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"First I've got no master, then all of a sudden I've got two!...I can't wait on both of them....Wait a minute....Get two pay packets, and eat and drink for two? Why not?" Carlo Goldoni's crafty servant who turns somersaults to please both his masters and serve himself is one of the great classic commedia dell'arte plays of world drama. This new adaptation by Dorothy Louise"First I've got no master, then all of a sudden I've got two!...I can't wait on both of them....Wait a minute....Get two pay packets, and eat and drink for two? Why not?" Carlo Goldoni's crafty servant who turns somersaults to please both his masters and serve himself is one of the great classic commedia dell'arte plays of world drama. This new adaptation by Dorothy Louise captures the remarkable pace of the story in fresh dialogue that is attuned to contemporary American audiences....

Title : The Servant of Two Masters
Author :
Rating :
ISBN : 9781566635363
Format Type : Paperback
Number of Pages : 128 Pages
Status : Available For Download
Last checked : 21 Minutes ago!

The Servant of Two Masters Reviews

  • Horalka97
    2018-10-22 00:58

    Jednohubka, která pobaví. Tuto divadelní hru jsem milovala jako malá a pořád si ji na kazetě přetáčela. Nikdy nezapomenu na Donutilovo lepení chlebem a na jeho pudlik :D

  • Chiara Pagliochini
    2018-10-23 18:52

    “Oh bella! Ghe n’è tanti che cerca un padron, e mi ghe n’ho trovà do. Come diavol oia da far? Tutti do no li posso servir. No? E perché no? No la saria una bella cossa servirli tutti do, e guadagnar do salari, e magnar el doppio?”Mi viene il dubbio che io sia francamente impazzita. Tre giorni fa non mi sarebbe mai passato per la testa che potessi leggere Goldoni con tanta serenità, disponibilità, persino allegria. Tre giorni fa, quando l’ho messo nella valigia, pensavo soltanto, Cristo, sarà ora di sbarazzarsi di questa roba oscena, così do l’esame al più presto e chi s’è visto s’è visto. Tre giorni fa non avrei neanche pensato che in questo breve lasso di tempo fosse possibile rivalutare la mia posizione nei confronti del teatro, dopo averlo denigrato per mesi con così vivo accanimento. Eppure, eccomi qui ad ammettere i miei errori di valutazione e la mia ignoranza. Ora, io non dico che leggere l’Arlecchino sia l’esperienza artistica più preziosa da darsi nel corso della vita. Anzi. Però è meno terribile di come uno se lo immagina. È Goldoni a dare il via a una riforma del teatro su vasta scala, riforma che lo porterà ad assumere la forma che noi conosciamo. E l’Arlecchino si inserisce in questo progetto come il primo passo avanti, il primo compromesso con un pubblico abituato ad altre salse. Nel Sei-Settecento il teatro, almeno di un certo tipo, era stato teatro di piazza e di strada, il dominio della Commedia dell’Arte. Gli attori, coi loro abiti sbrindellati, i carrozzoni, i sipari scoloriti, i tendoni allestiti alla buona, viaggiavano coi loro canovacci di città in città, rappresentando spettacoli che molto dovevano all’improvvisazione e che si fondavano sul sistema delle maschere. Arlecchino (o Truffaldino), Pantalone, Brighella, Smeraldina, così nascono quei personaggi fissi che io tendo ad associare al Carnevale – forse perché per Carnevale, quando ero all’asilo, ci davano da ricopiare ogni anno i disegni di queste maschere tradizionali (se cerco bene, negli vecchi album, avrò almeno quattro Colombine). Goldoni arriva col suo progetto di riforma, prende quel che può, inizia a fare altro. Perché nel suo Arlecchino, a differenza di quanto avvenuto finora, gran parte del testo è scritto e solo un poco è lasciato all’improvvisazione; perché le maschere ci sono, ma non sono più quelle di una volta: Pantalone abbandona la sua consueta avarizia per diventare un padre affezionato, Brighella passa da servitore a proprietario di locanda, Arlecchino assume una personalità, uno stampo caratteriale sconosciuto alla tipicità della maschera. È proprio Arlecchino il centro pulsante della vicenda, l’elemento unificante, l’orditore di intrighi, il catalizzatore dell’attenzione del pubblico, col suo colorito accento misto di veneziano e bergamasco, i suoi salti, il suo appetito insaziabile. Ed è Arlecchino che seguiamo con trepidazione nel suo tentativo di servire contemporaneamente due padroni, senza che nessuno sappia dell’altro, così da non esser bastonato e mangiar per due. E alla fine di una sola giornata sarà sì stato promotore di due tentativi di suicidio e di innumerevoli frottole, ma sarà anche suo il merito di due riconciliazioni e ben tre matrimoni. Animato allo stesso tempo da furbizia e ingenuità, Arlecchino si destreggia con una briosità che a teatro farebbe (e ha fatto e fa ancora) piovere minuti di applausi. Ma quel che più mi ha colpito di questa esperienza con l’Arlecchino non è stato il testo in sé quanto tutti i documenti contenuti nella mia edizione BUR. E adesso lasciate che io esprima amore incondizionato per queste edizioni: introduzioni curatissime, note di regia, tutti gli strumenti necessari per apprezzare un testo non soltanto nella sua singolarità, ma come elemento di un tessuto più ampio e più complesso che è la messa in scena di quel testo. Questa edizione dell’Arlecchino, in particolare, riporta il diario di un attore in occasione di un tour europeo dello spettacolo (1957, per la regia di Giorgio Strehler) e il ricordo che Strehler fa di Marcello Moretti, storico interprete di Arlecchino. Testimonianze a loro modo entrambe istruttive e toccanti che mi hanno fatto capire che il teatro non è soltanto quella porcheria che ho guardato per settimane in videocassetta, ma soprattutto è umanità, dedizione e quasi una forma altra di intendere la vita.

  • Stela
    2018-11-05 18:39

    Je ne me rappelle pas si j’ai déjà lu une autre pièce dans le genre commedia dell’arte. Je pense que non. J’ai lu, évidemment, des œuvres inspirées par celui-ci (et je pense surtout à Molière et à Beaumarchais, mais à Shakespeare aussi), pourtant jusqu’à maintenant mes connaissances du genre étaient simplement théoriques. Je sais également qu’Arlequin valet de deux maîtres n’est pas une comédie typique non plus – le génie de Carlo Goldoni qui a révolutionné d’ailleurs la dramaturgie ne se contente pas à respecter les règles de l’art et introduit, avec la comédie de situation, la comédie des caractères, en la rapprochant ainsi du réalisme tout en l’écartant de l’improvisation et de la bouffonnerie facile. Même s’il garde quelques personnages typiques avec les noms qui les avaient rendus célèbres (Brighella – l’aubergiste, Pantalon – le vieux cette fois père d’une jeune fille et non amoureux d’elle, Sméraldine – la servante et bien sûr Arlequin – le serviteur fourbe), il utilise, à part les techniques de la commedia dell’arte, celles de la comédie de mœurs et de l’opéra bouffe. Le triangle amoureux, le qui pro quo, le travesti, le double, le langage allusive, le jeu de mots, l’ironie, le contraste entre apparence et essence et autres encore aident à créer un monde léger, sans soucis et sans problèmes graves, où chacun est un peu malhonnête, un peu opportuniste mais dont l’ambition, en fin de compte, n’est que d’accomplir son morceau de bravoure :ARLEQUIN, seul : - …il y en a tant qui se cherchent un maître et moi j’en ai trouvé deux. Comment diable vais-je faire ? je ne peux pas les servir tous les deux. Non ? et pourquoi non ? est-ce que ce ne serait pas une belle chose que de les servir tous les deux et gagner deux salaires et manger le double ? ce serait magnifique, s’ils ne s’en apercevaient pas. Et s’ils s’en aperçoivent, qu’est-ce que j’ai à y perdre ? rien. Si l’un de deux me chasse, je resterai avec l’autre. Foi d’honnête homme, je veux essayer. Même si cela ne doit durer qu’un jour, je veux essayer. Finalement j’aurai tout de même réussi une jolie prouesse.Ça va sans dire que le plus intéressant personnage de ce monde est Arlequin, qui fait de la tromperie une telle art qu’à la fin non seulement est pardonné par tous, mais même récompensé. La scène la plus géniale (excusez le pléonasme) est, évidemment, la scène du double repas. Elle est aussi la scène la plus originale, car on sait que Goldoni s’est inspiré pour son œuvre du scénario d’un certain Jean-Pierre des Ours de Mandajors. Arlequin valet de deux maîtres a connu un bien mérité succès depuis son début, en 1746. Aujourd’hui même, cette pièce en trois actes peut être lue et regardée sans aucune crainte de s’ennuyer, car la plupart des dialogues restent vives et amusantes tout en révélant parfois des profondeurs inattendues:PANTALON : Il faut faire de nécessité vertu.CLARICE : Mon cœur n’est pas capable d’un effort si grand.

  • Bianca Dorcu
    2018-11-16 23:01

    The first time when I read it I had a pretty good impression, but when I played it with my theatre band I realized that is funnier and more interesting than I thought. Because it is the first time I heard of Carlo Goldoni and I had no expectations about his plays, I was really surprised to get caught by a story of the eighteenth century.

  • Kristýna Revajová
    2018-11-15 23:02

    This book became one of my favorite books i´ve read so far. It has a nice sense of humor, great plot and beautifuly written characters.

  • Vlasta
    2018-10-19 19:00

    Tak mám za sebou Sluhu dvou pánů, komedii Carla Goldoniho. Nevím, jestli bych si ji přečetla, nebýt projektu My čteme, do kterého už se chci zapojit tak dlouho, že je skoro ostuda, že jsem se k tomu dokopala teprve teď. A ještě tak pozdě, ale na to mám omluvu - Sluhu dvou pánů neměli ani ve slánské, ani v naší školní knihovně. Takže jsem musela na Kladno, kde se to zařizuje všechno trochu složitěji, pak jsem nebyla doma... No, nakonec jsem to ale zvládla, ještě do konce týdne napíšu nějaký článek a můžu se oficiálně považovat za účastnici projektu. Snad mi to vydrží i v dalších měsících. ^^

  • Realini
    2018-10-17 21:06

    Servant of Two Masters by Carlo GoldoniIt was funI wonder what happened to me a few hours ago, when I listened to Servant of Two Masters.Normally, I would not have patience for a farce that involves many twists and various people coming up in various clothes and with different names and…sexes.But this time, a little magic made me follow almost the entire plot and with that make some sense of what would otherwise have been incomprehensible and futile peroration.Beatrice is near the center of the play and she comes out first, as a woman in the clothes of a man, because she is looking for her lover- Florindo.The latter stands accused of killing the brother of the former- Federigo, in a sword fight, that followed the revelation that Florindo and Beatrice are in love.Beatrice wants to protect the man she loves, by ascertaining that Federigo is not dead and therefore Florindo should incur no penalty.With the money she would collect from Pantalone, as a dowry for marrying his daughter – Clarice, she would save her lover.But it gets more complicated and as I recall the play, I wonder how on earth I kept through it, since I gave easily on this kind of weird plot.Beatrice loves Silvio and she gets engaged with him, when she learns that Federigo had died and she is no longer tied with him.But the surprising resurrection from the dead complicates matters, since the supposed dead claims priority and the dowry.The main character and the servant of two masters is the quick and sometimes witty Truffaldino who may be seen as clever and also as a little crook.He is hungry most of the time and gets two jobs with two people to satisfy his needs, even if one could not serve two masters in those times.And to make matters stranger still, one master is Florindo and the other is his loved one- Beatrice, but dressed as a man.Very often it seems that magic is at work and Truffaldino not only escapes being caught as a liar and cheater, but manages to eat very well.In one scene, both masters have diner and the same servant has to run and make errands for both, eating from their food in the meantime.At a certain stage, Truffaldino is caught up with the hand in the wrong place, opening letters and then having things he cannot explain.One is the portrait of Florindo, which was given to Beatrice by her lover as a love sign and souvenir and which Truffaldino can explain only in this way-- It belonged to my late master - This means Beatrice is dead!!- comes the tragic conclusionAbout the same thing happens with the other master- mistress, Beatrice who is shocked to find possessions of Florindo.- They have been given to me by my master who has passed away- My God! Florindo is gone!! I will not say what happens, since that would have required a spoiler alert, but there are a few good news in store.Truffaldino however does pay for the tricks he played on the two lovers, when he gets a beating from both.For some reason, this comedy made me think of the Marx Brothers and I will not say like Groucho at the end of one party:- I had a wonderful time, only not this time…

  • Ali
    2018-11-12 01:42

    کارلو گولدونی در انتهای قرن هژدهم در جمهوری ونیز به دنیا آمد. آثار گولدونی، به ویژه کمدی هایش اگرچه در اوایل قرن نوزدهم میلادی نوشته شده، اما هنوز هم می توان اخلاقیات و روحیات ایتالیای امروز را به روشنی در آنها دید. شاید از همین رو ایتالیایی ها گولدونی را می ستایند. او زندگی و ارزش های آنها، به ویژه طبقه ی متوسط ایتالیا را در کمدی هایش منعکس کرده است. مشهورترین اثر گولدونی، "نوکر دو ارباب" (1745) است که هنوز هم هر ساله نه تنها بر صحنه های تیاتر ایتالیا، که در اغلب کشورهای اروپایی نمایش داده می شود.

  • Ferial Hameurlaine
    2018-10-25 22:57

    just as enjoyable the 2nd time around !

  • Wiccat
    2018-11-14 01:36

    Fantastic read, you can't go wrong with commedia dell'arte. I've always loved comedies of mistaken identity.

  • Lise
    2018-10-18 23:55

    Smeraldina is the greatest. That is all.

  • Lily
    2018-11-06 22:01

    actually surprisingly funny

  • Šári
    2018-10-26 21:44

    Konečně nějaká povinná četba, která mě hodně bavila. Divadelní hru bych hodnotila kladněji. :)

  • Lupurk
    2018-10-19 23:55

    Non mi sono mai approcciata alla commedia dell'arte quanto avrei voluto e di certo testi del genere sono da analizzare, più che da leggere per puro svago. Molto va perso, se non si ha la mente allenata a pensare a una sua realizzazione scenica, comunque lettura molto interessante.

  • Orcun
    2018-10-27 01:50

    İlk perdede belli edilen bir aldatmaca, uyanık uşağın umursamazlıklarıyla ve başka yanlış anlamalarla içinden çıkılmaz bir hal alıyor. Çok dinamik ve eğlenceli bir oyun.

  • Lil'Deer
    2018-11-03 17:47

    This was the very first play I've ever read. And I fell for it.

  • Adele Hurabielle
    2018-10-31 01:00

    Une pièce rythméeUne pure comedia dell'Arte: rythme soutenu, nombreux quiproquos, comique de répétition, retournements de situations, ...Chacun y trouvera son compte.

  • Brynn Rova
    2018-11-01 23:38

    Truffaldino, you are the goofiest idiot XD

  • Mahmoud Alzafari
    2018-11-03 01:51

    خادم السيدينملخص:تبدء المسرحية بتقديم بياتريتشه امرأة سافرت الى فينيسيا متنكرة على انها اخيها ذلك للبحث عن قاتله فلورندو والذي هو في نفس الوقت حبيبها, حيث ان اخيها المتوفى نهاها عن الزواج به و مات و هو يدافع عن شرف اخته.تتنكر بياتريتشه على انها اخوها فيدجيو راسبوني لتجمع ارثها من مال اخيها من بنطلون والد كلاريتشه و التي هي خطيبة فيدجيو حيث تريد استخدام هذا المال لتساعد حبيبها على الهروب و لتتمكن من الزواج به, لكن ظن بنطلون ان فيدجيو مات سمح لكلاريتشه ان تقع في غرام شاب آخر و هو سيلفيو بحيث يخطبان.خادم بياتريتشه الكوميدي الملتوي تروفالدينو هو الشخصية الرئيسية في المسرحية و هو الذي يشتكي دائما من الجوع و يحاول ان يشبع رغبته المفرطة و الجامحة للطعام عن طريق أكل اي شيء تقع عليه عينه و عندما سنحت له الفرصة ليقدم نفسه الى سيد آخر "فلورندو" ليكون خادمه حيث رأى انها فرصة ليحصل على وجبة اضافية و مزيد من المال.تروفالدينو و هو يركض في انحاء فينيسيا محاولاً خدمة السيدين يصل دائما للذروة بحيث انه على وشك ان يكشف ذلك ان الشخصيات الأخرى تسلمه الرسائل او المال.....الخ و يقولون اعطي هذه لسيدك دون تحديد و لجعل الأمور أسوء و زيادة الضغط عليه تلعثمه في تبرير الأخطاء التي تحصل يثير شكوك عند سيديهو لتحضير الأمور أكثر بياتريتشه و فلورندو ينزلان في نفس الفندق و يبحثان عن بعضهما البعضفي نهايه المطاف بمساعدة كلاريتشه و زميرالدنيا "خادمة بنطلون المغرمة بتروفالدينو" بياتريتشه و فلورندو يجدان بعضهما و تكشف بياتريتشه نفسها كلاريتشه يصبح بإمكانها الزواج بسلفيو و المسألة التي تثير الجدل في النهاية اذا ما كان تروفالدينو و زميرالنيا يستطيعان الزواج و هو الموضوع الذي يجعل تروفالدينو يكشف نفسه و يعترف بانه لعب دور الخادمين .الشخصيات:شخصيات النص مأخوذة من كوميديا عصر النهضة كوميديا ديل آرتيه حيث كان الممثل يتعلم شخصية واحدة و يؤديها طول حياته المهنية و الممثلين عادة عندهم لائحة من السيناريوهات المحتملة و التي تسمى كنفا و خلال العرض يمكن يتم الاضحاك بحركات جسدية كوميدية تدعى لازو lazzo التي تعني مزح او نكتة و الحوار يكون مرتجلا غولدوني هنا طور ووضع نص و عليه تكون الشخصيات المعادلة في النص لكوميديا ديلآرتيه مع التعديل على صفاتها كالتالي:بنطلون :بنطلون كلاريتشه: ايزابيلاالدكتورلامباردي: الدكتوريهسلفيو: فلافيوبياتريتشهفلورندو: كابيتانوتروفالدينو: ارلتشينوزميرالدنيا: كولومبيانابريجلاتحليل:المسرحية قائمة على الالتباس و الاختلاط الذي يسير طوال العمل لتحل في النهايةأحد المواضيع الرئيسية في المسرحية و التي نَمَت من خلال شخصية تروفالدينو انه دائما جائع و هذا كان محور أفعاله فهل هذا ما كان يصبو اليه لكننا مع ذلك لا نرى أن المسرحية تنتهي عندما يحقق رغبته و يملئ بطنه بل ينتهي بقبلة بينه و بين زميرالدنيا فهذا يعني ان نهنه كان للحب "التباس ايضا"كما تم عرض مواضيع التباين بين طرق تفكير المختلفة بين جيلين مختلفين "من خلال مواجهات الدكتور و ابنه سيلفيو وكذلك الأمر بين بنطلون و كلاريتشه

  • Madeline
    2018-11-05 23:41

    Ugh, I don't walk to talk about this play. Not even the play, just this particular adaptation! The story itself: meh. It was okay. It was all of Shakespeare's female-led comedy plots combined with every Moliere shtick-character ever. I mean, it wasn't bad, just a worn out Elizabethan plot. I would have given it a four if it weren't for Dorothy Louise.Dorothy Louise has officially created the worst modern "translation" with this particular adaptation. It's awful. She left in most of the original style, which yes, perfect! But she also kept in a ridiculous amount of the original Latin and Italian, which was unnecessary and distracting in the extreme. I know enough Latin to be able to squeak by with a little translation, but it's just so EXTRA. She did not need to leave it that much of the original language. A small portion of it was used for comedic effect, but the rest was just, there. No reason. But that wasn't the worst part. That would have been fine, whatever, just a personal decision thing. But this woman. This woman tried to "update" the humor in the text, and she "accomplished" that by adding in a modern joke/phrasing about once every three or four pages. The jokes were never funny. They never fit into the surrounding language. They were just awful. The show itself is fine, I might even try and find an original translation of it some day. But I am going to make damn sure to steer away from Ms. Dorothy Louise from now on. So, a two for this particular adaptation, but possibly a four, probably a three for the show itself.

  • Riley
    2018-11-15 17:38

    The Servant of Two Masters, while not the necessarily the most hilarious thing I've ever read, is a very funny play that I think is worth reading. It involves an over-the-top set of characters with an intricate plot line. This complicated storyline is one of the greatest things about this play and one of the worst because it is extremely clever, but can often become a little confusing and hard to follow. Also, I did not understand what purpose the play-within-a-play subplot served, because it didn't seem to advance the plot at all. Other than that, I don't have any real criticisms of this piece. It seems that the characters were intentionally written to be overdramatic for comedic purposes, which I really enjoyed. I also liked the dynamic between the characters of Truffaldino and Smeraldina, as well as Silvio and Dr. Lombardi. One of my favorite scenes was that in which Florindo and Beatrice (disguised as her brother) each mourn the death of their lover, only to realize they are standing next to each other. I also enjoyed the scene in which Truffaldino ran back and forth between each of his masters' dinners, trying to tend to both at the same time, which was not unlike a gag you would see in an old cartoon and had me thoroughly entertained. Again, I would recommend reading this play, but you won't be missing out on anything too great if you don't.

  • Lauren
    2018-10-24 01:06

    This review also references One Man, Two GuvnorsThe same plot stuck into two very different settings, The Servant of Two Masters and One Man, Two Guvnors are both delightful in their own ways. The tale of a hapless servant who accidentally begins working for two different men, the play relies heavily on mistaken identity, timing, and other screwball hijinks.The Servant of Two Masters is an 18th-century Italian play that draws heavily from commedia dell’arte tradition. One Man, Two Guvnors is a 21st-century English adaptation set in 1960s Brighton.The latter relies more heavily on its setting for laughs while The Servant of Two Masters has a more of a universal feel to it. Both have their strong points, and I don’t think I could pick a favorite. Both had me laughing out loud at parts, and I’m disappointed I didn’t have the chance to see the James Corden-led version of One Man, Two Guvnors on Broadway.I read the Edward J. Dent translation of The Servant of Two Masters, which I enjoyed. Not having read any other translations, I can't make any comparisons, but it struck me as a decent translation. Recommended.

  • Kaisa Joutsen
    2018-11-01 22:04

    Пьесу Карло Гольдини "Слуга двух господ" я читала с особым интересом - два года назад мне посчастливилось побывать в итальянском городке Бергамо (том самом, откуда родом главный герой произведения - Труффальдино). Воодушевленная воспоминаниями, я "проглотила" книгу за несколько часов. Далее я остановлюсь на содержании книги и общих впечатлениях.О чем книга: Об отношении слуг и господ. О стереотипных чертах итальянцев - импульсивности, любвеобильности и лукавстве. О том, что любовь, конечно, победит.Впечатления: Пьеса очень легкая для чтения и восприятия. В произведении присутствуют некая "наигранность" и "гиперболизация" чувств, что, на мой взгляд, не только не портит впечатление от прочитанного, а только добавляет ему национального колорита. В итоге получается идеальное чтиво для расслабления и отдыха.

  • American Shakespeare Center
    2018-11-15 17:39

    Disguised lovers, tricky servants, and well-meaning parents cross and double-cross one another along the canals of Venice in Carlo Goldoni’s slapstick-filled, comic gem. The characters’ search for a happy ending depends entirely on the titular servant Truffaldino, who is constantly on the lookout for a decent meal. Truffaldino’s attempt to double his wages unravels with delicious mayhem in this joyous, 18th century lark.Come see it live onstage at the American Shakespeare Center's Blackfriars Playhouse in Staunton, VA.ASC's The Servant of Two Masters

  • Vicky Bernard
    2018-11-09 19:55

    Une de mes pièces de théâtre classiques préférées! Même si je l'ai déjà lue plusieurs fois et vue sur scène à quelques reprises, je prends toujours autant de plaisir aux inventions d'Arlequin et aux quiproquos qui parsèment cette histoire.Et même si elle date de plus de deux siècles et s'inspire de la tradition de la commedia del arte, cette pièce n'en a pas moins un côté moderne et revendicateur, notamment en ce qui a trait au féminisme (voir entre autres les commentaires cinglants de Esmeralda sur les relations hommes femmes).Et tout ça dans un feu roulant de drôleries et de "Ciel, ma fiancée"!

  • Bine
    2018-11-07 20:02

    3 Sterne für die Übersetzung und den Witz, der daraus resultiert, 2 Sterne für die Handlung, die so typisch Komödie ist, dass ich nur darüber gähnen konnte. Verwechslung, Verkleidung, Liebesverstrickung, immer das gleiche.Dabei ist das Stück nicht ununterhaltsam, aber einfach überhaupt nict spannend. Wer Komödien mag, ist hier wahrscheinlich bestens bedient, aber ich bin sowieso kein Fan von Komödien, deshalb hat mir eine Menge gefehlt. Die deutsche Fassung, die ich gelesen habe, ist von Werner Buhss.

  • Tim Ackerly
    2018-11-13 20:49

    Lee Hall's 1999 adaptation for an RSC/Young Vic Theatre Company production is so annoyingly UK-centric that I was constantly pushed out of the world of the play. The names and locales are the only remaining traces of the play's Italian heritage. Filled with English colloquialisms and idioms, the language honors neither the spirit of the original nor Goldoni himself and many of the liberties taken by Hall would've horribly offended the prudish playwright.

  • Anna Belkovska
    2018-11-09 19:50

    Humors ne manai gaumei, tomēr padalīšos ar brīnišķīgu citātu:Beat.: Are you afraid I am not a woman after all? I will give you proof positive.(kā vēlāk uzzināju no citas tulkojuma versijas - šeit Beat. uzliek Clar. roku sev uz krūts)Clar.: It all seems just like a dream.Beat.: Yes. 'Tis a strange business.Clar.:'Tis indeed fantastic.

  • Sjonni
    2018-11-18 00:59

    "Ah, pur troppo egli è vero: in questa vita per lo più o si pena, o si spera, e poche volte si gode." - Clarice, acte I, scene 22.This play was made into a musical film in the USSR back in the 70's with the title "Труффалдино ди Бергамо". An old soviet favorite apparently.

  • Linoy
    2018-10-31 00:57

    I like this book so far it has a little bit of humour in it. This book a little confuing and difficult to understand. sometimes i have to read the same page a few times to understand what is going on.