References Primary Sources

Total Page:16

File Type:pdf, Size:1020Kb

References Primary Sources References Section 1 lists Primary Sources, including English editions of Romeo and Juliet, Italian and French translations of Romeo and Juliet, of other plays and of Shakespeare’s Complete Works, in alphabetical order by name of editor or translator. Section 2 contains Secondary Sources, including critical works and reviews of performances. Section 3 contains the Filmography. Primary Sources Angeli, Diego. 1932. William Shakespeare, Teatro, nuova traduzione di Diego Angeli. Milan: Fratelli Treves. Baldini, Gabriele. 1963. William Shakespeare, Opere complete, nuovamente tradotte e annotate da Gabriele Baldini. Milan: Rizzoli. Baldini, Gabriele. 1983. William Shakespeare, Romeo e Giulietta. Introduzione, traduzione e note di Gabriele Baldini. Milan: Rizzoli (first published 1963). Bandello, Matteo. 1993. Giulietta e Romeo in Romano, Angelo (ed.) Le storie di Giulietta e Romeo. Rome: Salerno Editrice. 109-159 (first published in 1554). –– 2000. ‘The Unfortunate Death of Two Most Wretched Lovers’ (tr. N. Prunster) in Prunster, Nicole. Romeo and Juliet before Shakespeare. Four Early Stories of Star-Crossed Love by Masuccio Salernitano, Luigi da Porto, Matteo Bandello, and Pierre Boaistuau. Toronto: Centre for Reformation and Renaissance Studies. 49-84. Barbarani, Berto. 1905. Giulieta e Romeo. Milan: Luigi Ronchi. –– 1941. Giulietta e Romeo. Nel suo testo rinnovato e definitivo. Verona: Ed. L’albero. Barbieri, Gaetano. 1831. Romeo e Giulietta: tragedia di Guglielmo Shakespeare; tradotta da Gaetano Barbieri. Milan: Truffi. Baretti, Giuseppe. 1777. Discours sur Shakespeare et sur Monsieur de Voltaire par Joseph Baretti secretaire pour la correspondence etrangere de l’academie royale britannique. London: chez. J. Nourse, libraire du roi/Paris: chez Durand Neveau. Bazzoni, Giunio and Giacomo Sormani. 1830. Opere di Guglielmo Shakespeare tradotte da Giunio Bazzoni e Giacomo Sormani. Milan: Per Vincenzo Ferrario (3 vols). Betteloni, Vittorio. 1906. Zulieta e Romeo: storiella in versi de un poeta popolan. Padova: L. Crescini e C.. Bevington, David, Barbara Gaines and Peter Holland (eds). 2007. Romeo and Juliet: Shakespeare in Performance (The Sourcebooks Shakespeare). London: A & C Black Publishers Limited. Bigliazzi, Silvia. 2012. William Shakespeare, Romeo e Giulietta, ed. by Silvia Bigliazzi. Turin: Einaudi. Boaistuau, Pierre. 1559. Histoires Tragiques extraictes des oeuvres italiens de Bandel, et mise en nostre langue francaise, par Pierre Boaistuau. Paris: Vincent Sertenas. –– 2000. ‘Third Tale. Of two lovers, one of whom dies of poison, the other of unhappiness’ (tr. N. Prunster) in Prunster, Nicole. Romeo and Juliet before Shakespeare. Four Early Stories of Star-Crossed Love by Masuccio Salernitano, Luigi da Porto, Matteo Bandello, and Pierre Boaistuau. Toronto: Centre for Reformation and Renaissance Studies. 85-122. Boldieri, Gherardo. 1993. ‘L’infelice amore de i due fedelissimi amanti Giulia e Romeo, scritto in ottava rima da Clizia nobile veronese ad Ardeo suo’ in Romano, Angelo (ed.). Le storie di Giulietta e Romeo. Rome: Salerno Editrice. 160-236. (first published in 1553). Bonucci, Antonio. 1778. Giulietta e Romeo di Mr. Ducis dal vero francese trasportata in vero italiano dall’Abate Antonio Bonucci Fiorentino. Florence: Stecchi e Pagani. Reclaiming Romeo and Juliet Brooke, Arthur. 1998. The Tragicall Historye of Romeus and Juliet, written first in Italian by Bandell, and nowe in Englishe by Ar. Br. in Evans, G. Blakemore (ed.). Romeo and Juliet (The New Cambridge Shakespeare). Cambridge: Cambridge University Press. 215-249 (first published in 1562). Carcano, Giulio. 1843. Teatro scelto di Shakespeare. Milan: Pirola. –– 1847. Giulietta e Romeo. Tragedia di Guglielmo Shakspeare; traduzione di Giulio Carcano. Milan: coi tipi di Luigi di Giacomo Pirola. –– 1860. Teatro di Shakespeare scelto e tradotto in versi da Giulio Carcano. 2nd ed. Napoli: Rossi Romano. –– 1883. Teatro di Shakespeare, scelto e tradotto da Giulio Carcano, 4th edition. Naples: Gabriele Regina Editore. –– 1893. ‘Lettera a R. Bonghi, 17 febbraio 1859’ in Opere Complete. Milan: Cogliati. –– 1914. Teatro di Shakspeare, scelto e tradotto da Giulio Carcano. Naples: F. Bideri. Cherubini, Antonio. 1823. Giulietta e Romeo, ballo tragico in sei atti d’invenzione e composizione di Antonio Cherubini. Vicenza: Parise tip. Chiarini, Cino. 1906. Romeo e Giulietta. La storia degli amanti veronesi nelle novelle italiane e nella tragedia di Shakespeare, nuovamente tradotta da Cino Chiarini. Florence: G. C. Sansoni Editore. –– 1923. William Shakespeare, Romeo e Giulietta. Testo, traduzione e note a cura di Cino Chiarini (nuova tiratura). Florence: Sansoni. Conti, Antonio. 1726. Il Cesare. Faenza: (s.n.). D’Agostino, Nemi (ed.). 1991. Tutto il teatro di William Shakespeare. Milan: Garzanti. __ (ed.). 2000. Tutto il teatro di William Shakespeare. Con enciclopedia multimediale (CD Rom version with Multimedia encyclopedia). Milan: Garzanti. Da Porto, Luigi. 1993. ‘Istoria novellamente ritrovata di due nobili amanti con la loro pietosa morte, intervenuta già nella città di Verona nel tempo del Signor Bartolomeo della Scala’ in Romano, Angelo (ed.). Le Storie di Giulietta e Romeo. Rome: Salerno Editrice. 49-80 (first published in 1530). –– 2000. ‘A tale recently come to light, about two noble lovers and their pitiful death, which took place in the city of Verona during the time of Lord Bartolomeo della Scala’ (tr. N. Prunster) in Prunster, Nicole. Romeo and Juliet before Shakespeare. Four Early Stories of Star-Crossed Love by Masuccio Salernitano, Luigi da Porto, Matteo Bandello, and Pierre Boaistuau. Toronto: Centre for Reformation and Renaissance Studies. 27-48. Dalla Corte, Girolamo. 1596. L’Istoria di Verona. Verona: Discepolo. Dallagiacoma, Angelo. 1980. Romeo e Giulietta di William Shakespeare; traduzione di Angelo Dallagiacoma, illustrazioni tratte da ‘I tarocchi del Mantegna’. Florence: La Casa Usher. Della Valle, Cesare. 1830. Giulietta e Romeo. Tragedia in cinque atti di Cesare della Valle Duca di Ventignano. Rinaldo D’Asti, commedia in un atto, 2nd edition. Milan: P. M. Visaj (first published in 1826). Ducis, Jean-François. 1770. Hamlet. Tragédie imitée de l’anglais. Paris: Gogué. –– 1832. Roméo et Juliette. Tragédie en cinq actes, représentée pour la premiére fois en 1772 in Œuvres, Tome Premier. Paris: lebigre Frères, Libraires. 79-147 (first published in 1772). –– 1859. Roméo et Juliette. Tragédie en cinq actes, représentée pour la premiére fois en 1772; repr. in Oeuvres de J. F. Ducis. Paris: Ledentu, Libraire-Editeur. 41-61 (first published in 1772). Errante, Vincenzo. 1947. William Shakespeare. La tragedia di Romeo e Giulietta: traduzione di Vincenzo Errante. Florence: G. C. Sansoni. Evans, G. Blakemore (ed.). 1998. Romeo and Juliet (The New Cambridge Shakespeare). Cambridge: Cambridge University Press (first published in 1984). 228 .
Recommended publications
  • And Much More
    L IVE V ICENZA AND ITS V ILLAS L IVE V ICENZA AND ITS V ILLAS ENGLISH PROVINCIA DI VICENZA Vicenza TheVillas and much more L IVE V ICENZA AND ITS V ILLAS L IVE V ICENZA AND ITS V ILLAS Vicenza... The Villas and much more This small structured guide to routes aims to be an instrument of easy consultation for those wishing to discover the Vicentine villas, combining their visit with the other offers of the rich territory: from museums to wine roads, from castles to typical productions. Here below you will not merely fi nd a list of villas since those which most represent the defi nition of tourist interest have been carefully selected. Every route is subdivided into two sections: “the villas” and “much more”, in order to indicate that besides the villas there are other attractions for the visitor. The villas in the fi rst section are generally usable, from the point of view of opening and accessibility to the visitor. 1 itinerary_1 Pedemontana Vicentina and High Vicentino itinerary_1 Pedemontana Vicentina and High Vicentino Romano d'Ezzelino Pove del Grappa Mussolente 12 BASSANO The Villas DEL GRAPPA Santorso Lonedo MAROSTICA Zugliano 11 7 2 - VillaRosà Ghellini, Villaverla Description 6 10 Nove SCHIO BREGANZE CartiglianoBegun in 1664 designed by Pizzocaro, the works were in- 1 CALDOGNO - VILLA CALDOGNO Sarcedo 14 terrupted in 1679, date engraved in two places of the main 2 VILLAVERLA - VILLA GHELLINI THIENE 13 3 VILLAVERLA - VILLA VERLATO PUTIN 8 9 façade, and never restarted because of the death of the archi- 4 MOLINA DI MALO - VILLA PORTO THIENE 4 15 Longa tect.
    [Show full text]
  • Roméo Et Juliette a Guide for Educators
    GOUNOD Roméo et Juliette A Guide for Educators ken howard / met opera Roméo et Juliette THE WORK An opera in five acts, sung in French William Shakespeare’s Romeo and Juliet is filled with some of the best- Music by Charles Gounod known images in literature: young lovers on a balcony, bathed in moonlight as they express their newfound passion; a secret wedding Libretto by Jules Barbier and Michel Carré that flies in the face of longstanding familial strife; a desperate plan to Based on the play Romeo and Juliet be together in spite of hatred and exile; and a tragic finale in a dark by William Shakespeare tomb. For Charles Gounod, a composer in 19th-century France, these First performed April 27, 1867, indelibly dramatic scenes were the perfect seeds for an opera, and his at the Théâtre Lyrique, Paris music for Roméo et Juliette offers a thrilling, rapturous, and heartbreaking PRODUCTION counterpart to Shakespeare’s transcendent poetry. In adapting Romeo and Juliet for the operatic stage, Gounod was Bartlett Sher taking part in a long tradition of retelling and reimagining Shakespeare’s Production work. Yet even Shakespeare was but one link in a chain of transmission Michael Yeargan Set Designer connecting an Italian novella from the first half of the 16th century to Catherine Zuber a ballet by Sergei Prokofiev, the 1957 Broadway musical West Side Story, Costume Designer and film adaptations by Franco Zeffirelli and Baz Luhrmann. Nor are Jennifer Tipton Lighting Designer Shakespeare’s lovers unique in the canon of world literature: Tragic stories Chase Brock of impossible love are found around the globe, including the ancient Choreographer Babylonian Pyramus and Thisbe, the medieval Perso-Arabic Layla and B.
    [Show full text]
  • The Legend of Romeo and Juliet
    ROMEO AND JULIET The Legend of Romeo and Juliet By OLIN H. MOORE Professor of Romance Languages The Ohio State University THE OHIO STATE UNIVERSITY PRESS COLUMBUS 1950 GRADUATE SCHOOL MONOGRAPHS CONTRIBUTIONS IN LANGUAGES AND LITERATURE, NO . 13 Second in the Romance Language Series Copyright 1950 The Ohio State University Columbus Printed in United States of America ACKNOWLEDGMENTS M y interest in the novella goes back to "Comp. Lit. 17 hf" a half-course given at Harvard University in 1909-10 by Professor J. D. M . Ford, who later encouraged me to publish an article on "The Origins of the Legend of Rome o and Juliet in Italy" in Speculum. Thanks for valuable advice are due also the following scholars: Professor R . Altrocchi, of the University of California (Berkeley); Emeritus Professor F . Baldensperger, of the Sor­ bonne; the late Professor Walter L. Bullock, of the University of Manchester; the late Giulia Celenza, of the University of Florence corsi estivi; the late Professor Gustav Gruenbaum, of Johns Hop ­ kins University; the late Professor Henri Hauvette, of the Sor­ bonne; Emeritus Professor Kenneth McKenzie, of Princeton University; the late G . L . Passerini, of the Laurenziana Library, Florence; and Professor John Va n Home , of the University of Illinois. 1 a m especially indebted to the following scholars: m y colleague at The Ohio State University, Professor Don L. Dem­ orest; Professor Allan H . Gilbert, of Duk e University; and Pro­ fessor Urban T. Holmes, of the University of North Carolina. Of course, none of these scholars is responsible for the opinions expressed in this study.
    [Show full text]
  • Romeo & Juliet, Reinvented
    ROMEO & JULIET, REINVENTED JUST AS WE SHOULD EXPECT By Byron Woods hy do artists and audiences return — again and again — trying to make something that is neither a concert nor a play — some- to plays now more than four centuries old? The question thing different than either of them.” Romeo and Juliet is Llewellyn’s sec- is particularly pertinent for Romeo and Juliet. Scholar Jill ond such endeavor with the North Carolina Symphony; his first proj- WLevenson notes that it has inspired both the largest and ect in the same vein of play-and-concert hybrid was the immensely most diverse collection of adaptations of any of William Shakespeare’s successful production of A Midsummer Night’s Dream in 2015, also con- works. The famous tale of “star-cross’d lovers” has been transformed into ceived with Forsman. more than 20 operas, 10 ballets, 23 films, innumerable theatrical adap- So, how does one merge two fundamentally different art forms, simul- tations including a legendary Broadway musical — and the new work taneously, on the same stage? you’re about to experience tonight. “The cheeky answer is, ‘carefully,’” Forsman notes. “There are times when It is entirely fitting that Grant Llewellyn, Music Director of the North the music is telling the story, and times where the language is taking Carolina Symphony, and Carl Forsman, a faculty member, stage direc- the show; moment by moment, you’re choosing which takes the lead. tor, and former Dean of Drama at the Grant and I get into a really fun dia- University of North Carolina School logue about how that balance works: of the Arts, have created a fusion of where the orchestra comes forward genres in this musical and theatrical and where the language needs to be retelling.
    [Show full text]
  • Romeo & Juliet
    STUDY GUIDE compiled by SOPHIE SIEGEL-WARREN edited by DAVID KENNEDY, ASSOCIATE ARTISTIC DIRECTOR Education Sponsor The Graham Foundation of Connecticut, Inc. Education Initiative made possible with support from The David and Geri Epstein Private Foundation and the National Endowment for the Arts Theater Audience Etiquette Speaking to your students about theater etiquette is important. Students should be aware that this is a LIVE performance and that they should not talk during the show. Students may respond to the strong emotions elicited by theater in different ways, and appropriate audience reactions are warmly encouraged. But please take the time to address and discuss proper behavior in the theater with your students. This will enhance their appreciation of the work and allow other audience members to enjoy the performance at the same time. We have provided the following guidelines: • Please do not bring food or drink into the theater. • Turn off all cellular phones and pagers or anything that makes noise or lights up. • No texting, please. • Please talk only before or after the performance or during intermission. • Remember that this is a live performance, and that in addition to being disruptive to your neighbors, unruly behavior can be heard by the actors on stage. • Act with maturity during romantic, violent or other challenging scenes. • Open your eyes, ears and mind to the world on stage. Theater has the power to transport us to another place; open your heart to that experience. • Thank you for your help, and we hope that you enjoy the show! 2 The Plot In the city of Verona, Italy, the Capulets and the Montagues are locked in a longstanding feud.
    [Show full text]