Adamira or the image of honor that is in love and loved

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Data
Title: Adamira or the image of honor that is in love and loved
Original title: Adamira ovvero la statua dell'onore
Genus: play
Original language: Italian
Author: Giacinto Andrea Cicognini
Literary source: La fuerza lastimosa, El galán Castrucho and La gallarda toledana by Lope de Vega
Publishing year: 1657
Premiere: ?
Place of premiere: ?
people
  • Indamoro , King of Norway
  • Adamira , his daughter
  • Heinrich , Prince of Sweden
  • Laureno , Princess Dionisia of Denmark disguised as a gardener
  • Perideo , actually Prince Corindo of Denmark
  • Pasquella , his supposed mother
  • Trinea , a countess lady
  • Idraspe , a captain
  • Drusilla , the king's courtesan
  • Despino or Hans Wurst , a eunuch
  • Fichetto , Prince Heinrich's entertaining servant
  • Terpandro and Arseo , two murderers

Adamira or Das amliebte und Belied Ehrenbild (original title: Adamira ovvero la statua dell'onore and variants, e.g. L'amore nella statua ) is a three-act play in prose by Giacinto Andrea Cicognini .

Templates and tradition

This piece, based on the dramaturgy of Lope de Vega , was created between 1646 and 1649. Italian research has identified scenic and dramaturgical suggestions in three of Lope's pieces, namely in La fuerza lastimosa , El galán Castrucho and La gallarda toledana . Adamira ovvero la statua dell'onore
has come down to us in two undated manuscripts, one of which is kept in the Biblioteca Riccardiana in Florence, the other in the Biblioteca Casanatense in Rome. From around 1657 the piece appeared in numerous prints, a French translation first appeared in 1719. The widespread tradition is countered by the fact that neither in Cicognini's native city of Florence nor in other cities has research been able to determine performance records for the Adamira in the Italian-speaking area.
In the German-speaking countries the piece was first performed in Italian in 1681, at the Innsbruck court in honor of the Duchess Eleonore . The first currently verifiable performance of Adamira in German was given at the Dresden court during the Carnival of 1684 by the troupe of Johannes Velten . Around eight further performances are known from the period 1684 to 1722, some of which are also documented by printed theater bills. It can be assumed that this is a frequently played piece, although it has only survived in one manuscript, namely within the collective manuscript with the signature Ia 38.589 of the Vienna Library .
Finally, it is worth mentioning the points of contact between Adamira or Das verliebte und Geliebte Ehrenbild and the opera libretto Orontea Regina d'Egitto , which was performed by the German professional theater as a prose piece under the title The Great Egyptian Queen Oronthea . There is no motif in this last-named piece that is not also included in the more complex and personified Adamira .

content

The beautiful Princess Adamira, the only daughter of the Norwegian King Indamoro, rejects all her admirers, rather she longs for death. But she cannot even give a reason for her suffering to her father, who is worried or irritated by her spirit of contradiction. It is the privilege of the theater audience to experience this. Adamira is as immortal as she is sadly in love with the marble statue of honor that stands in the palace garden. This obsessive love is the linchpin of the play, which is interspersed with fantastic, comedic and melodramatic elements.
When Laureno, Princess Dionisia from Denmark disguised as the king's gardener, overhears Adamira in desperate self-talk with the statue, he / she forges a plan to take revenge on her unfaithful husband, Prince Heinrich of Sweden, who has left her and now Adamira is chasing. Perido, who is also in love with Adamira, plays a key role in this plan. Laureno pretends to Adamira that he has found a means to bring the statue to life, while he instructs Perideo to stand on the pedestal of the statue of honor, mimic the image that has come to life and seduce Adamira. In addition, Laureno / Dionisia puts on Adamira's clothes that night in order to get her unfaithful husband to make love with her again.
In the third act, King Indamoro tries to clarify the incidents of this extensive night of love, which is made more difficult, in addition to the mix-ups and disguises, by the intrigues of the manly courtesan Drusilla and Pasquella, who despite her advanced age in love with the young Laureno. After all, the 'statue' is caught red-handed when she is having fun with Adamira a second time, Perideo is thus exposed as a cheat and above all as a disproportionate and thus shameful lover of the princess. And while the king, as a consequence of his embarrassing questioning, sometimes wants to institute forced marriages, sometimes execute death sentences, those truths come to light bit by bit that nonetheless allow a happy outcome with multiple weddings.
Pasquella can be seen as a particularly striking figure. On the one hand, as the supposed mother of Perideo and widow of a pirate, she can make a decisive contribution to clearing up the turmoil, but above all she behaves so self-confidently and unabashedly at court that her speeches, which always emphasize the body, unfold comedically unmasking power. The two other fool figures, Fichetto and Despino, the latter mutating in the German game text to Hans Wurst, are clearly in the shadow of the 'strange old people'.

Special performances

When the principal Catharina Velten with her troupe in Copenhagen in 1707 played the play entitled Statua, Oder: Princess Adamira in love with a marble-stone picture , the Norwegian court, defined by Cicognini as the venue, was relocated from northern Europe to the south. Because the love intrigue between “Swedish, Danish and Norwegian princes and princesses” occurs in the Italian text, Julius Paludan assumes that Cicognini has “increased the romantic effect through the blue distance”, and concludes: “Probably for the same purpose the German Editor moved the scene back to Spain and Italy because these areas in the north were considered the land of romanticism. "

literature

  • Giacinto Andrea Cicognini: L'Adamira overo La statua dell'honore . Opera senica del D. Giacint 'Andrea Cicognini. Accademico Instancabile. Venezia: Appresso Giacomo Batti, 1657.
  • Nicola Michelassi; Salomé Vuelta García: Il Teatro Spagnolo in Firenze nel Seicento. Vol. 1. Giacinto Andrea Cicognini, Giovan Battista Ricciardi, Pietro Susini, Mattias Maria Bartolommei . (Commedia aurea spagnola e pubblico italiano, 8) (Secoli d'oro, 67) Firenze: Alinea 2013. ISBN 978-88-6055-786-5
  • Diego Símini: Il corpus teatrale di Giacinto Andrea Cicognini. Opere autentiche, apocrife e di dubbia attribuzione . (Studi & testi. Collana del Dipartimento di Lingue e letterature straniere dell'Università del Salento, 46) Lecce u. a .: Pensa multimedia, 2012. ISBN 978-88-8232-951-8
  • Fausta Antonucci: “Nuovi dati e nuove ipotesi sulla presenza del teatro aureo spagnolo in alcune opere the Giacinto Andrea Cicognini. Il caso di 'Adamira' ”, in: Il prisma di Proteo , 2012, pp. 61–78.
  • Anna Tedesco: "Il metodo compositivo di Giacinto Andrea Cicognini nei suoi drammi per musica veneziani", in: Il prisma di Proteo , 2012, pp. 31-60.
  • Flavia Cancedda; Silvia Castelli: Per una bibliografia di Giacinto Andrea Cicognini. Successo teatrale e fortuna editoriale di un drammaturgo del Seicento . (Secoli d'oro, 24) Firenze: Alinea, 2001. ISBN 88-8125-512-X
  • Grete Goldschmit: The repertoire of the traveling troops in Austria . Phil. Diss. Vienna 1930.
  • Ludwig Grashey: Giacinto Andrea Cicognini's life and works. With special consideration of his drama 'La Marienne ovvero il maggior mostro del mondo' . (Munich contributions to Romance and English philology; 43) Leipzig: A. Deichert, 1909.
  • Julius Paludan: "German traveling troops in Denmark", in: Journal for German Philology , Vol. 25, 1893, pp. 313–343.

Web links

  • Digitization of the Italian text: [1]
  • Data on the piece in thespis.digital : [2]

Individual evidence

  1. ↑ Diego Simini: Il corpus teatrale di Giacinto Andrea Cicognini . Pensa multimedia, Lecce et al. a. 2012, p. 51 f.
  2. ↑ Cf. Nicola Michelassi; Salomé Vuelta García: Il Teatro Spagnolo in Firenze nel Seicento. Vol. 1. Giacinto Andrea Cicognini, Giovan Battista Ricciardi, Pietro Susini, Mattias Maria Bartolommei. Alinea, Firenze 2013, p. 73.
  3. ^ Description of the manuscript in Silvia Castelli: Manoscritti teatrali della Biblioteca Riccardiana di Firenze. Catalogo ragionato. Firenze: Polistampa, 1998, p. 36.
  4. ↑ Description of the manuscript: https://manus.iccu.sbn.it//opac_SchedaScheda.php?ID=161794
  5. ↑ A listing of all bibliographical data in Flavia Cancedda; Silvia Castelli: Per una bibliografia di Giacinto Andrea Cicognini. Successo teatrale e fortuna editoriale di un drammaturgo del Seicento. Firenze 2001, pp. 97-110.
  6. ↑ Cf. Nicola Michelassi; Salomé Vuelta García: Il Teatro Spagnolo in Firenze nel Seicento. Vol. 1. Giacinto Andrea Cicognini, Giovan Battista Ricciardi, Pietro Susini, Mattias Maria Bartolommei. Alinea, Firenze 2013, p. 73.
  7. ↑ See all proof of performance in: https://thespis.univie.ac.at/db/index.php?title=Adamira_oder_Das_verliebte_und_geliebte_Ehrenbild
  8. ↑ Alternative table of contents in Grashey 1909: 37 and Goldschmit 1930: 144–146 as well as that from 1707, which is printed in the Copenhagen theater bill published by Paludan.
  9. ↑ Julius Paludan: "German traveling troops in Denmark", in: Journal for German Philology, Vol. 25, 1893, p. 321. On pages 318–321, Paludan quotes the theater bill of the play, which has been expanded to five acts on the occasion of this performance, in Copenhagen , which summarizes the events of the individual acts.