In 2003, a trove of handwritten texts and unpublished documents by Gasparo and Carlo Gozzi came to light. This corpus, known as the Fondo Gozzi [Gozzi Archives], was acquired by the Biblioteca Nazionale Marciana, in Venice. Among the thousands of pages, there are 37 that refer specifically to a theatrical fairy tale written by Carlo Gozzi, "Re cervo" [The Stag King] (Gozzi 4.1), which was performed at the San Samuele theater, in Venice, in January 1762. The stratigraphy of the papers found led to the publishing of a critical assessment of the factors behind the composition of Re cervo, which had previously been based solely on the documents already in possession of the Marciana, acquired in 1932. By analyzing the variances in the examples of "Re cervo" presented in the critical edition curated by Valentina Garavaglia, it is possible, on one hand, to compare the final, printed text with the script, probably employed for the work’s first performance and to even earlier compositions, and on the other, to grasp the differences between the writing mode of a playwright composing Re cervo while thinking of its impending performance and an author who, post hoc, reviews the text in light of its future publication in printed form. The meticulous examination of the compositional underpinnings of the fairy tale outlines the profile of a scholar who is able to think “theatrically”, imagining staging and technical aspects that resolve the problems posed by the text and including psychological indications in the script as well as advice to the actors about how to interpret the lines. These are shortened or eliminated in the version to be published, and the author’s work, as documented in some of the initial phases in these manuscripts, can be seen as a kind of open play-writing, still in formation.

Nel 2003 si colloca il ritrovamento di un gran numero di testi manoscritti e documenti inediti ascrivibili a Gasparo e Carlo Gozzi. Tale patrimonio, denominato Fondo Gozzi, è stato acquisito dalla Biblioteca Nazionale Marciana in Venezia. Fra le migliaia di carte se ne trovano 37 che si riferiscono specificamente alla fiaba teatrale di Carlo Gozzi "Re cervo" (Gozzi 4.1), andata in scena al teatro San Samuele in Venezia nel gennaio del 1762. La stratigrafia del materiale cartaceo pervenuto ha permesso la formulazione di un’edizione critica puntuale, intorno alla vicenda compositiva di Re cervo fino ad oggi dedotta dai soli autografi marciani acquisiti nel 1932. Attraverso l’analisi delle varianti fra i testimoni di "Re cervo" presenti nell’edizione critica a cura di Valentina Garavaglia sembra possibile, da un lato, risalire dal testo definitivo a stampa al copione probabilmente impiegato per la prima rappresentazione dell’opera, fino a redazioni anteriori; d’altro lato, cogliere la differenza fra le modalità di scrittura dell’uomo di teatro che compone Re cervo pensando alla sua immediata messinscena e il letterato che, a posteriori, modifica il testo nella prospettiva della sua pubblicazione a stampa. Lo studio capillare del sottosuolo compositivo della fiaba disegna il profilo di un letterato capace di pensare “in chiave teatrale”, prefigurando soluzioni scenografiche e scenotecniche ai problemi di allestimento posti dalle invenzioni testuali, fissando nel copione indicazioni psicologiche, interpretative e prossemiche destinate agli attori. Tali materiali risultano sintetizzati o addirittura eliminati nella stesura destinata alla stampa, sicché il lavoro dell’autore può configurarsi, nelle prime fasi documentate in alcuni dei testimoni manoscritti, come una sorta di drammaturgia aperta, non definitiva.

Il re cervo, 2013.

Il re cervo

Garavaglia, Valentina
2013-01-01

Abstract

In 2003, a trove of handwritten texts and unpublished documents by Gasparo and Carlo Gozzi came to light. This corpus, known as the Fondo Gozzi [Gozzi Archives], was acquired by the Biblioteca Nazionale Marciana, in Venice. Among the thousands of pages, there are 37 that refer specifically to a theatrical fairy tale written by Carlo Gozzi, "Re cervo" [The Stag King] (Gozzi 4.1), which was performed at the San Samuele theater, in Venice, in January 1762. The stratigraphy of the papers found led to the publishing of a critical assessment of the factors behind the composition of Re cervo, which had previously been based solely on the documents already in possession of the Marciana, acquired in 1932. By analyzing the variances in the examples of "Re cervo" presented in the critical edition curated by Valentina Garavaglia, it is possible, on one hand, to compare the final, printed text with the script, probably employed for the work’s first performance and to even earlier compositions, and on the other, to grasp the differences between the writing mode of a playwright composing Re cervo while thinking of its impending performance and an author who, post hoc, reviews the text in light of its future publication in printed form. The meticulous examination of the compositional underpinnings of the fairy tale outlines the profile of a scholar who is able to think “theatrically”, imagining staging and technical aspects that resolve the problems posed by the text and including psychological indications in the script as well as advice to the actors about how to interpret the lines. These are shortened or eliminated in the version to be published, and the author’s work, as documented in some of the initial phases in these manuscripts, can be seen as a kind of open play-writing, still in formation.
Gozzi, Carlo
Il re cervo
Italiano
2013
978-88-317-1661-1
325
Italy
Venezia
Marsilio
A stampa
internazionale
comitato scientifico
Settore L-ART/05 - Discipline Dello Spettacolo
Edizione nazionale promossa dal Ministero per i beni e le attività culturali. (d.m. 2/8/2007)
1
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Utilizza questo identificativo per citare o creare un link a questo documento: https://hdl.handle.net/10808/8046
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