Mirandolina

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Mirandolina (Italian: La locandiera , the landlady) is a comedy in three acts by Carlo Goldoni . It was premiered in Venice in 1752 , has been adapted several times as an opera or film and is considered one of Goldoni's masterpieces.

content

1st act

Florence , 1753. The single landlady Mirandolina is courted by the impoverished Marchese (= Marquis or Margrave ) Forlipopoli, the nouveau riche Conte (= Count ) Albafiorita and the waiter Fabrizio - as by many before them. Mirandolina is tired of the constant courtship for her and seeks proximity to the declared misogynist Cavaliere (= knight) Ripafratta. On a whim she ensnared the gruff and nagging Cavaliere. When two comedians who had traveled ahead of their actors move into a room in the inn and are mistaken for noble ladies by Fabrizio, they pretend to be Baronessa Ortensia and Contessa Dejanira. While Fabrizio obsequiously speculates on tips, the Marchese and the Conte sense another chance of a good match and are looking for the company of the newcomers, whereby the Conte, who has just given Mirandolina diamond jewelry, outdoes the Marchese because Mirandolina only transfers a little handkerchief to Mirandolina that he had bought from Cavalieres' borrowed money. Since the actresses also hope for financial advantages from the galans, after this observation they accept the Conte's offer to eat together. Mirandolina has seen through the two women, but does not reveal the pretense, after all, she also plays a profitable game by hypocritically stating that she only accepts it in order not to annoy her guests when the presents are presented.

2nd act

Cavaliere wavers after Mirandolina's subtle advances. Ortensia and Dejanira have now revealed themselves to the Conte. The three intend to continue fooling the Marchese. Ortensia also wants to make the Cavaliere fall in love with her after she has experienced his unusual character, especially since she also hears about his wealth and generosity. However, the plan with Cavaliere quickly fails. Using pretended powerlessness, Mirandolina prevents the departure of the Cavalier, who actually wanted to flee from Mirandolina's captivating kindness and heartbreaking charm.

3rd act

The Cavaliere confesses to Mirandolina that he has fallen in love with her. She behaves in a dismissive manner towards him, but emphatically friendly towards Fabrizio. The encounter of the Cavaliere with the Conte and the Marchese is marked by previous events: The Conte is angry at the Cavaliere because he has pretended to secretly approach Mirandolina. The Cavaliere, for his part, is angry because Mirandolina suddenly avoids him and the Conte assumes that he has love intentions. Marcheses behavior is restrained because of his fear of the Cavaliere, because he had given away a supposedly inferior, but actually really golden gift from the Cavaliere to Mirandolina to Dejanira. Cavaliere and Conte are on the verge of a sword battle when Mirandolina and Fabrizio join them. Mirandolina humiliates the Cavaliere by provocatively declaring that he definitely does not love her. Then she announces that, following the wishes of her late father, she will marry Fabrizio. The Cavaliere leaves immediately. With Mirandolina a guilty conscience stirs about her rough fun. The Conte and the Marchese accept their fate and promise to look for a new hostel.

Emergence

Perhaps the best actress Goldoni could fall back on, according to observers, was a certain "Corallina", who had become known for serving as servants. Her actual name was Maddalena Raffi (approximately 1720–1782), wife of the comedian Giuseppe Marliani (1720–1782), who specializes in the personification of Arlecchino and Brighella (also servant figures). Goldoni wrote Corallina - both are said to have flirted with each other - the role of Mirandolina. The first performance took place on December 26, 1752 in the Teatro Sant'Angelo , Venice, by the Compagnia Girolamo Medebach. The German-language premiere is not known, but an early performance on December 8, 1920 in the Vienna Burgtheater is known .

interpretation

Ludwig Mathar said in his inaugural dissertation in 1910 that Mirandolina had a single motive and quoted the Italianist Policarpo Petrocchi , who had stated this with the “mischievousness of a stubborn woman who overcomes a man's aversion to women”. Hans von Specht, reviewer of a performance in 1962, saw the Cavaliere's graceful and crafty reversal of emotions and recognized it as a "didactic piece" of the charming and lovable kind. Annika Makosch, author of the epilogue of the new Reclam edition (1991), obtained the "Teaching" on the Cavaliere, in the form of a punishment for arrogance and at the same time a warning of a love trap.

The more in-depth and common interpretation refers to the figures of Marchese and Conte. Goldoni ridiculed the wealthy and boastful new nobility as well as the parasitic “rag nobility”, whose nobility names are the only ones to testify to more glorious times. The two stand for the “moral and intellectual misdeeds of the aristocracy ” and are the “epitome of decadent Venice”. Venice is not the venue only because strict literary censorship was the order of the day, which forbade the despicability of the nobility.

Georg Patzer in the Harenberg actor and Gertraud Huffnagel in Knaur's great actor speak of clear social criticism . Patzer put it: “The social criticism of the play is clear: the nobility has outlived itself as a socially decisive force. He indulges in his old or acquired privileges , which should soon be abolished, at least in neighboring France. His representatives on the stage are ridiculous and unfit for life men. Instead, it is the self-confident bourgeoisie in the form of the landlady who is master of the situation. ” In the Aachener Nachrichten, Klaus Honnef confirmed Goldoni's description of the state of the aristocratic class, but this was only“ restrained social criticism, because the marriage in the end is befitting ”.

Other reviewers also described the choice of bridegroom as “befitting” and “bourgeois”. The interpretation that Mirandolina finally doubts her hurtful play with love, becomes thoughtful and fears consequences, can also be found in the reception story. In this respect, Ludwig Mathar interpreted the marriage as a “poetic punishment”, because the spontaneous decision in favor of Fabrizio was a reminder of a protective measure. The actor-author Manfred Naumann started from " economic thinking", Siegfried Kienzle and Otto CA zur Nedden in their competing work very similarly from the valued serviceability, but also from the obvious honesty , while Karin Kathrein made the decision in another actor whether it was a marriage out of love or reason, left to the viewer.

Hans Felten remarked in the extended version of his contribution in Volker Krapp's Italian History of Literature that “Goldoni is actually playing with bourgeois norms”. Goldoni himself expressed himself rather superficially in his autobiography about his intention : Out of “self-love and for the honor of her sex” she pursues her plan of submission. He wrote a play "where cunning replaces the plot".

In his review for the Kölner Stadt-Anzeiger , Ernst Jung considered the basic principle to be transferable to 1962: “Goldoni's work may also be time-bound in the sociological milieu, in terms of personnel and material, but in general terms it proves to be typified and characterized, corresponding to our contemporary circumstances transferred as timely. "

Commedia dell'arte or character comedy?

Opinions differ when it comes to the character drawings, but for most, especially the authors of reference books, the play is more of a character comedy than a commedia dell'arte .

Walter Manggold found in the Südkurier that Goldoni had designed "[r] unde, juicy roles, filled with plump humanity". In the scenic invention of the scenario he was not a genius, but he stuck to proven patterns and be there "so to speak, from situation comedy stumbled to situation comedy." The actors have enormous scope for development. Georg Patzer ( Harenberg actor ) wrote that with Mirandolina Goldoni had "finally found his own form of comedy". Removed the commedia masks, the actors would now have “space for a differentiated character game”. The secondary characters would only recall the traditional performance form of commedia dell'arte, he agrees with Georg Hensel ( Schedule , Propylaea Verlag ) match.

With the new form he succeeded in what Molière had done in France, namely to establish “an independent national comedy”, says Gertraud Huffnagel's review article in Knaur's great actor . With Mirandolina , the transition from commedia dell'arte to character drama had been completed. Kienzle / zur Nedden ( Reclam's actor ) found that Goldoni had broken away from the Commedia dell'arte with the “excellent” or “lovingly” designed five main characters of Mirandolina and created a “real character comedy”. The rich diversity of Mirandolina character and the contrast program that offer the male characters, lifted Karin Kathrein Rowohlt Schauspielführer forth. Otherwise there is talk of true “character studies” ( Dithmarscher Landeszeitung ), unusual “charisma” ( Reclam's new actor ) and individuality instead of “mere type figures” ( Italian literary history ).

Wolfgang Drews said in the Münchner Merkur : “Goldoni is not Shakespeare and he is only distantly related to Molière. With the greatest effort, human figures cannot be made out of his stage characters. ”For Klaus Honnef of the Aachener Nachrichten , the drawing of persons still shows too much schematism , albeit“ with a touch of caricature ”. They miss a human profile. Fritz Knöller, author of the foreword to the older Reclam edition (1975), recognized features of the character comedy, but they did not convince him: “[...] and even if his Mirandolina show considerable approaches to characterization, it is still rooted in familiar soil. Goldoni is not, as is commonly thought, the conqueror of the Commedia dell'arte, but its innovator and perfector. "

The female figures

Richard Alewyn characterized the figure “Mirandolina” in the edition of the Fischer Library of the Hundred Books as a “being of flesh and blood” developed away from the stereotypes of the Commedia dell'arte. How she confuses the men around her, but “eventually gets caught up in her own net, loses control of the situation and thus also receives a lesson for life herself, all of this is as delightful as it is edifying.” Alewyn summed up : “Here the moralist and moralist Goldoni is at the peak of his art. "

Georg Hensel cites the ingredients of her recipe for success in relation to the Cavaliere with “hypocritical understanding of his individuality”, “ coquetry in the mask of honesty” and “a completely naive slyness”. Sparkling in many facets, because with feminine grace and cunning, as well as with cleverness and self-assurance, the “naive nature”, who first appears as a “ humble maid”, first becomes a “brittle mistress” and finally a thoughtful conflict solver.

In stark contrast to this stands the "clumsy manner" of the characters of the adventurous, high-stacking actresses Ortensia and Dejanira, who are still arrested in the Commedia dell'arte . They are referred to as "decorative accessories to the main picture" or as "filler" or as having no dramatic function. In their amateurish otherness, however, they reinforce the effect of the changing main character. Makosch also found their occurrence irrelevant to the course of action, but saw two other functions: On the one hand, they symbolized the hustle and bustle of everyday life in the inn. On the other hand, they should convey that their professional group consists of technically serious middle-class people.

The male figures

Ludwig Mathar awarded the Cavaliere the attribute "honorable". Otherwise this figure is not further defined by the theater experts. What is striking about her is the reversal of the principle of contempt for women, which she invariably advocates, into its opposite. As a result of this reversal, he rages himself into a frenzy and "eventually takes on unpredictable, terrifying traits".

The Marchese di Forlipopoli and the Conte d'Albafiorita are caricatured. The former is impoverished, but " grotesquely aristocratic", "generous", "eternally parasitic" and ridiculously vain . According to Hans von Specht, he embodies avarice . The latter has achieved wealth, has a materialistic attitude, trusting the power of his wealth, confident of victory, but also good-natured. According to Hans von Specht, he embodies boasting .

The less prominent, rather passive Fabrizio, as an admirer of the most reserved, is described in secondary literature as "devotedly loyal", "docile", "ambitious" and "brave". Before his death, his father had told Mirandolina to marry him. Mostly it is said that Fabrizio suffers severely from his laboriously subdued jealousy . Makosch is the only one who saw in him a last representative of the Commedia dell'arte.

reception

If the work is found to be undemanding , then there is usually a certain respect for its main character and the lasting success of the performance. The famous theater critic Friedrich Luft formulated it more sharply by rejecting “fun, which is somewhat thin in substance”. A harsh criticism like that in the Gladbecker Ruhr Nachrichten 1962 is rare. There it is said that the piece does not go into depth, does not exude any esprit. And further: "La Lacondiera is a thin Rococo infusion, shallow instead of light, silly instead of cheerful and burlesque instead of graceful."

For some reviewers, the entertainment value was in the foreground, as was the case with Klaus Honnef from Aachener Nachrichten : “The feather-light 'nothing' in the plot is filled with plump dialogue and situation comedy.” The editor of the Göppinger Kreisnachrichten put it as follows: “Goldoni didn't want anything other than entertaining his audience in an amusing way, and his audience wanted and should laugh. It is thanks to the genius of the comedy writer that a little more came out of it. "

An evaluation of various theater reviews from 1957 according to the categories “work” (ie the template independent of the staging), “director”, “stage design” and “main actor” showed that only the work received positive evaluations without exception.

According to Ludwig Mathar's assessment from 1910, the success of the premiere was due to "the funny content and the skillful execution". Goldoni speculated in his autobiography: "Maybe I and Italy were flattered, but I was led to believe that I had written nothing more natural, nothing better executed and that the plot is well supported and rounded."

In the opinion of several theater critics - as Hans von Specht put it in the people's newspaper published in Fulda - "dazzling comedy and spirit in the subtle puns" are added to the "finely spun plot" (Karin Kathrein in the rororo actor ) . The result is a piece that is “light and airy”, “enchanted”, spreads “brilliant comedy mood” and, as a “graceful comedy”, is one of Goldoni's “most successful pieces” as well as one of the “preferred pieces on the stage”.

Variations and Similarities

From the mid-1890s to the mid-1910s, it was fashionable to work on comedies as one-act plays and to perform several of them in a row in one evening, for example the most famous by Goldoni or Goldoni's Mirandolina combined with a work by Molière and one by Ludvig Holberg . Carl Blum created a differently accentuated, but also shortened, version in 1844 by relocating the scene to Geneva and operating with staff reduced to the bare essentials and largely nameless: "A traveler", "His groom", "The head waiter", "Mirandolina". So only the basic storyline, the core theme, is preserved. In the case of Heinz Riedt's afterword in the Winkler thin print edition of 1965, it remains open whether the truncation of the original is meant by the statement that Mirandolina is "so often trivialized". Peter Turrini made a free comedy adaptation in 1973 under the title Die Wirtin .

The original version was sometimes given an alternative title such as “Mirandolina or Die Schöne Wirthin” or “Mirandolina or The betrayed Weiberfeind”, if translations such as Die Gastwirtin or Die Herbergswirtin were not chosen immediately after the original title .

The comedy Minna by Barnhelm by Gotthold Ephraim Lessing was created relatively close to Mirandolina , namely between 1763 and 1767. In an inn, too, it is about “refusal to marry” or “postponement” and financial circumstances. Goldonis Mirandolina does not have a war reference as in Minna , since the soldier motif is rarely taken up with him anyway.

meaning

Eleonora Duse as Mirandolina, 1891

Mirandolina is regarded as Goldoni's best or best known or most played or together with the servant of two masters as the best or one of the best pieces of the complete work, and this already at the time of creation. The actresses of the Medebach troupe in the Teatro S. Angelo were already fighting for the main role. Since then she has been a coveted role, a parade role for versatile actresses. Mirandolina was embodied, for example, by Eleonora Duse , Agnes Sorma , Käthe Dorsch and Maria Wimmer . You all impressed in this role. The most famous was Eleonora Duse, who also demonstrated her skills in this piece in front of the British Queen Victoria in 1894 . In the Rheinische Post , Karl-Heinz Hauptreif expressed the fact that the comedy stands or falls with the performance of the actors : “It is like a score that cannot consist of itself, but rather needs a medium in order to be fully realized can. That is precisely why this piece is real theater. It has such well-sized, well-tailored roles ready that it is a pleasure for the real actor to slip into them. "

Walter Manggold underlined the 200-year-old importance of the work in Südkurier 1962: “[The] roles give every real comedian every opportunity for playful development. And that's where the attraction for the theater still lies today. ”In the same year in the Rhine Palatinate , Hans von Malottki said that the laughter-guarantor“ lasted two centuries with success and still knows how to develop its fleeting charms ”. There is also a vote against this; it comes from Joachim Kaiser : "For the 20th century, the realistic stimulus at the time of creation (in contrast to the Commedia dell'Arte mask play) has evaporated and the piece only looks flat like an arrangement of mere fluctuating situations ."

Text output

  • Carlo Goldoni: Mirandolina. Comedy in three acts. Translation and epilogue by Annika Makosch, Reclam-Verlag , Stuttgart 2011, ISBN 978-3-15-003367-8 .
    • Mirandolina (La Locandiera). Comedy in 3 acts. Edited for the German stage and provided with an afterword by Fritz Knöller. Reclam-Verlag, Stuttgart 1975.
    • Mirandolina. Freely edited in German verse by Julius R. Haarhaus. First edition by Reclam, Leipzig 1926
  • Carlo Goldoni: Comedies (= Winkler world literature thin print edition ). [8 Komödien, Mirandolina pp. 295–390.] Winkler Verlag, Munich 1965.
  • Carlo Goldoni: The servant of two masters. Mirandolina (= The Fisherman's Library of a Hundred Books ). [Goldoni's two best-known and most-played pieces.] Fischer Bücherei, Frankfurt am Main / Hamburg 1963.

Settings

Film adaptations

The material was filmed several times for cinema and television, including in 1980 with Adriano Celentano and Claudia Mori . In Italy the film ran under the original title La locandiera, in Germany under the title Mirandolina .

Individual evidence

  1. ^ A b Jaroslav Pokorný: Goldoni and the Venetian Theater . Henschelverlag Art and Society, Berlin 1968, The Venetian Theater, p. 40 .
  2. ↑ Jaroslav Pokorný: Goldoni and the Venetian Theater . Henschelverlag Art and Society, Berlin 1968, Carlo Goldoni, son and painter of nature, p. 49 .
  3. ^ A b c S [usanne] F [riede]: Carlo Goldoni . In: Marion Siems (ed.): Reclam's new actor . Philipp Reclam jun., Stuttgart 2005, ISBN 3-15-010526-9 , Mirandolina, p. 141 f .
  4. ↑ a b c d e f g h i j k Ludwig Mathar: Carlo Goldoni on the German theater of the XVIII. Century . Montjoie, Munich 1910, Chapter 4. The "Locandiera" at the Weimar Liebhabertheater, p. 177-179 .
  5. ↑ a b c d e f g h i j Hans von Specht: Fireworks spraying comedy. Brilliant performance of Goldoni's “Mirandolina” with Maria Wimmer, Joachim Teege and Bruno Hübner . In: People's newspaper . Fulda February 10, 1962.
  6. ↑ a b c d e f g h i Annika Makosch: Afterword . In: Carlo Goldoni. Mirandolina in three acts . Translation and epilogue by Annika Makosch (=  Universal Library . Volume 3367 ). Philipp Reclam jun., Stuttgart 1991, ISBN 3-15-003367-5 , pp. 107–116 (translation more verbose than Knöller's).
  7. ↑ Luigi Ferrante, Jürgen Jahn: Foreword . In: Carlo Goldoni. Six comedies. The servant of two masters, Mirandolina, masters in the house, Much noise in Chiozza, The fan, The good-hearted confusion . Edited and translated from Italian, Venetian and French by Heinz Riedt (=  German People's Library. Special series ). Aufbau-Verlag, Berlin 1960, p. 11 .
  8. ↑ a b c d Manfred Naumann: Goldoni, Carlo . In: Actors in two volumes . 1st edition. A – K. Henschelverlag Art and Society, Berlin 1986, Mirandolina, p. 404 .
  9. ^ A b Daniel Winkler, Sabine Schrader, Gerhild Fuchs: Italian Theater in Europe . In: Daniel Winkler, Sabine Schrader, Gerhild Fuchs (eds.): Italian theater. History and genres from 1480 to 1890 (=  theater of the time. Research . Volume 118 ). Verlag Theater der Zeit, Berlin 2015, ISBN 978-3-95749-029-2 , p. 22 .
  10. ↑ a b c d e f g h i [Georg] Pa [tzer]: Mirandolina . In: Harenberg Acting Guide. The whole world of theater: 272 authors with more than 780 works . Preface by Will Quadflieg . 2nd, completely revised and expanded edition. Harenberg, Dortmund 2001, ISBN 3-611-00541-X , p. 367 f .
  11. ↑ a b c G [ertraud] H [uffnagel]: Mirandolina . Comedy in 3 acts. In: Rudolf Radler (ed.): Knaurs great actor. More than 1000 individual descriptions of works and their authors . With over 330 illustrations. Droemer Knaur, Munich 1994, ISBN 3-426-26707-1 , pp. 346 .
  12. ↑ a b c d e f Klaus Honnef: With engraving in the caricature. Goldoni's “Mirandolina” in the Aachen room theater . In: Aachener Nachrichten . 3rd December 1962.
  13. ^ A b Hans Felten: Goldoni and Gozzi - Reality versus fairytale theater . In: Volker Kapp (ed.): Italian literary history . With the collaboration of Hans Felten, Frank-Rutger Hausmann, Franca Janowski, Volker Kapp, Rainer Stillers, Heinz Thoma, Hermann H. Wetzel. Second improved edition. Verlag JB Metzler, Stuttgart / Weimar 1994, ISBN 3-476-01277-8 , Bürgerliches Theater, p. 223 f ., here p. 223 (text in 3rd edition expanded).
  14. ↑ a b c J. M .: A devilishly charming Mirandolina. Amusing conversation with Goldoni's “La Locandiera” . In: Göppingen district news . January 25, 1962.
  15. ↑ a b c d e Siegfried Kienzle, Otto CA zur Nedden: Reclams actor . Ed .: Siegfried Kienzle, Otto CA zur Nedden. 21st edition. Philipp Reclam jun., Stuttgart 2001, ISBN 3-15-010483-1 , Mirandolina, p. 170 f . (Kienzle and zur Nedden are noted as both authors and editors).
  16. ↑ a b c d e Karin Kathrein: rororo actor. From Aeschylus to Botho Strauss (=  rororo manual ). Rowohlt Taschenbuchverlag, Reinbek bei Hamburg 1980, ISBN 3-499-16296-2 , Carlo Goldoni 1707–1793, pp. 95-98 (24th-28th thousand).
  17. ^ A b Hans Felten: Goldoni and Gozzi - Reality versus fairytale theater . In: Volker Kapp (ed.): Italian literary history . With the collaboration of Hans Felten, Frank-Rutger Hausmann, Franca Janowski, Thomas Stauder, Rainer Stillers, Heinz Thoma, Hermann H. Wetzel. Third, expanded edition. Verlag JB Metzler, Stuttgart / Weimar 2007, ISBN 978-3-476-02064-2 , Bürgerliches Theater, p. 216–222 , here p. 219 (compared to previous edition, expanded text).
  18. ^ A b c Carlo Goldoni: My Theater - My Life . German translation by Eva Schumann. Verlag Bruno Henschel and Son, Berlin 1949, 2nd part. My pieces. Chapter 16, p. 302-307 .
  19. ↑ a b Ernst Jung: Rococo on the stage. Goldoni's “Mirandolina” amused the audience . In: Kölner Stadtanzeiger . February 22, 1962.
  20. ↑ a b W [alter] Manggold: The love snares of a clever landlady. Berlin theater guest performance with Goldoni's “Mirandolina” in Villingen . In: Südkurier . January 26, 1962.
  21. ↑ a b c d e f g h i Georg Hensel: Schedule. Acting guides from ancient times to the present . Part 1. Propylaeen Verlag, Berlin 1966, Chapter 5. Italy: All roads come from Rome. Carlo Goldoni: Battle of the Harlequin, p. 306 f .
  22. ↑ a b Arndt-Günther Heydeck: A Mirandolina of format. Maria Wimmer in the title role led Goldoni's comedy to a new success in the city theater . In: Dithmarscher Landeszeitung . Heath 15th February 1962.
  23. ↑ Wolfgang Drews: Landlady on trips. “Mirandolina” on Brienner Strasse . In: Münchner Merkur . March 19, 1962, p. 4 .
  24. ^ Fritz Knöller: Afterword . In: Carlo Goldoni. Mirandolina (La Locandiera). Comedy in 3 acts . Edited for the German stage and provided with an afterword by Fritz Knöller (=  Universal Bibliothek . Band 3367 ). Philipp Reclam jun., Stuttgart 1975, ISBN 3-15-003367-5 , pp. 70 f . (Translation tighter than Makosch).
  25. ↑ a b Richard Alewyn: Afterword. Carlo Goldoni - Theater and Drama . In: Carlo Goldoni. The servant of two masters, Mirandolina (= Walter Killy [Hrsg.]: Fischer Bücherei. The Fischer library of a hundred books. Exempla Classica . Volume 75 ). Fischer library, Frankfurt am Main / Hamburg 1963, p. 189–198 , here p. 194 f .
  26. ↑ a b c d e Fritz Schweuert: Comedy of the cunning . Goldoni's “Mirandolina” in the Theater am Kurfürstendamm . In: Tagesspiegel . Berlin November 9, 1956.
  27. ↑ a b c pk: Maria Wimmer a lovely Mirandolina. Goldoni's main piece was received with much applause in the town hall . In: Schweinfurter Tagblatt . March 21, 1962.
  28. ↑ a b Hans von Malottki: The world of the scene and its laughter. Goldoni's “Locandiera” - guest performance with Maria Wimmer in Landau . In: The Rhine Palatinate . No. 24/1962 , January 29, 1962, pp. 3 .
  29. ^ Friedrich Luft: Little Goldoni, too weighty. In the theater on Kurfürstendamm: “Mirandolina” with Maria Wimmer . In: The world . November 9, 1956.
  30. ↑ St .: Made a lot out of a little. Goldoni's Mirandolina with Maria Wimmer for the ring A . In: Ruhr news . Gladbeck February 3, 1962.
  31. ^ Carlo Goldoni "Mirandolina" . In: Karl Hans Bergmann (Ed.): Leaves of the Free Volksbühne Berlin . Issue 3/1957, January / February. Free Volksbühne e. V., Berlin January 1957, Im Spiegel der Presse, p. 81 (tabular “positive” / “negative” comments).
  32. ↑ a b Karl-Heinz Hauptreif: The power of women. Guest performance in Berlin with “Mirandolina” by Carlo Goldoni . In: Rheinische Post . February 26, 1962.
  33. ↑ hs: The tragic actress as a comedian . In: Schweinfurter Volkszeitung . March 21, 1962.
  34. ↑ a b Karl Voßler: Italian History of Literature (=  Göschen Collection . Volume 125 ). unchanged reprint of the fourth, revised and improved edition published in 1927. Walter de Gruyter & Co., Berlin 1948, § 68. Carlo Goldoni, p. 121 f ., here page 121 .
  35. ^ A b Jaroslav Pokorný: Goldoni and the Venetian Theater . Henschelverlag Art and Society, Berlin 1968, aftermath, p. 107 .
  36. ↑ Carl Blum: Mirandolina. Comedy in three acts, based on Goldoni's “Mirandolina” for the German theater, freely adapted by Carl Blum . New unaltered impression. Published by Th. Chr. Fr. Enslin, Berlin 1844.
  37. ↑ Heinz Riedt: Afterword . In: Carlo Goldoni. Comedies (=  Winkler world literature thin print edition ). Winkler Verlag, Munich 1965, ISBN   3-538-5082-1  ( defective ) , p. 707-725 , here p. 718 .
  38. ↑ Schff .: "To the shame of presumptuous men ...". Goldoni's “Mirandolina” with the spirited Maria Wimmer . In: Solinger Tageblatt . February 24, 1982.
  39. ^ Joachim Kaiser: The Locandiera on Lake Wolfgang. Maria Wimmers Mirandolina in the Munich Theater de Brienner Straße . In: Süddeutsche Zeitung . March 19, 1962.
  40. ↑ Lexicon of Television Games , Volume I, ed. by Achim Klünder, De Gruyter, 1991, ISBN 978-3-598-10921-8 , p. 420

Web links

Wikisource: La locandiera  - Sources and full texts (Italian)