The subjects
| Data | |
|---|---|
| Title: | The subjects |
| Original title: | L'éventail / Il Ventaglio |
| Genus: | Comedy in three acts |
| Original language: | French / Italian |
| Author: | Carlo Goldoni |
| Premiere: | 1763 / April 4, 1765 |
| Place of premiere: | Paris / NA Venice |
| Place and time of the action: | Rural surroundings of Milan , 18th century |
| people | |
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The fan (original title: Il Ventaglio ) is a prose comedy in three acts by Carlo Goldoni , which was premiered in Paris in 1763. Since she did not have the expected success in the foreign environment for various reasons, she revised Goldoni, whereupon the comedy was celebrated in Venice.
action
The comedy takes place in a small village in Milan . The whole piece is set on the market square, around which the following buildings are grouped: the villa of the wealthy widow Geltruda, who lives here with her niece Candida; the village inn; a small cafe; the shops of the cobbler Crespino, the spice dealer Timoteo and the haberdashery Susanna; and opposite the villa is the little house of the peasant girl Giannina and her brother Moracchio.
Both the landlord Coronato and Crespino, whom Giannina prefers, take care of the spirited Giannina. Candida also has two admirers, the Baron del Cedro and the young Evaristo, whose love she reciprocates.
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At the beginning of the piece, everyone sits comfortably united around the square and goes about their business. Evaristo is about to set off on the hunt and therefore greets Candida, who is sitting with her aunt on the terrace of the villa. When Candida returns the greeting, her fan falls to the floor and breaks. This little incident triggers an abundance of entanglements and jealousies.
Evaristo secretly buys a new fan and asks Giannina to give it to Candida without the watchful aunt noticing anything. But the whispers of Evaristo and Giannina are misinterpreted by their suspicious admirers - they sense an additional rival in Evaristo. When Candida finally learns that Evaristo had given Giannina a fan, she reacts jealously and, out of disappointment over the alleged infidelity of the lover, accepts a marriage proposal from the baron. On his return from the hunt, Evaristo learns, to his dismay, of Candida's engagement to the baron. He manages to approach Candida in the garden. She has long since regretted her hasty consent, and so the two lovers are reconciled. Candida just insists on surrendering the fan. When Evaristo reclaims the subject of dispute from Giannina, it turns out that no one knows where it has gone after the jealous fighting cocks Crespino and Coronato stole it from Giannina.
In reality, the bone of contention has now passed through many hands. After a lot of back and forth, it ends up back at its rightful owner Evaristo. So Candida finally receives her fan and offers Evaristo her hand while Giannina gets her Crespino.
Significance in Goldoni's complete works
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From 1757 Goldoni was in dispute with Carlo Gozzi , since he saw him as the destroyer of the Commedia dell'arte . Tired of this argument and the resulting intrigues , Goldoni agreed in 1761, following a call from the French court, to a certain extent to reform the Comédie Italienne , which was famous in Paris but now downright shabby . Once there, he found that the rather mediocre level of the actors and the foreign language made his desired reform impossible. On the one hand, the actors refused to learn the lyrics by heart, but on the other hand they were possibly right in their claim that the audience could do little with Italian lyrics. So Goldoni had to fall back on the impromptu theater and French text. This first version, entitled L'éventail , which is believed to have been lost, did not reach the public in 1763.
But Goldoni believed in the value of his piece, which consisted of many dynamic individual scenes without ever showing lengths. He revised the French draft and had the success he deserved in Venice in 1765.
“Like controversy in Chiozza , The Fan is a populous piece whose plot is ignited by nothing. Probably no other piece by Goldoni thrives on such a wealth of little actions with such a short dialogue. Twice it even comes out completely without words: in the opening scene, which introduces everyone 'dramatis personae' in a village square doing their daily work - hammering the shoemaker, the pharmacist pounding medicine, the farmer spinning and the notables in their idleness - and at the beginning of the third act, which pervades the same state with an abundance of pantomime ”.
The fan has become the driving force behind the plot, not just in terms of title; Goldoni hardly wrote any other comedy "in which the actors' gestures, looks and steps and their stage language become so much an end in themselves." Wolfgang Theile saw in his interpretation in the subject a means of objectifying chaotic communicative relationships. Because as a social object, it serves to "disguise and hide". Iris Hafner did not see in the fan any means of power available to every figure, but rather, due to its unrestrained momentum, "a communication obstacle that defies individual interests and also has a destructive effect on the interactions of people." Fritz Peter Kirsch therefore referred to the power of chance brought about by the fan, which, in contrast to the other regulations, prevails in the theater of the Enlightenment. This gives this object a real "demonic (..) autonomy". Thus, the object's own dynamic, this "pledge of love", is given the task of establishing a comprehensible relationship to reality despite the poor overview of the social role players.
reception
In 1831, Carl Blum excused his own adaptation of the material with the alleged relative unfamiliarity of the piece, as he only knew it from an edition from 1781 and had seen it in Bologna . In doing so, he defended himself against critics who accused him of having copied a world-famous piece.
In his novel Le Cousin Pons (published in 1847 as part of the Comédie humaine ) Honoré de Balzac gave a fan with a great history, which supposedly belonged to the painter Antoine Watteau , to play an equally object-like role that drives the drama about the protagonist, who himself not mastered the subtle language of the fan, with which Balzac borrowed indirectly from Goldoni.
August Zirner played Crespino at the State Theater in Hanover in the late 1970s . In 1970 Elinor von Wallerstein played Signora Geltruda successfully in a production at the Munich Residenztheater . Isabella Lewandowski played Candida at the Erfurt Theater in 1996.
Adaptation
- theatre
- The fan . by Carl Blum , 1832.
- music
- The fan . Comic opera by Domenico Gilardoni (1798–1831). Music by Pietro Raimondi (1786-1853). First performance on January 22nd, 1831 at the Teatro Nuovo in Naples.
- The fan . Comic opera by Ernst Kunz (1891–1980). Music by Ernst Kunz. First performance in 1929 at the Stadttheater Zürich.
- Movie
- The fan . Television production of a comedy by Carlo Goldoni. GDR. German by Heinz Riedt . Music: Rainer Kunad . Staging by Erich Geiger . First broadcast October 10, 1961.
literature
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- Richard Bletschacher: Carlo Goldoni. On the 300th anniversary of his birthday on February 25, 1707. In: Ders .: Excursions. Twenty-one essays on history, literature and the visual arts. Böhlau, Vienna 2010, p. 174ff.
- Horst Prignitz: "The Fan" by Carlo Goldoni on arrival. Performance review. In: Theater der Zeit , Vol. 8, H. 21, 1968, p. 26f.
Web links
- Parts of the theater script as a reading sample - dtver.de
- Ludwig Mathar: Carlo Goldoni on the German theater of the XVIII. Century . Inaugural dissertation of the Philosophical Faculty Sect. I of the Ludwig Maximilians University of Munich. 1909 on Archive.org
- Geraldine Gabor on her new translation of the work in 2007
Individual evidence
- ↑ German translation a. a. by Julius R. Haarhaus : The fan. Leipzig 1906.
- ↑ Geraldine Gabor on her new translation of the work 2007 ( page no longer available , search in web archives ) Info: The link was automatically marked as defective. Please check the link according to the instructions and then remove this notice.
- ^ Johannes Hösle: Carlo Goldoni. His life, his work, his time. Piper, Munich 1993, p. 331.
- ^ Wolfgang Theile: La Buono commedia: Goldoni's reform poetics as an expression of historicity. In: Romanische Forschungen 98 (1986), pp. 96–119, here p. 111.
- ↑ Iris Hafner: Aesthetic and social role. Studies on identity problems in the Carlo Goldonis theater . Königshausen & Neumann, Würzburg 1994, p. 151.
- ^ Fritz Peter Kirsch: On the function of objects in Goldoni's comedies. In: Italienische Studien (1982), pp. 53-66, here p. 54.
- ^ Roberto Zapperi : The Incognito: Goethe's very different existence in Rome. CH Beck, Munich 2010, p. 158.
- ↑ Cf. on the importance of the subject in the 18th century; Susanne Scholz: Objects and Stories. Subjectivity and Cultural Use of Things in Early Eighteenth Century England. Ulrike Helmer, Königstein im Taunus 2004.
- ↑ Carl Blum: Dramtatische works. FA Leo, Leipzig 1832, p. VIII.
- ↑ Angela Oster: "Allemand comme ..." Heroric decadence stories in the musician and antiquarian milieu of Balzac's "Le Cousin Pons". In: Bernd Kortländer, Hans T. Siepe (Ed.): Balzac and Germany - Germany and Balzac. Narr Verlag, Tübingen 2012, p. 63ff., Here p. 70.
- ↑ August Zirner's biography at www.deutsches-filmhaus.de
- ↑ ... then they played again. The Bavarian State Theater 1946–1986 . Munich 1986. ISBN 3-765-42059-X
- ↑ On the new staging ( Memento of the original from March 4, 2016 in the Internet Archive ) Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. at the Neuburg Chamber Opera , 2008.
- ^ Television of the GDR
