DOCSLIB.ORG

Gli Scenari Più Scelti D'istrioni: Un'analisi Di Lingua E Contenuti

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Gli Scenari Più Scelti D'istrioni: Un'analisi Di Lingua E Contenuti Gli Scenari più scelti d’istrioni : un’analisi di lingua e contenuti Inauguraldissertation der Philosophisch-historischen Fakultäten der Universitäten Bern und Freiburg (Schweiz) zur Erlangung der Doktorwürde vorgelegt von Demis Elio Quadri Locarno Selbstverlag, Minusio, 2012 DEMIS QUADRI Gli Scenari più scelti d’istrioni : un’analisi di lingua e contenuti Von der Philosophisch-historischen Fakultät auf Antrag von Prof. Dr. Andreas Kotte, Prof. Ord. Alessandro Martini und Prof. Dr. Pietro Trifone angenommen. Bern, den 23. März 2011 Der Dekan: Prof. Dr. Heinzpeter Znoj 2 DEMIS QUADRI Gli Scenari più scelti d’istrioni : un’analisi di lingua e contenuti Avvertenza Il presente lavoro è strettamente legato all’edizione bilingue dei canovacci riportati nei volumi manoscritti Raccolta di scenarj più scelti d’istrioni (Biblioteca dell’Accademia Nazionale dei Lincei e Corsiniana, codici 651 e 652, manoscritti 45 G5 e 45 G6) realizzata nell’ambito del progetto Humanitas und Zivilisation im Spiegel der italienischen Improvisationskomödie , promosso dall’Institut für Theaterwissenschaft dell’Università di Berna con il sostegno del Fondo nazionale svizzero per la ricerca scientifica. Per confrontarsi con i testi analizzati nelle pagine seguenti, si faccia quindi riferimento alla suddetta edizione, che al momento di scrivere questa nota era ancora in corso di preparazione. 3 DEMIS QUADRI Gli Scenari più scelti d’istrioni : un’analisi di lingua e contenuti Sommario Introduzione................................................................................................................................ 9 1. La lingua degli scenari corsiniani ............................................................................. 13 1.1. La lingua di Roma tra XVI e XVII secolo....................................................................... 17 1.2. La lingua degli scenari.................................................................................................... 23 1.3. Fonetica.......................................................................................................................... 28 1.4. Lessico ........................................................................................................................... 36 1.5. Varie .............................................................................................................................. 47 1.X. Glossario ....................................................................................................................... 51 A....................................................................................................................................... 52 B ....................................................................................................................................... 54 C ....................................................................................................................................... 56 D....................................................................................................................................... 61 E ....................................................................................................................................... 63 F........................................................................................................................................ 63 G....................................................................................................................................... 65 H....................................................................................................................................... 66 I......................................................................................................................................... 66 L ....................................................................................................................................... 68 M ...................................................................................................................................... 69 N....................................................................................................................................... 71 O....................................................................................................................................... 71 P........................................................................................................................................ 72 Q....................................................................................................................................... 75 R ....................................................................................................................................... 75 S........................................................................................................................................ 78 T ....................................................................................................................................... 83 U....................................................................................................................................... 84 V....................................................................................................................................... 84 Z ....................................................................................................................................... 85 2. L’analisi intertestuale degli scenari corsiniani...................................................... 85 2.1. Fabula e intreccio ........................................................................................................... 88 2.2. Temi e motivi ................................................................................................................. 99 2.X. Commenti agli Scenari più scelti d’istrioni .................................................................. 108 2.X.1. La gran pazzia di Orlando ..................................................................................... 108 2.X.2. La schiava............................................................................................................. 109 2.X.3. Il tradito................................................................................................................ 110 2.X.4. Li dui Pantaloni..................................................................................................... 111 2.X.5. Il gran Mago ......................................................................................................... 112 2.X.6. Li spiriti................................................................................................................ 113 2.X.7. Li scambi .............................................................................................................. 114 2.X.8. Il Furbo................................................................................................................. 115 2.X.9. Li tre satiri ............................................................................................................ 116 2.X.10. Ermafrodito......................................................................................................... 116 2.X.11. Li dui simili di Plauto.......................................................................................... 117 2.X.12. L’amorosi incanti................................................................................................ 118 2.X.13. Il Mago ............................................................................................................... 119 2.X.14. La sepultura ........................................................................................................ 119 2.X.15. Li dui fratelli rivali.............................................................................................. 120 4 DEMIS QUADRI Gli Scenari più scelti d’istrioni : un’analisi di lingua e contenuti 2.X.16. Le due schiave .................................................................................................... 121 2.X.17. Li ritratti ............................................................................................................. 121 2.X.18. Li tre turchi......................................................................................................... 122 2.X.19. Li carcerati.......................................................................................................... 123 2.X.20. La mula grande ................................................................................................... 124 2.X.21. La Zengara.......................................................................................................... 125 2.X.22. Li amanti ingrati.................................................................................................. 125 2.X.23. L’arme mutate..................................................................................................... 126 2.X.24. Il giusto Principe................................................................................................. 127 2.X.25. Il pozzo............................................................................................................... 128 2.X.26. La pellegrina ....................................................................................................... 129 2.X.27. Li stroppiati......................................................................................................... 130 2.X.28. La
Load more

Recommended publications
  • Musica Britannica
    T69 (2021) MUSICA BRITANNICA A NATIONAL COLLECTION OF MUSIC Vauxhall Pleasure Gardens c.1750 Stainer & Bell Ltd, Victoria House, 23 Gruneisen Road, London N3 ILS England Telephone : +44 (0) 20 8343 3303 email: [email protected] www.stainer.co.uk MUSICA BRITANNICA A NATIONAL COLLECTION OF MUSIC Musica Britannica, founded in 1951 as a national record of the British contribution to music, is today recognised as one of the world’s outstanding library collections, with an unrivalled range and authority making it an indispensable resource both for performers and scholars. This catalogue provides a full listing of volumes with a brief description of contents. Full lists of contents can be obtained by quoting the CON or ASK sheet number given. Where performing material is shown as available for rental full details are given in our Rental Catalogue (T66) which may be obtained by contacting our Hire Library Manager. This catalogue is also available online at www.stainer.co.uk. Many of the Chamber Music volumes have performing parts available separately and you will find these listed in the section at the end of this catalogue. This section also lists other offprints and popular performing editions available for sale. If you do not see what you require listed in this section we can also offer authorised photocopies of any individual items published in the series through our ‘Made- to-Order’ service. Our Archive Department will be pleased to help with enquiries and requests. In addition, choirs now have the opportunity to purchase individual choral titles from selected volumes of the series as Adobe Acrobat PDF files via the Stainer & Bell website.
    [Show full text]
  • My Door Is Locked»: La Scena Dell’ Exclusio E L’Interazione Con I Modelli Plautini in the Comedy of Errors Di Shakespeare
    ELENA ROSSI LINGUANTI «MY DOOR IS LOCKED»: LA SCENA DELL’ EXCLUSIO E L’INTERAZIONE CON I MODELLI PLAUTINI IN THE COMEDY OF ERRORS DI SHAKESPEARE 0. È noto che The Comedy of Errors , una delle prime commedie di Shakespeare 1, annovera tra le sue fonti i Menaechmi e l’ Amphitruo di Plauto 2: i Menaechmi per la storia dei gemelli che, separati nell’infanzia, si trovano nella stessa città, vengono scambiati l’uno per l’altro e alla fine si riconoscono, e l’ Amphitruo per il raddoppiamento della coppia gemellare (oltre ai due padroni, Antifolo di Efeso e Antifolo di Siracusa, i due servi, Dromio di Efeso e Dromio di Siracusa), per le scene fra servo e padrone, per il personaggio di Adriana, moglie di Antifolo di Efeso, che si ispira ad Alcmena più che alla “matrona”, moglie di Menecmo I, e per la lite fra Adriana e il marito (IV, iv), che riprende il conflitto fra Alcmena ed Anfitrione ( Amph. 633-860) 3. Per offrire un esempio della raffinata tecnica di contaminatio shakespeariana, que - sto saggio si propone di analizzare la scena dell’ exclusio , in cui Antifolo di Efeso viene respinto dalla propria casa all’interno della quale si trova il suo gemello di Si - racusa ( The Comedy of Errors III, i), e di indagare in essa l’interazione fra i modelli. 1 Rappresentata per la prima volta al Gray’s Inn nel 1594. 2 È stata lungamente indagata dai critici la questione se Shakespeare abbia consultato i testi latini (come sostiene ad esempio W. RIEHLE , Shakespeare, Plautus and the Humanist Tradition , Cambridge 1990), se abbia fatto ricorso a una traduzione di Plauto (la prima in inglese, di William Warner, venne pubblicata nel 1595, ma probabilmente circolava in versione manoscritta anche prima, e Shakespeare potrebbe averla consultata, cfr.
    [Show full text]
  • Stephen Storace (4 April 1762 – 19 March 1796) Was an English Composer
    Stephen Storace (4 April 1762 – 19 March 1796) was an English composer. His sister was the famous opera singer Nancy Storace. He was born in London in the Parish of St Marylebone to an English mother and Italian father. Relatively little is known through direct records of his life, and most details are known second-hand through the memoirs of his contemporaries Michael Kelly, the actor John Bannister, and the oboist William Thomas Parke. Stephen Storace (1762 – 1796) Nancy Storace (1765–1817) His father, Stefano Storace, an Italian contrabassist, taught him the violin so well that at ten years old he played successfully the most difficult music of the day. The composer's youth was spent entirely in the company of musicians, since his father (also a composer and arranger) was the Musical Director of Vauxhall Gardens. Mistrusting the quality of musical education available in England, Stefano Storace sent his son to Italy to study, at the Conservatorio di Sant' Onofrio, Naples. Stephen neglected his musical studies in Italy, and went on painting expeditions with Thomas Jones. His interest in art may not have been entirely extinguished, however - unlike the works of any of his English contemporaries, the printed vocal scores of all his operas feature elaborate engravings of what are presumed to be the stage-designs, and it is suggested that these drawings were Stephen's own work. No other artist, at least, seems to have claimed credit for them. Towards the end of their studies, Stephen and Nancy first made the acquaintance of Michael Kelly, whom they encountered by chance in Livorno.
    [Show full text]
  • Rental Catalogue 2020
    T66 Rental Catalogue 2020 Including the editions of AUGENER � GALLIARD � WEEKES� JOSEPH WILLIAMS Introduction Offering the very best of three centuries of British music, Stainer & Bell’s rental catalogue is an essential source of performance material for choirs, orchestras and chamber ensembles. Between its covers there is a plethora of enduring masterpieces: A Sea Symphony, A London Symphony, the Five Mystical Songs and Fantasia on Christmas Carols by Ralph Vaughan Williams, and by Gustav Holst The Hymn of Jesus and Choral Hymns from the ‘Rig Veda’. Here also are two classics of English pastoral, Delius’s On Hearing the First Cuckoo in Spring and Summer Night on the River, plus a wealth of music by twentieth-century composers including Bainton, Bantock, Bridge, Butterworth, Darke, Dunhill, Elgar, Ireland, Jacob, Moeran, Rootham, Rubbra and Wishart, recognised for their achievement in building on the foundations laid by the pioneers of the English Musical Renaissance. Providing as it were the overarching ribs and vaulting of the collection, the English cathedral tradition in its historical dimension is strongly present in repertoire by Blow, Boyce, Burgon, Croft, Draghi, Greene, Purcell and Samuel Sebastian Wesley. Significant recent additions include Thomas Arne’s seminal oratorio Judith, George Dyson’s A Choral Symphony and his dramatic cantata St Paul’s Voyage to Melita, and Vaughan Williams’s early and previously unpublished A Cambridge Mass and The Garden of Proserpine. Meanwhile, new choral and instrumental pieces by contemporary composers Ronald Corp, Morgan Hayes, Chris Hazell, Bryan Kelly, James McCarthy and Rhian Samuel vigorously promote a living continuity with the past.
    [Show full text]
  • Britain Goes to the Opera: Discourses of Nation in Late Georgian Music Drama
    Britain Goes to the Opera: Discourses of Nation in Late Georgian Music Drama James D.C. Shearer MA by Research The University of York Department of History January 2014 Britain Goes to the Opera: Discourses of Nation in Late Georgian Music-Drama Abstract Music and drama remain largely neglected fields in the wider discipline of nineteenth- century British history. Equally, the kinds of home-grown music-drama so prevalent in Britain during the decades between the French Revolution and the Reform Act of 1832, have been overlooked by musicologists and theatre historians in terms of how they stimulated new ways of thinking about ‘Britishness’. My aim with this thesis therefore will be to investigate how exactly the genre of English Opera can be used to illustrate contemporary discussions of ‘Nation’ taking place in Late Georgian Britain. By examining the textual aspects of these music dramas, I will look at how the medium of opera, particularly its musical elements bring a fresh mode of representation to topical issues central to the lives of Britons living in a war-faring, reform-conscious society. Equally, the problems presented by this genre, in terms of its foreign character, remediation of treasured literature and effects upon public taste, will be considered within frameworks of ‘national’ thinking then developing in the theatre-going society of Georgian London. By focusing on four key areas: war, union, bardolatry and developments in the genre of English opera itself, the ways in which these tropes both influenced and were influenced by the performance of music drama will take centre stage.
    [Show full text]
  • Novom Aliquid Inventum Scritti Sul Teatro Antico Per Gianna Petrone
    Atti e Convegni Novom aliquid inventum Scritti sul teatro antico per Gianna Petrone A cura di Maurizio Massimo Bianco, Alfredo Casamento Atti e Convegni Maurizio Massimo Bianco, Alfredo Casamento - Novom aliquid inventum. Scritti sul teatro antico per Gianna Petrone Realizzato con il contributo dei fondi MIUR “Incentivi alle attività base di ricerca - FFABR Anno 2017” Dipartimento Culture e Società © Copyright 2018 New Digital Frontiers srl Viale delle Scienze, Edificio 16 (c/o ARCA) 90128 Palermo www.newdigitalfrontiers.com ISBN (a stampa): 978-88-31919-61-6 ISBN (online): 978-88-31919-62-3 Indice Introduzione 7 MAURIZIO MASSIMO BIANCO, ALFREDO CASAMENTO Marginalia tragica 11 GIUSEPPE ARICÒ La consolatio del nulla. Note al secondo coro delle Troades senecane 33 SERGIO AUDANO Il Dyskolos: tragico o comico? 51 THOMAS BAIER Edipo e Mirra fra la terra e il cielo. Colpa e punizione nell’Oedipus di Seneca e nel mito ovidiano di Mirra 77 FRANCESCA ROMANA BERNO Fra strena e scaeva. Plauto e la cultura augurale dei romani 99 MAURIZIO BETTINI Nullius addictus iurare in verba magistri (a proposito di Quint. inst. 9, 2, 47) 115 ALBERTO CAVARZERE Le Troiane contro Ovidio: a proposito di Seneca Troades 830-835 123 RITA DEGL’INNOCENTI PIERINI Die Überwindung von Senecas Chortechnik. Die der bearbeitung von 1654 angehörenden chöre in Jakob Bal- des Jephtias 143 ECKARD LEFÈVRE Plauto e il tempo 163 GIANCARLO MAZZOLI Ne mox erretis: la convenzione della maschera nel teatro romano dal III secolo a.C. 181 SALVATORE MONDA Lettere dall’alfabeto in teatro, a scuola e in tribunale. Un itinerario allegorico 201 GABRIELLA MORETTI La pazzia di Ercole 233 GUIDO PADUANO Le cene di Cerere (Plaut.
    [Show full text]
  • Screens in Shakespeare: Hollywood Comes to Ephesus
    Screens in Shakespeare: Hollywood comes to Ephesus. Trevor Nunn’s The Comedy of Errors (RSC, 1976) Anny Crunelle Vanrigh To cite this version: Anny Crunelle Vanrigh. Screens in Shakespeare: Hollywood comes to Ephesus. Trevor Nunn’s The Comedy of Errors (RSC, 1976). Shakespeare en devenir, Universite de Poitiers, 2020, Shakespeare, films et textes : théorie française et réception critique / Shakespeare, Screen and Texts: French Theory and Critical Reception, 15. hal-03154941 HAL Id: hal-03154941 https://hal.archives-ouvertes.fr/hal-03154941 Submitted on 14 Apr 2021 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Shakespeare en devenir ISSN électronique : 1958-9476 Courriel : [email protected] Screens in Shakespeare: Hollywood comes to Ephesus. Trevor Nunn’s e Comedy of Errors (RSC, 1976) Par Anny Crunelle Vanrigh Publication en ligne le 07 décembre 2020 Résumé Dans sa mise en scène demeurée légendaire de The Comedy of Errors (RSC 1976), Trevor Nunn convoque le cinéma hollywoodien du film muet aux classiques des années 50 (comédie musicale, film noir, screwball comedy) et aux blockbusters des années 70. L’intermodalité permet un réencodage de la grammaire d’origine de la pièce dans des codes qui fassent sens pour le spectateur d’aujourd’hui.
    [Show full text]