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Originally published in 1951, this book contains the complete text
of Il Mostro Turchino, or The Blue Monster, by Italian playwright
Carlo Gozzi (1720-1806). The play is presented in an English
translation, with a detailed introduction containing information on
historical context. This book will be of value to anyone with an
interest in eighteenth-century Italian drama and translation.
Carlo Gozzi's delightful commedia dell'arte classic has been
translated into English for the first time from its original
Venetian dialect. Complete with stage directions.
Quest'opera (edizione rilegata) fa parte della collana di libri
TREDITION CLASSICS. La casa editrice tredition di Amburgo pubblica
nell'ambito della collana TREDITION CLASSICS opere datate piu di
2000 anni. Queste opere erano in gran parte esaurite o reperibili
solo come pezzi d'antiquariato. La serie di libri contribuise a
preservare la letteratura e a promuovere la cultura. Essa aiuta
inoltre ad evitare che migliaia di opere cadano nel dimenticatoio.
L'obiettivo della serie e di ripubblicare migliaia di classici
della letteratura mondiale in diverse lingue... in tutto il mondo
For Count Carlo Gozzi (1720-1806), theater was a fabulous world
apart, in which human beings, statues, and animals change places by
magical transformations. Gozzi's stage becomes a multiscenic home
for adventures, loves, enmities, and dazzling visual effects. This
collection brings together for the first time modern English
translations of five of Gozzi's most famous plays: The Raven, The
King Stag, Turandot, The Serpent Woman, and The Green Bird, each
annotated by the translators and preceded by the author's preface.
Ted Emery's Introduction places Gozzi in his social and historical
context, tracing his world view in both the content and the form of
his tales. In the ten works he called fiable or fairy tales, Gozzi
intermingled characters from the traditional and improvised
commedia dell'arte with exotic figures of his own invention. During
Gozzi's lifetime, Goethe and Schiller translated and produced some
of his dramas at the Weimar Theatre. In our century, the dramas
have reasserted themselves under the direction of Max Reinhardt,
Vsevolod Meyerhold, George Devine, and Benno Besson, as well as in
operatic adaptations by Puccini and Prokofiev. The powerful
conflicts, the idyllic and fearsome settings, and the startling
transformations in these plays offer exceptional opportunities to
actors, directors, and designers. The lively translations are
faithful to Gozzi's Italian, while being eminently playable for
English-speaking audiences today. Two of the translations have
already had highly successful stagings by Andrei Serban at the
American Repertory Theatre and on tour.
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