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Esta dissertação apresenta ao público um desconhecido escritor imigrante italiano da São Paulo de 1900. Durante sua vida em São Paulo, Giuseppe Salerio trabalhou como dentista na Av. São João no centro da cidade, quando ela mostra ao país seu grande potencial para ser a maior e mais industrializada cidade do Brasil. Un ammalato per forza, uma comédia em um ato. Esse trabalho possui muitos aspectos do teatro do imigrante italiano em São Paulo. A dissertação quer mostrar alguns valores da arte dos imigrantes, depois de momentos difíceis na terra natal: a Itália. Também será apresentada uma tradução e análise de Un ammalato per forza. A análise leva em conta as leituras feitas pelo autor, bem como a influência de Carlo Goldoni. / This work seeks to present to the public an unknown Italian immigrant writer in São Paulo in the 1900\'s. During his life in São Paulo, Giuseppe Salerio worked as a dentist in the Av. São João, downtown, when the city was beginning to show what it would be in the future: the biggest and the most industrialized city in Brazil. Un ammalato per forza is a comedy in one act. This work reveals many aspects of the Italian immigrant theatre in São Paulo. This study wants to discuss some merits of the immigrants\' art, after a very difficult life in their country: Italy. Besides there is a translation and an analysis of Un ammalato per forza. The analysis considers readings done by the author, as well as the influence of Carlo Goldoni on his work.

Esta dissertação apresenta ao público um desconhecido escritor imigrante italiano da São Paulo de 1900. Durante sua vida em São Paulo, Giuseppe Salerio trabalhou como dentista na Av. São João no centro da cidade, quando ela mostra ao país seu grande potencial para ser a maior e mais industrializada cidade do Brasil. Un ammalato per forza, uma comédia em um ato. Esse trabalho possui muitos aspectos do teatro do imigrante italiano em São Paulo. A dissertação quer mostrar alguns valores da arte dos imigrantes, depois de momentos difíceis na terra natal: a Itália. Também será apresentada uma tradução e análise de Un ammalato per forza. A análise leva em conta as leituras feitas pelo autor, bem como a influência de Carlo Goldoni. / This work seeks to present to the public an unknown Italian immigrant writer in São Paulo in the 1900\'s. During his life in São Paulo, Giuseppe Salerio worked as a dentist in the Av. São João, downtown, when the city was beginning to show what it would be in the future: the biggest and the most industrialized city in Brazil. Un ammalato per forza is a comedy in one act. This work reveals many aspects of the Italian immigrant theatre in São Paulo. This study wants to discuss some merits of the immigrants\' art, after a very difficult life in their country: Italy. Besides there is a translation and an analysis of Un ammalato per forza. The analysis considers readings done by the author, as well as the influence of Carlo Goldoni on his work.

La part A és un estudi filològic introductori de l'obra teatral La viuda astuta, de 1818, traduïda al menorquí per Vicenç Albertí i Vidal de l'obra La vedova scaltra de Carlo Goldoni. Hi torbem un recorregut per la vida, obra, marc intel·lectual i trajectòria de la activitat traductora d'Albertí. Així mateix hi trobem una localització de La vedova Scaltra dins la primera etapa de la reforma goldoniana. I finalment s'hi desenvolupa l'estudi comparatiu-lingüístic de La vedova Scaltra amb la versió catalana d'Albertí.La part B consta de la transcripció comentada, amb 153 notes, del manuscrit de La viuda astuta. La part C és la transcripció integral de l'obra original, seguint l'edició Giuseppe Ortolani, 1936, que s'acara amb la part D que és la traducció catalana realitzada per la doctoranda. / Part A is an introductory philological study of the play La viuda astuta, from 1818, translated into menorcan by Vicenç Albertí i Vidal from the play La vedova scaltra by Carlo Goldoni. We find a journey through the life, work, intellectual framework and trajectory of Albertí's translations. We also find a venue for La vedova scaltra in the first stage of the goldonian reform. Finally the comparative-linguistic study of La vedova scaltra is developed with Albertí's catalan version.Part B consists of a transcription with commentary, of 153 notes, of the manuscript of La viuda astuta. Part C is the complete transcription of the original work, following the Giuseppe Ortolani, 1936, edition, side by side with Part D, which is the catalan translation made by the PhD candidate.

La critique littéraire et théâtrale a indiqué que le changement de la scène comique vénitienne de la moitié du XVIIIe siècle est le résultat de la réforme goldonienne. Cependant, sans rien ôter au rôle essentiel de Goldoni, le rapport pourrait être renversé : les bouleversements dans l’équilibre concurrentiel de la comédie vénitienne entre 1748 et 1753 provoquent la naissance d’exigences bien précises de la parte des directeurs de la troupe ou des propriétaires des théâtres ainsi que la capacité des poètes de s’affirmer comme « auteurs de comédies », de réagir et de réaliser sur le champ des dramaturgies nouvelles. Ce contexte produit un changement profond du genre dramatique, par rapport à la tradition du répertoire, sans une rupture véritable, mais à travers une régénération progressive. Il faut également souligner que ce contexte dérive du roman moderne, à travers des adaptations directes ou l’adoption de mécanismes du roman. La recherche désire comprendre le «pourquoi» de la naissance du goût romanesque dans la comédie vénitienne pendant les années plus significatives du renouvèlement comique (1748-1753) et préciser quelles ont été les impulsions essentielles qui ont su forger la proposition dramatique de Carlo Goldoni et de Pietro Chiari. Dans la première partie de la Thèse (Le contexte d’entreprise) nous avons examiné les principaux évènements des entreprises théâtrales comiques vénitiennes, c’est-à-dire de l’entreprise Medebach-Goldoni au Sant’Angelo, de celle de Vendramin au San Luca, pour terminer avec celle de Grimani au San Samuele et San Giovanni Grisostomo. La deuxième partie (Le texte romanesque) propose l’analyse et la comparaison de l’élément romanesque dans quelques œuvres de Chiari (La dilogie de Marianne) et de Goldoni (Pamela, I due gemelli veneziani, L’incognita, L’avventuriere onorato et Il bugiardo). / In the Venetian scene of the mid-eighteenth Century and therein theatrical picture in its complete transformation, a new repertorial proposition catches on, sealed it by critics as ''The outcome of the Italian Comic Reform''. The upheaval in the competitive balance between 1748 and 1753 has raised specific enterpreneurship necessities as also the right for poets to assert themselves as ''Authors of Comedies''. In this context takes place a profound dramatic renewal, which finds new strenght from the rampant model of the modern novel alongside the repertorial tradition, in order not to mark a rupture, but instead, a progressive regeneration from the inside. The primary concern of this research is to determine the reason why romance comedy emerged right in the years of the most significance of the comic renewal (1748-1753) and secondly to state what were the essential pressures of whom forged the dramatic proposal of Carlo Goldoni and Pietro Chiari. The first part of this research (The Business Context) is analysing the main vicissitudes of Comical theatrical Venetian Companies, such as:Medebach-Goldoni in Sant'Angelo, Vendramin in San Luca, Grimani in San Samuele and San Giovanni Grisostomo. The second part (the Romance text) depicts the analysis and comparison between the romance element in some works of Chiari (Il dittico di Marianna) and Goldoni (Pamela, I due gemelli veneziani, L'incognita, l'Avventuriere onorato e Il bugiardo).

L’Europe du XXe siècle voit la création de compagnies et centres de recherche qui se consacrent à la redécouverte des modules de la Commedia dell’Arte, véritable forme de théâtre traditionnel en Occident qui a décliné après la ‘réforme’ de Goldoni. Giovanni Poli représente l'exemple le plus significatif de ce processus de réinvention que nous appelons, avec un néologisme, néo-Commedia dell'Arte. Ayant eu accès à ses archives privées et après les avoir retranscrites et proposées en annexe, nous avons pu entrer dans tous les méandres de son activité polymorphe et voir comment elles répondaient à nos questionnements. La présente thèse est structurée en trois parties allant de la pensée à la pratique et vice-versa. La première interroge la formation de la pensée de Poli autour de la Commedia dell'Arte afin de comprendre quelle était la démarche qui l'a conduit à concevoir son spectacle le plus célèbre La Commedia degli Zanni (1958). La deuxième est dédiée à sa pratique artistique, corrélée à la fois à la dramaturgie et aux mises en scène inspirées du phénomène historique, attachant une importance particulière à la technique du montage anthologique, l'une des caractéristiques principales de son écriture ‘postdramatique’. La dernière partie analyse les processus de transmission de cette réinvention, qui advient à travers son activité pédagogique et les ‘voyages’ au sens propre et au sens figuré entrepris avec sa néo-Commedia dell'Arte. Puisant à la fois dans la tradition théâtrale italienne et dans l’avant-garde, il réinvente un système référentiel, se révélant une cheville indispensable à la reconstruction du panorama européen et mondial de la néo-Commedia dell'Arte. / Europe of the XXth century sees the creation of companies and research centers which dedicate themselves to the rediscovery of the modules of Commedia dell'Arte, the real shape of western traditional theater, which declined after the 'reform' of Goldoni. Giovanni Poli represents the most significant example of this process of reinvention that we call, with a neologism, néo-Commedia dell'Arte. Having had access to his private archives and having transcribed and proposed them in appendix, we were able to enter all the meanders of his polymorphic activity and to see how they answered our questionings.This thesis is structured in three parts, moving from the thought to the practice and vice versa. The first one, questions the formation of Poli’s thought around Commedia dell'Arte to understand what was the approach which led him to conceive his most famous play La Commedia degli Zanni (1958). The second part is dedicated to his artistic practice correlated, at the same time, with dramatic art and with directions inspired by the historical phenomenon, setting a particular importance to the technique of anthological editing, one of the main features of his 'postdramatic' writing. The last part analyzes the processes of transmission of this reinvention, which happens through his educational activity and the 'journeys' literally and figuratively undertaken with his néo-Commedia dell'Arte. Drawing at the same time on Italian theatrical tradition and on the avant-garde, he reinvents a reference system, showing itself an essential core to the reconstruction of European and world panorama of néo-Commedia dell'Arte.

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This study aimed to investigate the reception of the comedies of the Venetian playwright Carlo Goldoni in Brazilian theater of the twentieth century, above all, from the moment of aesthetic affirmation and criticism of the so-called \"modern Brazilian theater.\" Since the early years of the 1940s until the mid-1970s, the comedies of Goldoni were rescued by artists in various initiatives as able to dialogue with Brazilian society at different historical moments. We realized that the reception of his work in Brazil was different shades as the artistic, political and cultural issues were altered. In addition, the comedies of Goldoni allowed us to investigate the different views on the comic genre in the history of Brazilian theater, especially on their popular sources. The different treatments of popular comic contained within the Goldoni\'s work carried out by several Brazilian artists allowed us to question the hierarchy built on comedy in historical interpretations of modern Brazilian theater. / O presente trabalho teve por objetivo investigar a recepção das comédias do dramaturgo veneziano Carlo Goldoni no teatro brasileiro do século XX, sobretudo, a partir do momento de afirmação estética e crítica do que se convencionou chamar teatro brasileiro moderno . Desde os primeiros anos da década de 1940 até meados da década de 1970, as comédias de Goldoni foram resgatadas por artistas em iniciativas diversas como capazes de dialogar com a sociedade brasileira em diferentes momentos históricos. Assim, pudemos perceber que a recepção da sua obra no Brasil adquiriu tonalidades distintas à medida que as questões artísticas, políticas e culturais se alteravam. Além disso, as comédias de Goldoni nos permitiram investigar os diferentes olhares sobre o gênero cômico na historiografia do teatro brasileiro, especialmente, sobre as suas fontes populares. Os diferentes tratamentos da comicidade popular contidas no interior da obra de Goldoni realizados por diversos artistas brasileiros nos permitiram questionar a hierarquia construída sobre a comédia nas interpretações históricas do teatro brasileiro moderno. / Doutor em História