International Conference "Theatre Between Tradition and Contemporaneity"
Theatre - Dance - Music - Visual & Multimedia Art - Arts Administration - Performing Arts Training - Theatre Design & Technology

December 16 - 20, 2017


From Goldoni to Chekhov:  Bridging the Visible To the Invisible.
 

Presentation and talk by Art Horowitz, Ph.D., Associate Professor of Theatre and Dance, Department of Theatre, Pomona College (USA).   


Art Horowitz is a Professor of Theatre at Pomona College in Claremont, California. His writing includes publications such as The Journal for Cultural and Religious Theory, Contemporary Dramatists, New England Theatre Journal, The Journal of Beckett Studies, and Western European Stages. His book Prospero’s ‘True Preservers’ was published by the University of Delaware Press and his chapter, “Scrutinizing the feminine in Waiting for Godot,” recently appeared in In Dialogue with Godot: Waiting and Other Thoughts. Art’s current research project is delineating the common dramaturgical and emotional threads linking the characters and relationships in Anton Chekhov’s works and those in the late plays of Carlo Goldoni. This, his sabbatical year, includes research work in Goldoni’s Venice and Milan and Chekhov’s St. Petersburg and Moscow. 


PRESENTATION OVERVIEW

The parallels between the late plays of Carlo Goldoni and those of Anton Chekhov, two of Europe’s most influential playwrights of the eighteenth and nineteenth century are extremely strong, yet surprisingly unchartered. Each dramatist consigned himself to chronicling the collapse of his homeland’s fading aristocracy and the socio-economic shift resulting from the increasingly clamorous voices and the unrest within their nations underclasses. And each writer depicted this enormous economic and emotional turmoil with a tone of gentle clarity, wit and wisdom belying the approaching and foreboding fate of 19th century Venice and post-Revolution Russia.

There has been little scholarship that dramaturgically links these two great dramatists, yet by looking closely at such late career plays of Goldoni as Villegiatura and Le Baruffe Chiozzote and Chekhov’s great four play cycle of the 1890 – 1904 era, I strive to fill draw attention to this gap in dramatic literary criticism. 

It is my contention that the late plays of Goldoni anticipate the bittersweet modern tragicomedy of Chekhov, thus acknowledging Carlo Goldoni, long recognized for his early work in reforming and reviving Italian commedia dell’arte as one of the earliest and most influential of modern playwrights while recognizing and affirming the relevance of both dramatists upon the contemporary stage.

   


Organized by IUGTE in collaboration with "ArtUniverse"