G. B. Basile's Fairy-Tale Collection and Theatre Forms Staged
in the Baroque: Motifs and Intertexts

k 2019

G. B. Basile's Fairy-Tale Collection and Theatre Forms Staged in the Baroque: Motifs and Intertexts

HURBÁNKOVÁ, Šárka

Základní údaje

Originální název

G. B. Basile's Fairy-Tale Collection and Theatre Forms Staged in the Baroque: Motifs and Intertexts

Název česky

Sbírka pohádek G. B. Basila a barokní divadelní formy: motivy a intertexty

Autoři

HURBÁNKOVÁ, Šárka (203 Česká republika, garant, domácí)

Vydání

22nd Annual Mediterranean Studies Association International Congress; University of Crete; Rethymnon, Greece; May 29 - June 1, 2019, 2019

Další údaje

Jazyk

angličtina

Typ výsledku

Prezentace na konferencích

Obor

60206 Specific literatures

Stát vydavatele

Řecko

Utajení

není předmětem státního či obchodního tajemství

Odkazy

URL URL

Kód RIV

RIV/00216224:14210/19:00109889

Organizační jednotka

Filozofická fakulta

Klíčová slova česky

G. B. Basile; divadelní formy; baroko; commedia dell'arte; pastorála

Klíčová slova anglicky

G. B. Basile; Theatre Forms; Baroque; commedia dell'arte; Pastoral Play

Štítky

rivok

Příznaky

Mezinárodní význam, Recenzováno

Změněno: 3. 4. 2020 10:02, Mgr. Igor Hlaváč

Anotace

V originále

Similarly to novels or fairy-tales, the Baroque drama reflects the entire life as in process. In most cases, it does not respect the unity of place, time and action, nor does it respect the purity of genres. Baroque on the Mediterranean stage shows a great variety of theatre forms: on one hand there are court performances staged on the occasion of various important celebrations (pastoral plays, tragicomedies, operas, etc.), while on the other, troupes of professional actors are touring the Mediterranean area with their own improvised plays, known as commedia dell'arte. This paper focuses on tracing the Baroque theatricality in the storytelling, especially on the search of theatrical elements or motifs and the intertexts between various theatre forms and fairy-tales. G. B. Basile moves from court to court and writes poems, musical dramas and pastoral plays for his patrons, as prominent scholars used to do. This activity is an existential necessity for him, while, presumably for his own pleasure, he collects inspiration in various places in Italy, which he is in charge of, and writes Lo Cunto de li Cunti, a collection of the first literary European fairy-tales that will make him famous posthumously. The direct allusions as well as possible influences of theatre forms on comic and tragicomic situations in Basile's fairy-tales will be discussed in detail.

Návaznosti

MUNI/A/1269/2018, interní kód MU

Název: Výzkum starověkých jazyků mediteránního prostoru, jejich písemnictví a příslušných kultur, včetně jejich recepce – 2019 (Akronym: Staré jazyky a kultury)

Investor: Masarykova univerzita, Výzkum starověkých jazyků mediteránního prostoru, jejich písemnictví a příslušných kultur, včetně jejich recepce – 2019, DO R. 2020_Kategorie A - Specifický výzkum - Studentské výzkumné projekty

Citovat

HURBÁNKOVÁ, Šárka. G. B. Basile's Fairy-Tale Collection and Theatre Forms Staged in the Baroque: Motifs and Intertexts. In 22nd Annual Mediterranean Studies Association International Congress; University of Crete; Rethymnon, Greece; May 29 - June 1, 2019. 2019.

@proceedings{1538918,
   author = {Hurbánková, Šárka},
   booktitle = {22nd Annual Mediterranean Studies Association International Congress; University of Crete; Rethymnon, Greece; May 29 - June 1, 2019},
   keywords = {G. B. Basile; Theatre Forms; Baroque; commedia dell'arte; Pastoral Play},
   language = {eng},
   title = {G. B. Basile's Fairy-Tale Collection and Theatre Forms Staged in the Baroque: Motifs and Intertexts},
   url = {https://www.mediterraneanstudies.org/2019-conference.html},
   year = {2019}
}

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KW  - commedia dell'arte
KW  - Pastoral Play
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N2  - Similarly to novels or fairy-tales, the Baroque drama reflects the entire life as in process. In most cases, it does not respect the unity of place, time and action, nor does it respect the purity of genres. Baroque on the Mediterranean stage shows a great variety of theatre forms: on one hand there are court performances staged on the occasion of various important celebrations (pastoral plays, tragicomedies, operas, etc.), while on the other, troupes of professional actors are touring the Mediterranean area with their own improvised plays, known as commedia dell'arte. This paper focuses on tracing the Baroque theatricality in the storytelling, especially on the search of theatrical elements or motifs and the intertexts between various theatre forms and fairy-tales. G. B. Basile moves from court to court and writes poems, musical dramas and pastoral plays for his patrons, as prominent scholars used to do. This activity is an existential necessity for him, while, presumably for his own pleasure, he collects inspiration in various places in Italy, which he is in charge of, and writes Lo Cunto de li Cunti, a collection of the first literary European fairy-tales that will make him famous posthumously. The direct allusions as well as possible influences of theatre forms on comic and tragicomic situations in Basile's fairy-tales will be discussed in detail.
ER  -

HURBÁNKOVÁ, Šárka. G. B. Basile's Fairy-Tale Collection and Theatre Forms Staged in the Baroque: Motifs and Intertexts. In \textit{22nd Annual Mediterranean Studies Association International Congress; University of Crete; Rethymnon, Greece; May 29 - June 1, 2019}. 2019.

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