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• catalog abstract "Shakespeare Manipulated examines the links between William Shakespeare and the Italian theatre of marionette, burattini, and pupi, both during the dramatist's lifetime and in the production of his works in Italy within the genre of teatro di figura. Shakespeare's plays undergo a double transformation when they are performed both by a different theatrical genre and in a language other than English. Author Susan Young investigates such a double transformation in this study of the performance of Shakespeare by Italian puppet theatre. The work is essentially a catalog of Shakespearean performance in Italian teatro di figura, which was compiled in order to record information that was widely scattered in Italian archives or retained only in the memories of surviving practitioners. Some seventy productions, dating from the late eighteenth century to the present, are recorded. In some cases, the only trace remaining of a production is a fleeting, unsubstantiated reference, but in many cases, it was possible to provide detailed information. The book supports its data with extensive photographic documentation of surviving puppets and stage designs, many of which are held in private collections or specialist museums. Also included are transcriptions of two previously unpublished manuscripts of adaptations of Shakespearean texts for puppet theatre, performed in 1881 and 1906. Much can be gleaned from the stage directions in these fascinating documents about the techniques of theatre with marionette. It is also apparent that these productions were a heady mixture of Shakespearean characters intermingled with stock comic masks of Italian tradition, displays of virtuoso technique, music, and dance. The texts are of considerable linguistic interest, combining as they do an elevated, archaic Italian for the Shakespearean characters with colloquial language or dialect for the masks. The production catalog concludes with a detailed reconstruction of a notable production of The Tempest, which inaugurated the thirty-third Venice Biennale. It was staged by the long-established company of marionettisti Carlo Colla e figli, who based their production on a translation of the original into Neapolitan dialect by the renowned Italian actor and author Eduardo De Filippo, who had made a sound recording in which he spoke all the parts, save that of Miranda. The resulting production was, technically and artistically, a tour de force, and the critical response was very favorable. The complexity of the stage effects and the marionette was such that the production, once dismantled, is unlikely to be re-staged. There existed no detailed written record of the production, so the writer's account has made good this lack by means of interviews with members of the company and a search of their archives and press reviews.".
• catalog contributor b9313164.
• catalog created "c1996.".
• catalog date "1996".
• catalog date "c1996.".
• catalog dateCopyrighted "c1996.".
• catalog description "1. Performances with marionette -- 2. Performances with pupi -- 3. Performances with burattini -- 4. Performances with Mixed Techniques -- 5. Analysis of a Production -- 6. Shakespeare with Strings: How the Bard Has Fared in teatro di figura -- Appendix A: Copione for the Production of Hamlet by Luigi Lupi -- Appendix B: Copione for the Production of Macbeth by Alfredo Cagnoli.".
• catalog description "Includes bibliographical references (p. 227-230) and index.".
• catalog description "Much can be gleaned from the stage directions in these fascinating documents about the techniques of theatre with marionette. It is also apparent that these productions were a heady mixture of Shakespearean characters intermingled with stock comic masks of Italian tradition, displays of virtuoso technique, music, and dance. The texts are of considerable linguistic interest, combining as they do an elevated, archaic Italian for the Shakespearean characters with colloquial language or dialect for the masks.".
• catalog description "Shakespeare Manipulated examines the links between William Shakespeare and the Italian theatre of marionette, burattini, and pupi, both during the dramatist's lifetime and in the production of his works in Italy within the genre of teatro di figura.".
• catalog description "Shakespeare's plays undergo a double transformation when they are performed both by a different theatrical genre and in a language other than English. Author Susan Young investigates such a double transformation in this study of the performance of Shakespeare by Italian puppet theatre. The work is essentially a catalog of Shakespearean performance in Italian teatro di figura, which was compiled in order to record information that was widely scattered in Italian archives or retained only in the memories of surviving practitioners.".
• catalog description "Some seventy productions, dating from the late eighteenth century to the present, are recorded. In some cases, the only trace remaining of a production is a fleeting, unsubstantiated reference, but in many cases, it was possible to provide detailed information. The book supports its data with extensive photographic documentation of surviving puppets and stage designs, many of which are held in private collections or specialist museums. Also included are transcriptions of two previously unpublished manuscripts of adaptations of Shakespearean texts for puppet theatre, performed in 1881 and 1906.".
• catalog description "The production catalog concludes with a detailed reconstruction of a notable production of The Tempest, which inaugurated the thirty-third Venice Biennale. It was staged by the long-established company of marionettisti Carlo Colla e figli, who based their production on a translation of the original into Neapolitan dialect by the renowned Italian actor and author Eduardo De Filippo, who had made a sound recording in which he spoke all the parts, save that of Miranda. The resulting production was, technically and artistically, a tour de force, and the critical response was very favorable. The complexity of the stage effects and the marionette was such that the production, once dismantled, is unlikely to be re-staged.".
• catalog description "There existed no detailed written record of the production, so the writer's account has made good this lack by means of interviews with members of the company and a search of their archives and press reviews.".
• catalog extent "232 p. :".
• catalog hasFormat "Shakespeare manipulated.".
• catalog identifier "0838635784 (alk. paper)".
• catalog isFormatOf "Shakespeare manipulated.".
• catalog issued "1996".
• catalog issued "c1996.".
• catalog language "eng".
• catalog publisher "Madison, NJ : Fairleigh Dickinson University Press ; London : Associated University Presses,".
• catalog relation "Shakespeare manipulated.".
• catalog spatial "Italy.".
• catalog subject "791.5/3/0945 20".
• catalog subject "PN1978.I8 Y68 1995".
• catalog subject "Puppet plays, Italian History and criticism.".
• catalog subject "Puppet plays, Italian.".
• catalog subject "Puppet theater Italy.".
• catalog subject "Shakespeare, William, 1564-1616 Adaptations History and criticism.".
• catalog subject "Shakespeare, William, 1564-1616 Adaptations.".
• catalog subject "Shakespeare, William, 1564-1616 Appreciation Italy.".
• catalog subject "Shakespeare, William, 1564-1616 Stage history Italy.".
• catalog tableOfContents "1. Performances with marionette -- 2. Performances with pupi -- 3. Performances with burattini -- 4. Performances with Mixed Techniques -- 5. Analysis of a Production -- 6. Shakespeare with Strings: How the Bard Has Fared in teatro di figura -- Appendix A: Copione for the Production of Hamlet by Luigi Lupi -- Appendix B: Copione for the Production of Macbeth by Alfredo Cagnoli.".
• catalog title "Shakespeare manipulated : the use of the dramatic works of Shakespeare in teatro di figura in Italy / Susan Young.".
• catalog type "text".