102:
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32:
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1825:
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637:, but not according to those laid down for the Italian drama." "In France", continued the count, "you can try to please the public, but here in Italy it is the actors and actresses whom you must consult, as well as the composer of the music and the stage decorators. Everything must be done according to a certain form which I will explain to you."
851:, or improvised comedy. Goldoni took to himself the task of superseding the comedy of masks and the comedy of intrigue with representations of actual life and manners through the characters and their behaviours. He maintained that Italian life and manners were susceptible of artistic treatment such as had not been given them before.
689:, he became acquainted with the manager Medebac, he determined to pursue the profession of playwriting in order to make a living. He was employed by Medebac to write plays for his theatre in Venice. He worked for other managers and produced during his stay in that city some of his most characteristic works. He also wrote
582:
Educated as a lawyer, and holding lucrative positions as secretary and counsellor, he seemed, indeed, at one time to have settled down to the practice of law, but following an unexpected summons to Venice, after an absence of several years, he changed his career, and thenceforth he devoted himself to
908:
Goldoni's main characters are no abstract examples of human virtue, nor monstrous examples of human vice. They occupy the middle ground of human temperament. Goldoni maintains an acute sensibility for the differences in social classes between his characters as well as environmental and generational
905:. The moral and civil values that Goldoni promotes in his plays are those of rationality, civility, humanism, the importance of the rising middle class, a progressive stance on state affairs, honour and honesty. Goldoni had a dislike for arrogance, intolerance and the abuse of power.
441:. His works include some of Italy's most famous and best-loved plays. Audiences have admired the plays of Goldoni for their ingenious mix of wit and honesty. His plays offered his contemporaries images of themselves, often dramatizing the lives, values, and conflicts of the emerging
512:; as for the grandfather, he had died four years before Carlo's birth. In any case, Goldoni was deeply interested in theatre from his earliest years, and all attempts to direct his activity into other channels were of no avail; his toys were puppets, and his books were plays.
854:
His works are a lasting monument to the changes that he initiated: a dramatic revolution that had been attempted but not achieved before. Goldoni's importance lies in providing good examples rather than precepts. Goldoni says that he took for his models the plays of
551:) in which he ridiculed the daughters of certain Pavian families. As a result of that incident (and/or of a visit with some schoolmates to a local brothel), he was expelled from the school and had to leave the city (1725). He studied law at
900:
Goldoni was inspired by his love of humanity and the admiration he had for his fellow men. He wrote, and was obsessed with, the relationships that humans establish with one another, their cities and homes, and the study of
591:
where the theatre manager
Giuseppe Imer helped him on his way to becoming a comical poet as well as introducing him to his future wife, Nicoletta Conio. Goldoni returned with her to Venice, where he stayed until 1743.
866:, who accused Goldoni of having deprived the Italian theatre of the charms of poetry and imagination. The great success of Gozzi's fairy dramas so irritated Goldoni that it led to his self-exile to France.
722:
integrates elements of the
Commedia dell'arte with recognisable local and middle-class realities. His operatic works include two of the most successful musical comedies of the eighteenth century,
481:
In these memoirs, he paints himself as a born comedian, careless, light-hearted and with a happy temperament, proof against all strokes of fate, yet thoroughly respectable and honourable.
917:
As in other theatrical works of the time and place, the characters in
Goldoni's Italian comedies spoke originally either the literary Tuscan variety (which became modern Italian) or the
889:
upbringing. No thoughts are expressed about death or repentance in his memoirs or in his comedies. After his move to France, his position became clearer, as his plays took on a clear
1907:
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779:, which left him utterly disgusted with the tastes of his countrymen; so much so that in 1761 he moved to Paris, where he received a position at court and was put in charge of the
1952:
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and that whenever a piece of his own succeeded he whispered to himself: "Good, but not yet Molière". Goldoni's plays are gentler and more optimistic in tone than Molière's.
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Goldoni amply discusses the state of
Italian comedy when he began writing. At that time, Italian comedy revolved around the conventionality of the
824:; "She is old", he urged, "she is seventy-six, and her husband has left her no heritage save his illustrious name, his virtues and his poverty."
820:. The Convention eventually voted to restore his pension the day after his death. It was restored to his widow, at the pleading of the poet
2208:
921:, depending on their station in life. However, in some printed editions of his plays, he often turned the Venetian texts into Tuscan, too.
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but the youth soon ran away with a company of strolling players and returned to Venice. In 1723 his father matriculated him into the stern
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1872:
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There is an abundance of autobiographical information on
Goldoni, most of which comes from the introductions to his plays and from his
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508:, and claims that he was introduced to theatre by his grandfather Carlo Alessandro Goldoni. In reality, it seems that Giulio was an
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Goldoni gave to his country a classical form, which, though it has since been cultivated, has yet to be cultivated by a master.
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Submitting it to Count Prata, director of the opera, he was told that his piece "was composed with due regard for the rules of
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1956:
783:. He spent the rest of his life in France, composing most of his plays in French and writing his memoirs in that language.
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writing plays and managing theatres. His father died in 1731. In 1732, to avoid an unwanted marriage, he left the town for
504:
in 1707, the son of
Margherita Salvioni (or Saioni) and Giulio Goldoni. In his memoirs, Goldoni describes his father as a
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685:("The Man of the World"). During his many wanderings and adventures in Italy, he was constantly at work and when, at
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980:, directed by Alessandro Bettero, was released in 2007 and is available in English, Italian, French, and Japanese.
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Goldoni thanked his critic, went back to his inn and ordered a fire, into which he threw the manuscript of his
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718:'. Galuppi composed the score for more than twenty of Goldoni's librettos. As with his comedies, Goldoni's
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943:, which has been translated and adapted internationally numerous times. In 1966 it was adapted into an
651:, written in 1734, was more successful, though of its success he afterwards professed himself ashamed.
478:. However, these memoirs are known to contain many errors of fact, especially about his earlier years.
1781:. Letteratura ed arte veneta (No. 4) (in Italian). Venice: Edizioni della Fortuna. 1957. p. 89.
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1680:"Carlo Goldoni Venezia Gran Teatro del Mondo – Carlo Goldoni Venice Grand Theatre of the World"
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He wrote other tragedies for a time, but he was not long in discovering that his bent was for
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in 1738. By 1743, he had perfected his hybrid style of playwriting (combining the model of
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comedies. He had already begun writing at this time and, in his third year, he composed a
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changes. Goldoni pokes fun at the arrogant nobility and the pauper who lacks dignity.
808:. It premiered on 4 February 1771, almost nine months after the dauphin's marriage to
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as his model, he went to work in earnest and in 1738 produced his first real comedy,
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812:. Goldoni enjoyed considerable popularity in France; in 1769, when he retired to
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1467:, "The True Friend" translated by Anna Cuffaro. Publisher: Sparkling Books.
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677:. He had come to realize that the Italian stage needed reforming; adopting
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1856:
Webpage devoted to Carlo
Goldoni (lletrA (UOC), Catalan Literature Online)
1963:
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449:, regional vernacular, and colloquialisms. Goldoni also wrote under the
445:. Though he wrote in French and Italian, his plays make rich use of the
1766:, second edition, edited by Martin Banham. Cambridge University Press.
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for bilingual edition
English/Italian of The True Friend/Il vero amico
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Goldoni's plays that were written while he was still in Italy ignore
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626:, produced in Milan. The play was a critical and financial failure.
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It was this very success that was the object of harsh critiques by
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567:, after which he returned to his native city and began practising.
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His father placed him under the care of the philosopher
Caldini at
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Among the plays which he wrote in French, the most successful was
1762:
Richards, Kenneth (1995). "Goldoni, Carlo", pp. 432–434, in
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that a considerable part of his time was spent reading Greek and
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1849:
1735:
The Drama: Its
History, Literature and Influence on Civilization
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The following is a small sampling of Goldoni's enormous output.
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In 1753, following his return from Bologna, he defected to the
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1746:
A Servant of Many Masters: The Life and Times of Carlo Goldoni
816:, the King gave him a pension. He lost this pension after the
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19:"Goldoni" redirects here. For the tractor manufacturer, see
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tone and often satirized the hypocrisy of monks and of the
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and his own wit and sincerity). This style was typified in
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1058:, (1745) "The Servant of Two Masters" (now often retitled
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subjects. This may be surprising, considering his staunch
347:
1866:, prepared for the 200th anniversary of his death (1993)
1623:. John Black (trans.). London: Henry Colburn. p. 331
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388:
344:
1590:
The American Heritage Dictionary of the English Language
775:
In 1757, he engaged in a bitter dispute with playwright
1315:(1758, incorrectly recorded as 1750 in Zatta's edition)
714:, making significant contributions to the new form of '
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Dramatists and playwrights from the Republic of Venice
838:
755:
family, where he performed most of his plays to 1762.
1124:, "The True Friend" (1750) translated by Anna Cuffaro
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1454:
Goldoni's collected works. Zalta, Venice (1788–1795)
1445:, "New Comic Theater", plays. Pitteri, Venice (1757)
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710:After 1748, Goldoni collaborated with the composer
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978:Carlo Goldoni – Venice, Grand Theatre of the World
662:and served for a time as literary director of the
616:Goldoni entered the Italian theatre scene with a
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2174:18th-century Italian dramatists and playwrights
937:One of his best-known works is the comic play
2199:University of Modena and Reggio Emilia alumni
1979:
924:
429:; 25 February 1707 – 6 February 1793) was an
535:on its students. However, he relates in his
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1993:
1986:
1972:
1803:– the English website dedicated to Goldoni
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1180:, "The Love of Zelinda and Lindoro" (1764)
965:. Its popularity led to a transfer to the
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484:
76:Learn how and when to remove this message
1929:"Carlo Goldoni and Venetian Freemasonry"
1459:Selected translations of Goldoni's works
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707:, the first Italian comedy of its kind.
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488:
39:This article includes a list of general
2194:Italian male dramatists and playwrights
1914:A riotous delight of commedia dell'arte
1904:(text, concordances and frequency list)
1731:"Goldoni", vol. 5, pp. 63–69
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457:, which he claimed in his memoirs the "
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1967:
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1737:. London/New York: Smart and Stanley.
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1092:, "The Gentleman and the Lady" (1749)
424:
1959:from the original on 23 August 2015.
1897:Works by Goldoni at Progetto Manuzio
595:
559:. He was employed as a law clerk at
555:, and eventually took his degree at
25:
2209:Members of the Academy of Arcadians
1394:, "The Revenge of the Women" (1751)
1108:, "The Comical Theatre" (1750–1751)
1100:, "The Antiquarian's Family" (1750)
1062:"Harlequin Servant of two Masters")
1060:Arlecchino servitore di due padroni
839:Goldoni's impact on Italian theatre
13:
1635:
1140:, "The Mistress of the Inn" (1751)
832:Commedie del dottore Carlo Goldoni
45:it lacks sufficient corresponding
14:
2230:
2214:18th-century pseudonymous writers
2179:18th-century Italian male writers
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1070:, "The Two Venetian Twins" (1747)
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957:National Theatre of Great Britain
654:During this period he also wrote
426:[ˈkarlooˈzvaldoɡolˈdoːni]
1939:from the original on 6 June 2013
1889:La Avventura Della Villeggiatura
1842:
1172:, "The Chioggia Scuffles" (1762)
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340:
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1910:, Tricentenary of Carlo Goldoni
1826:Works by or about Carlo Goldoni
933:Goldoni on a Soviet stamp, 1958
578:(sculpted by Antonio Dal Zotto)
496:birthplace of Goldoni in Venice
455:Polisseno Fegeio, Pastor Arcade
164:Polisseno Fegeio, Pastor Arcade
2123:Gli amori di Zelinda e Lindoro
1764:The Cambridge Guide to Theatre
1729:Bates, Alfred, editor (1903).
1702:
1672:
1663:
1647:
1605:
1577:
1562:Merriam-Webster.com Dictionary
1549:
1497:
1177:Gli amori di Zelinda e Lindoro
1132:, "Women's Gossip" (1750–1751)
990:List of works by Carlo Goldoni
666:, Venice's most distinguished
16:Italian playwright (1707–1793)
1:
2184:18th-century Venetian writers
1593:(5th ed.). HarperCollins
1542:
1084:, "The Honorable Maid" (1749)
730:), set by Galuppi (1752) and
107:
997:
464:
7:
1841:(public domain audiobooks)
1413:, "The Happy Lovers" (17??)
1277:(1782) and other composers.
1198:Gustavo primo, re di Svezia
1097:La famiglia dell'antiquario
1076:, "The Shrewd Widow" (1748)
1055:Il servitore di due padroni
1047:
10:
2235:
2075:I pettegolezzi delle donne
2011:The Servant of Two Masters
1723:
1129:I pettegolezzi delle donne
987:
925:Goldoni in popular culture
469:
461:of Rome" bestowed on him.
18:
2189:Italian opera librettists
2005:
1779:Ritratti di Carlo Goldoni
1451:, "Memoirs". Paris (1787)
1430:Il quaresimale in epilogo
1417:
1407:, "The Wise Nymph" (17??)
955:adapted the play for the
947:by the American composer
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2043:The Antiquarian's Family
1713:15 February 2012 at the
1491:
1477:with an introduction by
1436:
1377:Florian Leopold Gassmann
1293:Il mercato di Malmantile
1148:"The Feudal Lord" (1752)
1116:, "The Liar" (1750–1751)
1037:, "The Dissolute" (1735)
759:Move to France and death
2083:The Mistress of the Inn
1953:"Freemasonry in Venice"
1684:www.goldonithemovie.com
1612:Goldoni, Carlo (1814).
1506:was used for operas by
1361:Wolfgang Amadeus Mozart
1287:The Country Philosopher
1282:Il filosofo di campagna
1067:I due gemelli veneziani
728:The Country Philosopher
724:Il filosofo di campagna
664:San Giovanni Grisostomo
604:Monument to Goldoni in
574:Monument to Goldoni in
316:The Mistress of the Inn
60:more precise citations.
2035:Il cavaliere e la dama
1850:www.sparklingbooks.com
1835:Works by Carlo Goldoni
1816:Works by Carlo Goldoni
1807:Works by Carlo Goldoni
1399:Cantatas and serenades
1089:Il cavaliere e la dama
940:Servant of Two Masters
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772:
767:Bust of Goldoni, near
697:with the strengths of
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485:Early life and studies
309:Servant of Two Masters
2115:Le baruffe chiozzotte
1923:Catholic Encyclopedia
1657:Le bourru bienfaisant
1297:The Malmantile Market
1263:The World on the Moon
1169:Le baruffe chiozzotte
1156:, "The Lovers" (1759)
1041:Rinaldo di Montalbano
932:
830:
789:Le bourru bienfaisant
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336:Carlo Osvaldo Goldoni
121:Carlo Osvaldo Goldoni
1908:Venice Carnival 2007
1801:www.carlogoldoni.net
1690:on 28 September 2021
1528:Ermanno Wolf-Ferrari
1218:Opera buffa libretti
1205:Oronte, re de' Sciti
1185:Opera seria libretti
1164:, "The Boors" (1760)
1031:Don Giovanni Tenorio
962:One Man, Two Guvnors
557:University of Modena
527:, which imposed the
500:Goldoni was born in
225:University of Modena
1921:– biography in the
1748:. London: Jupiter.
1644:Banham (1998, 433).
1512:La donna di spirito
1508:Marcello Bernardini
1443:Nuovo teatro comico
1384:Intermezzo libretti
1375:) by Haydn (1770),
1289:) by Galuppi (1754)
1265:), set to music by
1259:Il mondo della luna
1238:L'Arcadia in Brenta
913:Venetian and Tuscan
806:Louis XVI of France
139:(present-day Italy)
2204:Italian memoirists
2169:Commedia dell'arte
2019:The Venetian Twins
1933:thefreelibrary.com
1864:Detailed biography
1621:Memoirs of Goldoni
1391:Le donne vendicate
1320:La buona figliuola
1311:, set to music by
1228:The Young Countess
935:
849:Commedia dell'arte
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712:Baldassare Galuppi
700:Commedia dell'arte
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521:Collegio Ghislieri
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439:Republic of Venice
137:Republic of Venice
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1811:Project Gutenberg
1565:. Merriam-Webster
1533:La vedova scaltra
1504:La vedova scaltra
1411:Gli amanti felici
1357:The Fake Innocent
1352:La finta semplice
1074:La vedova scaltra
949:Vittorio Giannini
818:French Revolution
705:La Donna di garbo
596:Theatrical career
447:Venetian language
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2027:La putta onorata
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1943:20 September
1941:. Retrieved
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1892:(in Italian)
1884:(in Italian)
1876:(in Italian)
1868:(in Italian)
1859:(in Catalan)
1778:
1763:
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1704:
1692:. Retrieved
1688:the original
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1625:. Retrieved
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1567:. Retrieved
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1484:Unmuzzled OX
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1471:Archifanfaro
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285:middle class
149:(1793-02-06)
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66:January 2021
63:
44:
2164:1793 deaths
2159:1707 births
2078:(1750–1751)
2062:(1750–1751)
2054:(1750–1751)
1627:6 September
1514:) in 1770,
1475:W. H. Auden
1432:(1725–1726)
1336:Lo speziale
1113:Il bugiardo
951:. In 2011,
945:opera buffa
864:Carlo Gozzi
777:Carlo Gozzi
720:opera buffa
716:opera buffa
668:opera house
660:opera seria
251:tragicomedy
111: 1757
58:introducing
2148:Categories
1820:Faded Page
1543:References
1424:Il colosso
1301:Fischietti
1191:Amalasunta
1161:I rusteghi
903:philosophy
814:Versailles
769:Notre Dame
740:), set by
642:Amalasunta
623:Amalasunta
549:Il colosso
510:apothecary
453:and title
435:librettist
295:Classicism
283:Humanity,
181:librettist
176:Playwright
169:Occupation
126:1707-02-25
41:references
2107:The Boors
1787:860483793
1585:"Goldoni"
1557:"Goldoni"
1522:in 1773,
1518:in 1774,
1275:Paisiello
1213:(c. 1740)
1201:(c. 1738)
1025:Belisario
998:Tragedies
976:The film
879:religious
753:Vendramin
656:librettos
649:Belisario
631:Aristotle
545:libellous
506:physician
465:Biography
459:Arcadians
437:from the
234:from 1725
213:Education
2059:The Liar
1957:Archived
1937:Archived
1839:LibriVox
1822:(Canada)
1744:(1976).
1711:Archived
1449:Mémoires
1273:(1777),
1269:(1750),
1048:Comedies
1011:Griselda
1004:Rosmonda
971:Broadway
967:West End
887:Catholic
798:Louis XV
771:in Paris
744:(1760).
606:Florence
561:Chioggia
451:pen name
422:Italian:
261:libretto
199:Venetian
193:Language
161:Pen name
156:, France
106:Goldoni
2131:The Fan
1828:at the
1724:Sources
1694:31 July
1597:25 July
1569:25 July
1267:Galuppi
1253:Galuppi
1244:Arcadia
1232:Maccari
1211:Statira
857:Molière
845:Memoirs
843:In his
802:dauphin
751:of the
695:Molière
687:Livorno
679:Molière
618:tragedy
537:Memoirs
529:tonsure
476:Memoirs
470:Memoirs
431:Italian
280:Subject
271:memoirs
256:tragedy
202:Italian
54:improve
2134:(1765)
2126:(1764)
2118:(1762)
2110:(1760)
2102:(1759)
2094:(1752)
2086:(1751)
2070:(1750)
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2038:(1749)
2030:(1749)
2022:(1745)
2014:(1745)
1785:
1770:
1752:
1614:"XVII"
1418:Poetry
1379:(1771)
1363:(1769)
1347:(1768)
1331:(1760)
1303:(1757)
1255:(1749)
1248:Brenta
1234:(1743)
1207:(1740)
1193:(1732)
1043:(1736)
1033:o sia
1027:(1734)
1014:(1734)
1006:(1734)
895:Church
873:Themes
834:(1753)
675:comedy
635:Horace
589:Verona
576:Venice
565:Feltre
547:poem (
517:Rimini
502:Venice
326:Spouse
266:poetry
246:Comedy
231:Period
205:French
185:lawyer
133:Venice
43:, but
1995:Works
1733:, in
1492:Notes
1437:Books
1359:) by
1343:) by
1327:) by
1299:) by
1271:Haydn
1251:) by
1230:) by
585:Milan
553:Udine
541:Latin
525:Pavia
239:Genre
154:Paris
1945:2018
1783:OCLC
1768:ISBN
1750:ISBN
1696:2011
1629:2008
1599:2019
1571:2019
1510:(as
1242:The
881:and
658:for
633:and
563:and
531:and
375:also
144:Died
118:Born
1997:by
1837:at
1818:at
1809:at
1481:in
1246:in
959:as
523:in
216:Law
2150::
1955:.
1935:.
1931:.
1682:.
1637:^
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416:-/
407:oʊ
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392:ɔː
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380:US
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360:oʊ
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1973:v
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