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Король-олень
Трагикомическая театральная сказка Карло Гоцци "Король-олень" впервые была представлена на суд зрителей в Венеции в театре Сан-Самуэле 5 января 1762 года. Текст напечатанной здесь пьесы составлен как по рукописи самого Карло Гоцци, так и по воспоминаниям игравших в этой сказке актеров, импровизировавших (по сценарию Гоцци) реплики и разные шутки, свойственные лучшим трагикам итальянского народного театра.
Hardcover
First published January 1, 1762
About the author
Carlo Gozzi
249 books7 followersCarlo Gozzi (Venezia, 1720 – Venezia, 1806) è stato un drammaturgo e scrittore italiano. Negli anni '60 del Settecento fu protagonista di una polemica sul teatro con il conterraneo Carlo Goldoni: Gozzi difendeva i vecchi artifici della Commedia dell'Arte contro le novità introdotte nel teatro da Goldoni.
Carlo, Count Gozzi (13 December 1720 – April 4, 1806) was an Italian playwright.
Born in Venice, he came from an old Venetian family from the Republic of Ragusa. His father's debts forced him to look for a means of supporting himself, and at the age of sixteen, he joined the army in Dalmatia; three years later he returned to Venice, where he soon made a reputation for himself as the wittiest member of the Granelleschi society, to which the publication of several satirical pieces had gained him admission. This society, nominally devoted to conviviality and wit, had serious literary aims, and was especially zealous to preserve Tuscan literature from foreign influence.
The displacement of the old Italian comedy by the dramas of Pietro Chiari and Carlo Goldoni's works, modelled on French examples, threatened to defeat the society's efforts; in 1757 Gozzi came to the rescue by publishing a satirical poem, La tartana degli influssi per l'anno 1756, and in 1761 by his comedy, The Love of Three Oranges or Analisi riflessiva della fiaba L'amore delle tre melarance, a parody of the manner of the other two poets, founded on a fairy tale. To perform it, he obtained the services of the Sacchi company of players, who, thanks to the popularity of the comedies of Chiari and Goldoni—which offered no scope for the display of their peculiar talents—had been left without employment. Their satirical powers thus sharpened by personal enmity, the play was an extraordinary success.
Struck by the effect produced on the audience by the introduction of the supernatural or mythical element, which he had merely used as a convenient medium for his satirical purposes, Gozzi produced a series of dramatic pieces based on fairy tales, which were briefly popular, but after the breaking up of the Sacchi company were completely disregarded. They were much praised by Goethe, Schlegel, Madame de Staël and Sismondi; and one of them, Turandot or Re Turandote, was translated by Friedrich Schiller.
In his later years Gozzi began to produce tragedies in which the comic element was largely introduced; as this innovation proved unacceptable to the critics he turned to the Spanish drama, from which he obtained models for various pieces; these had minor success.
His brother, Gasparo Gozzi, was also a well-known writer of the time.
His collected works were published under his own superintendence, at Venice, in 1792, in 10 volumes.
A number of twentieth-century stage works were inspired by Gozzi's plays. These include treatments of Turandot by Karl Vollmöller and Bertolt Brecht, operas based on the same story by Busoni and most famously Puccini and Prokofiev's The Love of Three Oranges.
Carlo, Count Gozzi (13 December 1720 – April 4, 1806) was an Italian playwright.
Born in Venice, he came from an old Venetian family from the Republic of Ragusa. His father's debts forced him to look for a means of supporting himself, and at the age of sixteen, he joined the army in Dalmatia; three years later he returned to Venice, where he soon made a reputation for himself as the wittiest member of the Granelleschi society, to which the publication of several satirical pieces had gained him admission. This society, nominally devoted to conviviality and wit, had serious literary aims, and was especially zealous to preserve Tuscan literature from foreign influence.
The displacement of the old Italian comedy by the dramas of Pietro Chiari and Carlo Goldoni's works, modelled on French examples, threatened to defeat the society's efforts; in 1757 Gozzi came to the rescue by publishing a satirical poem, La tartana degli influssi per l'anno 1756, and in 1761 by his comedy, The Love of Three Oranges or Analisi riflessiva della fiaba L'amore delle tre melarance, a parody of the manner of the other two poets, founded on a fairy tale. To perform it, he obtained the services of the Sacchi company of players, who, thanks to the popularity of the comedies of Chiari and Goldoni—which offered no scope for the display of their peculiar talents—had been left without employment. Their satirical powers thus sharpened by personal enmity, the play was an extraordinary success.
Struck by the effect produced on the audience by the introduction of the supernatural or mythical element, which he had merely used as a convenient medium for his satirical purposes, Gozzi produced a series of dramatic pieces based on fairy tales, which were briefly popular, but after the breaking up of the Sacchi company were completely disregarded. They were much praised by Goethe, Schlegel, Madame de Staël and Sismondi; and one of them, Turandot or Re Turandote, was translated by Friedrich Schiller.
In his later years Gozzi began to produce tragedies in which the comic element was largely introduced; as this innovation proved unacceptable to the critics he turned to the Spanish drama, from which he obtained models for various pieces; these had minor success.
His brother, Gasparo Gozzi, was also a well-known writer of the time.
His collected works were published under his own superintendence, at Venice, in 1792, in 10 volumes.
A number of twentieth-century stage works were inspired by Gozzi's plays. These include treatments of Turandot by Karl Vollmöller and Bertolt Brecht, operas based on the same story by Busoni and most famously Puccini and Prokofiev's The Love of Three Oranges.
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Displaying 1 of 1 review
May 4, 2019
У меня беда, я смотрела много раз советский фильм "Король-олень" и так как главная актриска устроила выкрутасы на съемках и фильм не смогли доснять, то у меня были различные измышления на тему того, чем там дело-то кончилось! В детстве ума-то не было посмотреть, что это по мотивам и все такое. Да если честно, то вот совсем недавно дошло, что это на основе пьесы кинофильм и понятно, мне надо это было прочитать.
Я разочарована. Это ужасно знать вариант лучше, чувствовать нерв от разворачиваемых событий и прочитав первоисточник понять, что сценарий Вадима Коростылева в режиссерской обработке Павла Арсенова сильнее во много раз. Удивительно, как человек увидел идею и с легкими изменениями передал ее лучше.
Скорее всего я оценила бы пьесу выше, если бы не знала другого варианта. Потому что я согласна с тем, что говорит о настоящей любви Карло Гоцци. Но в фильме об этом начинали говорить сильнее.
Мне нравится игры чувств и людей, когда на них накатывает и любовь и ревность и как они начинают принимать решения, куда их они заведут. И как же не любить благородство и души прекрасные порывы?)
Я тут не объективна. Каюсь. Я ждала того напряжения, тех персонажей, что создал дуэт Яковлева и Юрского. Эх, я...
Теперь бы все же найти изначальный сценарий фильма-сказки! Я хочу знать как должно было все разрешиться там, где было невероятно наблюдать за происходящим.
Я разочарована. Это ужасно знать вариант лучше, чувствовать нерв от разворачиваемых событий и прочитав первоисточник понять, что сценарий Вадима Коростылева в режиссерской обработке Павла Арсенова сильнее во много раз. Удивительно, как человек увидел идею и с легкими изменениями передал ее лучше.
Скорее всего я оценила бы пьесу выше, если бы не знала другого варианта. Потому что я согласна с тем, что говорит о настоящей любви Карло Гоцци. Но в фильме об этом начинали говорить сильнее.
Мне нравится игры чувств и людей, когда на них накатывает и любовь и ревность и как они начинают принимать решения, куда их они заведут. И как же не любить благородство и души прекрасные порывы?)
Я тут не объективна. Каюсь. Я ждала того напряжения, тех персонажей, что создал дуэт Яковлева и Юрского. Эх, я...
Теперь бы все же найти изначальный сценарий фильма-сказки! Я хочу знать как должно было все разрешиться там, где было невероятно наблюдать за происходящим.
Displaying 1 of 1 review