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

Basic information

Original name

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

Name in Czech

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

Authors

HURBÁNKOVÁ, Šárka (203 Czech Republic, guarantor, belonging to the institution)

Edition

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

Other information

Language

English

Type of outcome

Prezentace na konferencích

Field of Study

60206 Specific literatures

Country of publisher

Greece

Confidentiality degree

není předmětem státního či obchodního tajemství

References:

URL URL

RIV identification code

RIV/00216224:14210/19:00109889

Organization unit

Faculty of Arts

Keywords (in Czech)

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

Keywords in English

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

Abstract

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.

Links

MUNI/A/1269/2018, interní kód MU

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

Investor: Masaryk University, Category A

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.

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   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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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.

Detailed Information on Publication Record