Supervisors info:
Σγουρίδου Μαρία, καθηγήτρια, Τμήμα Ιταλικής γλώσσας και Φιλολογίας , Φιλοσοφική Σχολή ΕΚΠΑ
Ζώρας Γεράσιμος, καθηγητής, Τμήμα Ιταλικής γλώσσας και Φιλολογίας, Φιλοσοφική Σχολή ΕΚΠΑ
Τσόλκας Ιωάννης, καθηγητής , Τμήμα Ιταλικής γλώσσας και Φιλολογίας, Φιλοσοφική Σχολή ΕΚΠΑ
Summary:
ABSTRACT
Carlo Goldoni, is a typical child of 18th century Venice who wishes to give a realistic portrayal of the society of his time, which coincides with the last period of prestige and prestige of the Republic of Gaul. Thus, although he begins his theatrical production with scripts composed for the once very successful italian popular comedy, the Commedia dell' Arte, he soon realises that this long popular theatrical genre is in decline. Convinced that the theatre going public of his time 'deserved better', he decided to reform traditional italian comedy, but in a gradual manner so as not to provoke a strong reaction. A particularly important "moment" in Goldoni's reform project is the writing of his drama comico per musica, Il conte Caramella (1749), in which the Venetian comedian makes multiple changes that bring this particular work much closer to the point he dreams of bringing popular comedy to. He successfully makes such changes, in the work that the present study deals with, thanks to the exploitation, on the one hand, of the adoption in Il conte Caramella of values and universal ideals drawn from Homer's Odyssey (with which he had come into contact as a member of the literary Academies of his time) and, on the other hand, by preserving in the characters of his "heroes" elements drawn from typical and so popularly loved types of the Commedia dell' Arte. Elissavet Gostopoulou, in the only translation of the play in Greek to date, through which theatre-goers in our country have had the opportunity to get to know the original work of the Venetian author under study, not having studied the changes that Goldoni has brought about in this play, he popularized to an excessive degree the content as a whole and reduced his characters to the level of caricatures, dressing them linguistically and, by extension, behaviorally, with popularized characteristics.
Keywords:
KEYWORDS: Il conte Caramella, reform, Homer's Odyssey, Greek translation, Commedia dell'Arte.
