000/studifrancesi.53505","url":null,"abstract":"The theatre of the last thirty years of the seventeenth century was strongly influenced by the early myth of Molière. The study analyzes the works of Molière’s successors with particular attention to the Comédie italienne and to the theatre of Marc’Antonio Romagnesi, one of the main actors and playwrights of the Italian troupe that, at the death of Molière, tries to grasp his heritage.La nature qui semblait avoir épuisé les dons en faveur de Molière parut en être avare pour les poètes qui vinrent après lui: on négligea la perfection des plans et des intrigues, on dédaigna les caractères, on abandonna la noble simplicité de la diction; et soit incapacité, soit indolence dans les auteurs qui suivirent ce grand homme, ses ouvrages occupèrent longtemps le théâtre français avec la supériorité et la justice qui leur étaient dues1.","PeriodicalId":41340,"journal":{"name":"STUDI FRANCESI","volume":"467 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135053606","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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