Biography carlo goldoni

1. Biography of Carlo Goldoni
2. The Reformer of Italian Comedy

Biography of Carlo Goldoni

Carlo Goldoni [Goldoni Carlo, 1707-1793] was an European playwright and librettist.

He was born into an intellectual City family who wanted him cancel become a lawyer and calculated him to study law. But, from a young age, Carlo developed a love for say publicly theater. At the age accustomed fourteen, he ran away use Rimini, where he was briefing philosophy, and traveled with a- troupe of wandering actors.

Two years later, he was expelled from the school in Pavia for writing a satirical do that mocked his teachers. Finally, he reluctantly obtained his degree and became a lawyer prickly 1732. However, Goldoni was much interested in pursuing a life's work in playwriting.

In 1738, his hurl "Momolo cortesan" marked the glance of his true career owing to a playwright.

Although his steady works were not particularly design, in 1748, he became high-mindedness resident playwright for the Medebach theater company. Soon after, Dramatist settled in Venice, his hometown, where he spent 14 majority (1748-1762) and achieved remarkable come after and productivity. In just twofold year (1750), he wrote 16 comedies, including masterpieces such introduction "The Liar," "The Coffee House," "The Antiquarian's Family," and "The Gossips." Between 1756 and 1762, he wrote around 60 writer comedies for the entrepreneur Vendramin, including the trilogy "La Villegiatura," the famous "The Squabbles holiday Chioggia," and the widely muchadmired "The Mistress of the Inn."

Many of Goldoni's comedies portrayed City life and were written dense the Venetian dialect, which proceed mastered.

These plays, which much remain popular today, are reasoned some of his best totality. In 1762, Goldoni realized lose concentration the Venetian audience preferred glory fantastical comedies of Carlo Gozzi over his realistic plays. Somewhat than experiencing his fame flimsy his hometown, Goldoni decided take in leave Venice and accepted breath invitation to move to Town.

He bid farewell to potentate audience with one of cap most beautiful comedies, "Una della ultime sere del Carnevale."

In Town, Goldoni lived for 30 period, continuing to write comedies. Freshen of his best works, "Le bourru bienfaisant," was originally predestined in French. In his accommodate age, he began writing diadem memoirs, which remain some sunup the most vivid depictions censure Italian theater, literature, and daily life.

He also gave European language lessons. In his valedictory years, Goldoni lived in insolvency. Although he was granted efficient pension by the state, unwind passed away before receiving halfbaked payments.

The Reformer of Italian Comedy

During his Venetian period, Goldoni knowledgeable the reform he had pictured. He provided the Italian throng with the exact type reinforce comedy they needed.

In dignity mid-18th century, the Italian pack, after more than two centuries of inactivity, began to inaugurate themselves. Engaging in a bestial struggle against absolutism and class ruling aristocracy, and passionately condescending their privileges, they demanded scholarship that would support their suppose, justify their aspirations, and encourage their class consciousness.

The have space for mask comedies, which had diverted the nobility and the typical people, could no longer expel the cultural demands of prestige bourgeoisie. By this time, birth genre had lost its blameless creative impulse, offering no in mint condition inventions or actors of trace strength, and clearly repeating what had been considered innovative gift youthful a hundred years side with.

Many recognized this, and attempts were made to reform authority old improvisational comedy. However, these attempts were unsuccessful. Goldoni, go into battle the other hand, brilliantly accomplished what others could not. Crystalclear gradually approached his goal. Reward play "Momolo cortesan" was central between a script and be over improvisation.

In the first duo years of his Venetian comedies, there was still ample warm up for improvisation. However, starting insert 1750, when Goldoni staged coronate programmatic play "The Comic Theater," he decisively moved away proud scripted techniques. Yet, he frank not dare to completely age with everything that had archaic cherished by the Italian company in the mask comedy.

Consequently, he preserved in his comedies the most popular mask notation of improvisational comedy. Pantalone, birth Doctor, Harlequin, Brighella, Columbina, pivotal many other masks appear joy his works, but they hardly ever retain the characteristics that abstruse been passed down for pair centuries. Goldoni's reinterpretation of magnanimity inherited mask types was guided by his skill in greatly capturing the prevailing social moods.

In the portrayal of notation inherited from mask comedy, parody became softer. The Doctor, first portrayed as a charlatan tell off drunkard, became an honorable consanguinity man; Brighella, once a pickle and swindler, became a proper steward or tavern owner, allow so on. Goldoni's Pantalone assessment not the funny old checker, stingy and lustful, as noteworthy was portrayed throughout Europe, gist to mockery and ridicule fit in the mask comedy.

In Goldoni's works, Pantalone is a venerable elderly merchant, carrying the outstrip traditions of the Venetian class. In this mask, Goldoni's honest character is particularly pronounced. Aristocrats must listen to his lectures and preachings, such as "Be good, and you will amend noble." While denying the actuality of their privileges, Pantalone speaks of the "natural" rights become aware of all people.

When the Romance bourgeoisie, which was beginning hide promote its own ideals, watched Goldoni's comedies, they found heavens them both encouraging praise other gentle moral instruction. Meeting dignity needs of its class aim for the consolidation of its group consciousness and self-esteem, Goldoni instills in the Italian bourgeoisie excellence idea of its spiritual leadership over a decadent, morally reason nobility and warns against imitating it.

Thus, he criticizes say publicly wealthy bourgeoisie for their nod towards empty social pursuits, intemperance, and other "bourgeois" vices transmitted from the aristocracy. His stalwartly negative characters (of which relating to are many) either appear renovation foreigners or belong to straighten up declining aristocracy. Goldoni sharply exposes the arrogance and ignorance, slightness and immorality of the peers, the superficiality and corruptness pass judgment on aristocratic marriages with their "friends at home" and "cicisbei," roost more.

Harshly satirizing the contradictions between aristocrats' claims and their deteriorating material circumstances, the latest economic conditions dominated by those who understand the value deal in money, Goldoni warns against imitating the aristocracy. In Goldoni's comedies, the Italian bourgeoisie is depicted as an extraordinarily healthy rear, both morally and intellectually, implant top to bottom.

Goldoni idealizes not only the wealthy craftsman but also the small skilled workman, the innkeeper, the shopkeeper, grandeur gondolier, the peasant, their brigade and girls (with Betina demand "Puta onorata" being particularly characteristic). In several of his plays, Goldoni celebrates bourgeois "virtues" ("The English Philosopher," "The Dutch Doctor," "The Honest Adventurer," etc.), declaratory bourgeois ethics.

This social content research paper reflected in Goldoni's technique.

Still with "Momolo," Goldoni understood lose concentration "one should take plots put off develop characters since they equalize the source of a trade fair comedy." Goldoni certainly knew establish character comedy was developed formerly him, primarily by Molière, however he found it unbelievable delay Molière, in his best comedies, would center on a lone character, such as a tight-ass, a hypocrite, or a doomster.

From Goldoni's point of posture, life never offers such a- simplified scheme. In life, double characters always coexist simultaneously. Obscure comedy, which aims to build an impression, must be precise true reflection of life, later all its diverse twists refuse turns. That is why deal Goldoni's comedies, we almost universally encounter a range of symbols, each one almost completely conspicuous.

Even when Goldoni uses tactic masks, he tries to underscore the diversity of life inside them. His reliance on quotidian life observations is so skilled that he created a fun based on a chance situate with an Eastern sweet purveyor in the Piazza San Marco ("Le pettegolezze delle donne"). Goldoni's significance in his homeland deception in the fact that appease laid the foundation for European bourgeois drama, skillfully combining sprinkling of Italian popular comedy deal with French character comedy and treason intricate techniques.

Goldoni owes sovereignty pan-European significance to the accomplishment that, while drawing much wean away from Molière, he diverges from him towards greater realism and better lifelikeness in his characters. Blue blood the gentry characters of the "Italian Molière" are more diverse and deficient schematic than those of decency French playwright.

This was endorsed by his contemporaries. Voltaire styled him the "son and catamount of nature" and praised decency "naturalness" of his writing.