Mirtilla, A Pastoral – A Bilingual Edition

Häftad, Engelska, 2018

AvIsabella Andreini,Julia Kisacky,Valeria Finucci

609 kr

Slutsåld

Isabella Andreini was the most famous actress of the Italian Renaissance, the darling of dukes and kings, as well as of less-moneyed theatergoers. As a founding member with her husband, Francesco, of the Compagnia dei Gelosi, she performed ceaselessly throughout Italy and France, and was prized for the new role she invented for women on stage, that of the ingénue with a comic bent. She was also a playwright; in fact, the first woman to publish a pastoral. This modern edition and translation subtly captures the novelty, as well as the imaginative pyrotechnics, of a brilliant, self-made virtuosa of the stage.The Other Voice in Early Modern Europe - The Toronto Series: Volume 62

Produktinformation

Utgivningsdatum2018-02-20
Mått158 x 231 x 19 mm
Vikt498 g
FormatHäftad
SpråkEngelska
Antal sidor292
FörlagArizona Center for Medieval & Renaissance Studies,US
ISBN9780866985888
ÖversättareJulia Kisacky

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Dramatik inom Skönlitteratur

Acknowledgments xiiiList of Illustrations xvIntroduction: Pastoral Drama and Women’s Authorial Voice 1The Other Voice 1Biography 2Works 9Andreini, the Actress 13The Female Stage 18The Pastoral Play 29Mirtilla: Structure and Themes 32Note on the Italian Text 42Note on the Transcription 45Note on the Translation 46Mirtilla: Italian Text 48Prologo 52Atto Primo 64Atto Secondo 98Atto Terzo 126Atto Quarto 170Atto Quinto 214Mirtilla: English Translation with Endnotes 49Prologue 53Act One 65Act Two 99Act Three 127Act Four 171Act Five 215Notes 256Bibliography 271Index 287

In their annotated edition and translation of Isabella Andreini’s La Mirtilla, Valeria Finucci and Julia Kisacky give expert and much-deserved attention to a watershed text — one of the first two early modern plays, along with Maddalena Campiglia’s Flori, authored by a woman in Italy. Finucci’s introduction adroitly guides readers through Andreini’s fascinating life as a poet, performer, wife, dramatist, and international celebrity. Kisacky’s nuanced translation allows English-language readers to find equal enjoyment in Andreini’s comic and pastoral modes. The result puts a fresh face on a now-canonical play that will be accessible to undergraduates approaching the text for the first time, while allowing scholars of early modern theater and women’s writing to find a renewed appreciation for Andreini and her work.—Sara E. DíazAssistant Professor of the Practice of Italian, Fairfield University