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As in a journey back in time, the stages of the first tournées of Italian actors in Russia in the 18th Century are retraced. By studying the translations of comedies and musical interludes, staged in St. Petersburg from 1731 to 1738, the practices of the first Italians who trod the stages of Tsarina Anna Ioannovna are rediscovered. Through the translation of the repertoire that has come down to us, the author reconstructs the traces of the Commedia dell'Arte and of the life and works of a handful of interpreters ready to face dangerous journeys in order to obtain gains and honors. The research, conducted on printed documents and primary archival sources, also based on the previous studies of Starikova and Ferrazzi, devotes particular attention to the biographies of the interpreters.

Theater. --- Courts and courtiers. --- Italian drama (Comedy)

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Venedig war im 18. Jahrhundert nicht nur ein Zentrum des Theatergeschehens, sondern zugleich Mittelpunkt lebendiger Theaterdiskussionen. Der sogenannte venezianische Theaterstreit mit den Protagonisten Carlo Goldoni und Carlo Gozzi erscheint in der Literatur- und Theatergeschichtsschreibung vielfach in Form einer vereinfachenden Reproduktion der Polemik. Das überwiegend kritisch-negative Gozzi-Bild korreliert mit einer einseitigen Hochschätzung Goldonis und der von ihm propagierten Theaterreform, wird dagegen Gozzi als Retter der Commedia dell ́arte verehrt, gilt Goldoni als ihr Totengräber. Die vorliegende Studie versucht, derartige Vorurteile aufzubrechen und Carlo Gozzis Fiabe teatrali als veritablen Gegenentwurf zu Goldonis Komödien und zum aufklärerischen Drama zu verstehen. Auf dem Hintergrund des italienischen Theaterkontexts im 18. Jahrhundert und der venezianischen Theaterszene der Zeit treten die Besonderheit der Märchenstücke und das Anliegen Gozzis deutlich zutage. Mit den Grundkonstituenten Märchen und Commedia dell ́arte wenden sich die Fiabe teatrali gegen ein Theater, das die Wirklichkeitsnähe betont und einen Nützlichkeitsanspruch verfolgt. Die Verbindung der wirklichkeitsfernen Elemente erfolgt in einer Art ars combinatoria, die auf Kontraststrukturen basiert und den artifiziellen Charakter unterstreicht. Damit tritt die Autonomie der theatralen Wirklichkeit hervor, und die Einbildungskraft wird zum entscheidenden Faktor. Das Märchenhafte wird allerdings zweifach an die Erfahrungswirklichkeit rückgebunden: zum einen finden sich in der Maskenrede direkte Verweise auf die nicht-theatrale Wirklichkeit, zum anderen scheinen in der Bühnenillusion Wahrheiten auf, die in der diskursiven Diskussion verborgen bleiben. So eröffnet das neue dramatische Genus der Fiabe teatrali die Möglichkeit, auf den Konstruktcharakter von Wirklichkeit hinzudeuten und die Problematik der Erkenntnis von Wahrheit in Szene zu setzen. In the eighteenth century, Venice was not only a center of theatre life but also a center for discussion about theatre. In literary and theatre history the well-known Venetian theatrical dispute, with its protagonists Carlo Goldoni and Carlo Gozzi, seem to provoke a simplistic reproduction of the polemics. A predominantly negative image of Gozzi is correlated with an appreciation of Goldoni and his dramaturgical reform, whereas while Gozzi is considered the savior of the commedia dell ́arte, Goldoni appears as ist grave-digger. This study tries to break open such prejudice, reading Gozzi ́s "Fiabe teatrali" as a veritable counterpoint to Goldoni ́s comedies and Enlightenment drama. Against the background of Italian theatre in the 18th century and contemporary Venetian theatricality, Gozzi ́s intention, as well as the special characteristics of his tales for the theatre, becomes evident. Using fairy tales and commedia dell ́arte as basic constituents for his "Fiabe teatrali", Gozzi responds to a theatre that emphasizes the reflection of everyday life and follows the concept of utility. The combination of elements are distanced from reality in a way that resembles an ars combinatoria, based on a structure of contrasts that underlines its artificial character. This displays the autonomy of theatrical reality and the importance of imagination. However, the fairy tale illusion refers back to reality in two ways: on the one hand the traditional masks comment directly current events, on the other hand theatrical illusion indirectly reveals truth that remains secret in discourse. As a new dramatic genre the "Fiabe teatrali" open the possibility to reflect on the constructed character of reality and to set on stage the problematic nature of the perception of truth.

Italian drama --- Gozzi, Carlo, --- Carlo Gozzi --- Italian theatre --- fairy tales --- commedia dell´arte --- illusion --- Enligthenment --- Harlekin --- Märchen --- Pantalone --- Polemik --- Theologische Realenzyklopädie --- Venedig

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Souvent méconnues, les sacre rappresentazioni naissent à Florence, au début du XVe siècle, sous l'impulsion des dominicains de Saint-Marc. Les buts de ce théâtre sont d'abord pédagogiques. Les enfants sont, à cette époque, au centre d'intérêts civils et religieux importants : il s'agit d'en faire de bons citoyens et de bons chrétiens. Mais les auteurs de sacre rappresentazioni sont des laïcs. Artisans ou fonctionnaires de l'État, leurs intérêts privés et leurs liens d'amitié les rattachent souvent aux Médicis. La représentation sacrée cèle alors et nourrit parfois un discours politique. Cette étude, résolument interdisciplinaire, retrace l'histoire de ce théâtre et plonge le lecteur dans l'esprit d'une époque. Elle décrypte les modes de pensée et les enjeux culturels ou politiques de ceux qui ont inauguré la Renaissance en Europe. Often unknown, the sacre rappresentazioni first appeared in Florence at the beginning of the 15th Century under the impetus of the Dominicans of Saint Marc. The objectives of this theatre are first and foremost pedagogical. In this time period, children are at the centre of civil and religious interests: the idea was to make them into good citizens and good Christians. But the authors of the sacre rappresentazioni are lay people. Artisans and servants of the State, their private interests and their friendship links often attach them to the Medicis… The sacred representation thus conceals and feeds a discourse that is occasionally political. This study, resolutely interdisciplinary, retraces the history of this theatre and puts the reader in the spirit of the time. It decodes the modes of thought and the cultural and political issues of those who inaugurated the Renaissance in Europe.

Theater --- Christian drama, Italian --- Fasts and feasts --- Religion and politics --- History --- Florence (Italy) --- Political science --- Politics, Practical --- Politics and religion --- Religion --- Religions --- Church festivals --- Ecclesiastical fasts and feasts --- Fast days --- Feast days --- Feasts --- Heortology --- Holy days --- Religious festivals --- Christian antiquities --- Days --- Fasting --- Liturgics --- Rites and ceremonies --- Theology, Practical --- Church calendar --- Festivals --- Holidays --- Sacred meals --- Italian Christian drama --- Italian drama --- Dramatics --- Histrionics --- Professional theater --- Stage --- Theatre --- Performing arts --- Acting --- Actors --- Religious aspects --- Political aspects --- Theater - Italy - Florence - History - To 1500 --- Christian drama, Italian - Italy - Florence - History - To 1500 --- Fasts and feasts - Italy - Florence - History - To 1500 --- Religion and politics - Italy - Florence - History - To 1500 --- Florence (Italy) - History - 1421-1737 --- Lucrezia Tornabuoni --- Florence --- théâtre sacré --- figures bibliques dans le théâtre --- sacre rappresentazioni