From Callot to Butor. E.T.A. Hoffmann and the Tradition of the Capriccio

Grimm, Reinhold

doi:10.2307/2906644

Cited by 3 publications

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“…The artistic worldview of each is also based on the capriccio, a work of art that values individual fantasy, opposes externally mandated rules, and "does not correspond to the rule of imitation, that is to Aristotelian mimesis." 20 The capriccio's freedom to self-define, comment, and create instead of mirroring or photographically duplicating was infused into the Russian theatre of the 1910s and 1920s, in which many redefined the rules of theatrical practice.…”

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Baring the Frame: Meyerhold's Refraction of Gozzi's Love of Three Oranges

Posner¹

2015

Theat Surv

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In 1761, Count Carlo Gozzi created a “reflective analysis” of an Italian fairy tale about three oranges, framing his commedia dell'arte–infused scenario with a series of polemical attacks on his theatrical rivals. In 1914, Vsevelod Meyerhold and two collaborators, Konstantin Vogak and Vladimir Soloviev, published a reflective analysis of Gozzi's reflective analysis. This new Love of Three Oranges (Liubov k trem apel'sinam, translated as Love for Three Oranges), served as the source material for Sergei Prokofiev's opera (1919; Chicago world premiere, 1921). It is also one of the most illuminating, yet strangely understudied sources of information on how Meyerhold redefined the theatrical event, the creative process of the director, and the role of the actor in the years preceding the October Revolution. In particular, this Russian Three Oranges explores how a conscious relationship between actor and character in concert with framing devices that delineate levels of fiction can emphasize an experience peculiar to the theatre: regardless of style, audiences inevitably maintain both belief and disbelief in what they see and perceive theatrical performance as simultaneously real and not real.

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confidence: 99%