Theater in a country is important because it represents and present a contribution in terms of culture that no other medium is in grade to donate to viewers.
That's why because close to narrative books, it would be important to re-discover also these productions, fairy-tales, thoughts for the theater.
Reading these books mean to enter in a completely different world! They musn't remain books just for a niche of people, but extended to everyone! They're fun, they add a different dimension to our existence, because of their pathos!
Marsilio recently published this book Turandot
by Carlo Gozzi edited by Nadia Palazzo preface by Paolo Bosisio, narrating a fairy-tales that inspired later music, lyrics and many genres.
The same Gozzi, born in 1806, lived a big compatition with Carlo Goldon.
Turandot, you can't believe it, was written because of a discussion with other contemporaries who had heavily critized his first plays. Goldoni was seen as a rival by Gozzi; Gozzi wanted to distance himself from him: he wanted to donate to his productions the wonder and the incredible, against the goldonian realism.
Gozzi immersed himself in theTurandot, that speaks mainly of fascinating distant lands, re-seen in an exotic, sometimes altered vision.
Suspence will be helped, created and supported by a character, the one of Turandot that is immersed in a "demoniac fascination."
This genre, the fairy-tale one was also supported by some productions printed in France: Le Cabinet de Fées that Gozzi knew very well.
In his Turandot Gozzi, anyway, won't never forget his Venezia, so that the Turandot will have more than an italian touch.
The competition with Carlo Goldoni will reach high levels and the same Goldoni at a certain point will leave Venezia for Paris, because of the success of Carlo Gozzi.
The Turandot, represented at first by the company of mr.Sacchi will remain for an entire week and although there are not real witnesses of the coreography wanted by Gozzi, it can be understood very well a lot from the writings of the author. Although this Turandot had had great success and was immensley beloved, a real oblivium accompanied during the other centuries these fairy-tales wanted by Gozzi. Why this? The reasons must be researched in the complexities that the Gozzi's fairy-tales have and the difficulties that a too elaborated coreography brings with it. Not all the companies can represents a Gozzi's fairy-tales. Sure they can represents Goldoni.
The problem, also in this moment, of this competition between Gozzi and Goldoni, remains real.
Turandot bewitched also Goethe and Schiller, obtaining the complete consacration in the lyric thanks to Gioacchino Puccini.
Highy recommended
I thank Marsilio for the physical copy of this book.
Anna Maria Polidori
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