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Sto caricando le informazioni... La congiura del Fiesco a Genova: tragedia repubblicana (1783)di Friedrich Schiller
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Appartiene alle Collane EditorialiÈ contenuto inDie Verschwörung des Fiesco zu Genua - Kabale und Liebe: dtv(-Taschenbücher) ; 74 Schiller, Friedrich: dtv-Gesamtausgabe . - Teil: Bd. 4. di Friedrich Schiller Ha come commento al testoHa come guida per lo studente
Within two years of the success of his first play Die R©Þuber on the German stage in 1781, Schiller wrote a drama based on a rebellion in sixteenth century Italy, its title: The Conspiracy of Fiesco at Genoa. A Republican Tragedy. At the head of the conspiracy stood Gian Luigi de' Fieschi (1524-1547), Schiller's Count Fiesco, a clever, courageous and charismatic figure, an epicurean and unhesitant egoist, politically ambitious, but unsure of his aims and principles. He is one of Schiller's mysterious, protean characters who secures both our admiration and disgust. With Fiesco as tragic hero Schiller examines the complex entanglement of morality and politics in his own times that was to preoccupy him throughout his career. The play was a moderate success when performed in Mannheim in 1784; it was more popular in Berlin where, during Schiller's lifetime, it was performed many times in a version by Carl Pl©?micke, which however radically altered the play's meaning. There have been some noteworthy productions on the German stage and television, even if it has remained somewhat in the shadow of Schiller's other works. In the English-speaking world it is all but unknown and very seldom performed. This translation aims to remedy that oversight. Non sono state trovate descrizioni di biblioteche |
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Google Books — Sto caricando le informazioni... GeneriSistema Decimale Melvil (DDC)832.6Literature German literature and literatures of related languages German drama 1750–1832 : 18th century; classical period; romantic periodClassificazione LCVotoMedia:
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The logic of drama sees to it that Fiesco is punished for his arrogance, but Schiller doesn't seem to be quite so sure that he made the wrong decision in opting for dictatorship. Certainly, Fiesco and Andrea Doria are the characters who get all the best lines and who come across as positive forces, whilst the "noble republican" character, Verrina, is a strongly negative element, a man who is happy to mortgage his daughter's life to his political ideals ("schwer, ernst und dunkel", as Schiller sums him up in the dramatis personae).
The most interesting character is probably Muley Hassan, the archetypal Mediterranean wheeler-dealer (and a more than slightly racist caricature), who acts as a double-agent spying on the Dorias for Fiesco and on Fiesco for the Dorias, increasing his personal wealth with every passage between camps. He also has the one line in the play that has entered the German language: "Der Mohr hat seine Arbeit getan, der Mohr kann gehen" (The Moor has done his work, the Moor can go) — still a great line to quote under your breath when you feel your boss isn't giving you the recognition you deserve.
The women get more to do than in Die Räuber, but their parts aren't exactly out of the ordinary — Julia is a femme fatale to be seduced and spurned by Fiesco, Leonore a faithful neglected wife, Berta an innocent victim. Schiller does, however, remember to put in a couple of reasonable parts for Leonore's maids. And there's a little bit of Shakespearean cross-dressing in the last act.
Given all this, it's probably not surprising if you've never seen this performed on stage, but it is quite an interesting study of political character. ( )