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2 Slovenské divadlo (Slovak Theatre)

2 Princic-Sabolova D.

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THE INFINITE INTERPRETATION LIKE THE CULTURAL MYSTIFICATION

100%

Princic-Sabolova D.

Slovenské divadlo (Slovak Theatre)

2006

tom 54

nr 4

582-586

The aim of the essay is reflecting of the development of the concept of 'interpretation' in philosophy, in the theater and in the translation. Contemporary exaggerated use of the concept of the interpretation is derived from the hermeneutic tradition in the philosophy, that had introduced infinite and unlimited interpretation and had abolished 'the contradiction'. The essay is dedicated to this question because the contemporaneous level of the work in the theater, radio and in the translation is a reflection of the unlimited interpretation. In this meaning of the interpretation it is transferred the wish of infinity and the wish to transfer into the text of another author our own ideas. This situation is supported from the insufficient preparation in the cultural and historic context of the work (text), what gives to the interpreters the possibility to not respect the intentions of the text and the author.

TRADITION OF ITALIAN 'COMMEDIE DELL'ARTE' IN THE PRESENT DAY ITALIAN ART (LITERATURE, DRAMA AND FILM)

100%

Princic-Sabolova D.

Slovenské divadlo (Slovak Theatre)

2007

tom 55

nr 4

601-609

A study is following a development of theatrical texts inspired by the tradition of 'commedie dell'arte'. It observes advancing of a character of Pantalone, Harlequin and partially also a female votary from 'commedie dell'arte' and their gradual change in comedies of Carlo Goldoni. Carlo Goldoni allegorically reduces the meaning of a mask and reveals human traits hidden in the character behind it. With Carlo Goldoni these characters obtained a human dimension, had a psychological development. Humour changed from rough and vulgar into a wittier form. Contemporary evaluations are reconstructed - based on criticism of Francesco De Sanctis and Benedetto Croce. Aspects of 'commedie dell'arte' overcome further development, and as a tradition are found present in Luigi Pirandello dramas. A critic Adriano Tilgher distinguishes four types of situation masks in Pirandello's characters. Pirandello moved the meaning of thus understood mask, and made out of mask knots round which the plot is rippled. Also specific Italian humour is subject to development of 'commedie dell'arte' namely from vulgar almost pornographic, to witty humour and irony of Luigi Pirandello. The study is trying to prove that presence of humour in Italian comedy and even in drama in not incidental, but creates an integral component of Italian tradition of theatrical texts.