Jolanta Dygul
Jolanta Dygul, Assistant Professor at the Department of Italian Studies at the University of Warsaw, mainly interested in Italian theatre and literature, as well as in the reception of Italian culture in Poland. She is the author of a monograph on metatheatrical works by Carlo Goldoni (Metateatralność w dramaturgii Carla Goldoniego, Warszawa 2012) and Polish critical edition of the translation of Carlo Goldoni’s Teatr komediowy (Gdańsk, 2011), Niccolò Machiavelli’s Mandragora (Warszawa 2017), and Historia Calandra by Dovizi da Bibbiena (Warszawa 2018), and is also the editor of the anthology of modern Italian drama: Edoardo Erba, Fausto Paravidino, Pierpaolo Palladino, Trzy sztuki włoskie (Warszawa 2015).
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Papers by Jolanta Dygul
This article focuses on some of the ideas and poetics of literary translation that were circulating in Poland at the turn of the 16th and the 17th centuries, notably Piotr Kochanowski’s two arch-translations of Tasso’s and Ariosto’s poems (goffred and orland szalony), which are emblematic of two ways of translating. The first tends towards imitation, towards achieving analogous results idiomatically in the target language (“rendering” the text in the target language) – largely, as we would say today, “target oriented”; the second translation is more faithful to the original, though not entirely “source oriented”. The 16th/17th century literary translation can be situated within the dialectic polarity between these two modes, which are neither conflicting nor even opposed to each other (as evidenced by the fact that the same translator employs both approaches). Both in the practice of translators and in the few theories in existence at the time and in association with other cultural macrophenomenona such as the question of language, Italianism, versification etc., poetic translation represents a fundamental chapter of the great formative book of modern Polish literature. It characteristically and continuously positions itself between the centre and the periphery of the European cultural polysystem.
Books by Jolanta Dygul
This article focuses on some of the ideas and poetics of literary translation that were circulating in Poland at the turn of the 16th and the 17th centuries, notably Piotr Kochanowski’s two arch-translations of Tasso’s and Ariosto’s poems (goffred and orland szalony), which are emblematic of two ways of translating. The first tends towards imitation, towards achieving analogous results idiomatically in the target language (“rendering” the text in the target language) – largely, as we would say today, “target oriented”; the second translation is more faithful to the original, though not entirely “source oriented”. The 16th/17th century literary translation can be situated within the dialectic polarity between these two modes, which are neither conflicting nor even opposed to each other (as evidenced by the fact that the same translator employs both approaches). Both in the practice of translators and in the few theories in existence at the time and in association with other cultural macrophenomenona such as the question of language, Italianism, versification etc., poetic translation represents a fundamental chapter of the great formative book of modern Polish literature. It characteristically and continuously positions itself between the centre and the periphery of the European cultural polysystem.
The piece introduces the activity of artistic directors Teresa Costantini, Angiola Paghetti and Colomba Coppa in the service of Ferdinando Carlo Gonzaga-Nevers, their generous patron and the last Duke of Mantua.
Referencing studies begun thirty years ago on the musicological side and using recent historical research and archive sources, the essay highlights the artistic, organisational and management responsibilities of Commedia dell’Arte directors. It reconstructs their relations with Ferdinando Carlo, ducal agents and the Gonzaga court on the one hand, and their relations with Venetian impresarios Grimani, with whom the Duke of Mantua had established a lasting and generous collaboration, on the other.
Performing women, prejudicially equated with prostitutes and beneficiaries of gifts and privileges, were depictions of love and glory for a discredited prince, whose array of artists was, however, among the most dense and dynamic in Italy. Actresses progressively moved away from the codes of courtliness and, as professionals registered and paid in money, they came to have strong bargaining power and levels of autonomy. However, they were subjected to rules and obligations, especially in Venice where theatre owners made spaces available only to companies under the protection of the princes who were politically aligned with the Serenissima.
During the years of the so-called Spanish succession war, Diana, Aurelia and the others moved between Venice, Mantua and Casale, where Ferdinando Carlo had moved after the blockade of Mantua accompanied by a colourful procession of women, musicians and comedians. Through theatrical misadventures mingled with military manoeuvres in Mantuan territory, and via changes of destination, programme or repertoire, we read the story of a duchy that had lost its identity and of a rapidly changing theatrical market.