opening night October, 9, 2003
ABOUT THE PLAY AND PLAYWRIGHT
Much of what is fascinating, if not entirety true, about
Carlo Goldoni's life
can be read in Memoirs of Carlo Goldoni: Written by Himself This curious
and passionate account represents the reconstructed memories of a 75-year-old
man; five years from his death and enamored with the life he had so joyously
lived.
Carlo Goldoni, born in Venice in 1707, was destined for a theatrical career
by virtue of his ancestry. His paternal grandfather loved the performing
arts. Even when there was little money, Goldoni celebrated life by regularly
hosting operas and plays featuring Italy's most gifted actors and musicians.
Carlo's father, Giulio Goldoni, also nurtured his son's love of theater
with a puppet stage.
In fact, not only did Carlo's father arrange the tiny theater's construction,
but he called upon the talents of his friends to write and perform pieces
for his four-year-old son. At this tender age, the young Goldoni was quite
accomplished at reading and writing. In his own memoirs, Goldoni recalls
hours spent in his father's library with his books, "I employed almost
all my leisure moments in reading them. I even copied the passages with
which I was most delighted."
Given his early love of books, perhaps it is not surprising that Goldoni
claims he wrote his first comedy at the age of eight. Though scholars
disagree with his version of the story, it is a charming notion. According
to Goldoni, when his father received this first playwriting sample, he
insisted that his talented son join him in Rome. In 1712, Giulio Goldoni
had left his family behind to study medicine. Reunited with his father,
Carlo continued his own schooling and, during holidays, Giulio made provisions
for his son to perform in amateur productions. During this experience,
it became clear that Carlo Goldoni would never be an actor!
Instead, Carlo's father hoped that he would become a physician like himself
However, young Goldoni was very unhappy with the profession. Seeing this,
Carlo's mother found a way for her son to pursue study in the law through
employment with an attorney in Venice.
At 16, Carlo Goldoni received the opportunity to continue these studies
at the College of Ghislieri, known as the Pope's College. The unusual
requirements for entry were a certificate verifying good moral conduct,
a certificate proving he was unmarried, a baptismal certificate, and,
if the church were to supply funds, Carlo must shave the crown of his
head in an appropriate "tonsure." Opting to keep his hair in exchange
for a lot of red tape, Goldoni applied for and received funding from the
senate. Additionally, a fortunate error wit his birth certificate showed
his age to be 18, allowing him to pass the minimum age requirement.
While on summer holiday, Goldoni engaged in his favourite past time: reading
comic plays. During his first summer at home, he was given a copy of Niccolò
Machiavelli's THE MANDRAKE which would play a huge role in the creation
of his later works. "It was the first comedy of character which had ever
fallen into my hands and I was quite enchanted with it."
Goldoni's third year at university would unfortunately be his last. Tricked
by
jealous classmates, he was placed under house arrest for possession of
pistols. Assured that his pen would prove an even mightier weapon for
revenge, Goldoni was encouraged to write an Atellano. This short, farcical
dramatic form originated with the Romans. Its subject matter most often
involved cheating, gluttony, fighting, and sexual exploits. Goldoni's
"characters" would be several
respectable Italian families who immediately demanded his expulsion for
the comic work. Their wish was granted.
This expulsion would send Goldoni back to the study of law in 1727. He
would finally receive his doctorate from the University of Padova in 1731
and be admitted to the bar a year later. Perhaps guided by his "theatrical"
nature, Goldoni won his first big case in 1733, but fled the city immediately
afterward to escape huge financial pressures and an unwelcome marriage.
Finally, in 1734, Goldoni officially began his career as a playwright
by writing scenarios for commedia troupes in and around Venice. However,
from the beginning, he was unhappy with many of the forms conventions.
He began to encourage reform in 1738 by writing out the principal role
in MAN OF THE WORLD. Five years later, Goldoni would write his first complete
comic text called A LADY OF CHARM, but would not see it performed because
of his need to flee from bad debts once again.
The partnership he began with masterful commedia actor Antonio Sacchi
on MAN OF THE WORLD would provide Goldoni's next major writing job.
In 1744, Sacchi requested a written scenario for SERVANT OF TWO MASTERS
which was based on an older French theme. The play premiered in Milan
a year later, but would not boast a complete text by Goldoni until nine
years later. His many successes following SERVANT OF TWO MASTERS encouraged
Goldoni to alter the traditional character types for later works. A GIRL
OF HONOR in 1749 would mark the first time commoners were given equal
importance on the stage. In that same year, THE GENTLEMAN AND THE LADY
would be the first Italian comedy performed without masks. The nobility
would continue to be outraged by this innovation for the next 10 years!
By 1761, when Goldoni left Venice, he had done much to eliminate vulgarity
and unrealistic devices from commedia. Instead, he concentrated on finding
ways to include humor, sentiment, and realism. The stock characters appeared
softer and more human under Goldoni's pen.
His later works also revealed his respect for the middle and lower classes
and particularly women. his respect is most clearly illustrated in one
of his most famous works, THE MISTRESS OF THE INN.
Late in his life, trouble with his eyes forced Goldoni to discontinue
much of his writing. This, combined with government reform, would plunge
Carlo Goldoni into utter poverty for much of his old age. In February
of 1793, his government pension was renewed following an impassioned plea
to the National Convention. Ironically, Goldoni never heard the praise
nor benefited from the renewal; he died on that same day -- poor and blind.
ACT ONE
House of Pantalone
Federigo, who is actually Beatrice disguised as a man, arrives. He/She expects Pantalone to pay her money that is due to Federigo. Brighella, a friend of the Rasponi house and owner of a hotel recognises Beatrice but agrees with her to not reveal her true identity. Truffaldino meets Smeraldina the house maid. He falls in love with her. The wedding is cancelled
Street
Truffaldino laments his condition as a servant. Florindo (Beatrice's lover) escaped from Turin after the death or Federigo, and arrives in Venice. Truffaldino applies to work as his servant and brings his trunk to the nearby hotel. he is sent to the post office to check for letters for Florindo Aretusi. Beatrice arrives at the same hotel and sends him to the post office to retrieve letters as well.
Silvio, wanting to meet Federigo, asks for Truffaldino's master. Florindo arrives. They think there is a misunderstanding. Florindo learns from Silvio that Federigo is alive and in Venice. He wants to return to Turin to search for Beatrice. Truffaldino mixes up the letters and gives Beatrice's letters to Florindo, who learns she is in Venice. He leaves in search of her. Truffaldino tries to reseal Beatrice's letter with a piece of bread. (letter Lazzo) Beatrice sees that the letter has been opened. She beats Truffaldino and sends him m the hotel. She leaves in search of Pantalone. Truffaldino meets Pantalone who gives him the money for his master. Truffaldino gives it to Florindo.
House of Pantalone
Clarice resists her father's will- She does not want to marry Federigo. Beatrice, seeing her desperation, tells her the truth; she is a woman. Clarice agrees to keep the secret, and gives her hand to Beatrice to show loyalty Pantalone sees this and believes that she has agreed to the Wedding. He leaves in search of Lombardi.
ACT TWO
Outside Pantalone's house
Silvio wants to fight Pantalone. His father, Lombardi, stops him and meets Pantalone. They talk. Pantalone informs him that the wedding between Clarice e and Federigo is decided. Silvio returns. Attacts Pantalone with words and challenges him. Beatrice intervenes and disarms Silvio. She's about to kill him when Clarice enters. Beatrice let Silvio go and reminds her the vow of silence. Clarice assures Silvio of her love, but he does not believe it. She is ready to commit suicide when Smeraldina stops her. Monologue of Smeraldina about men. Silvio leaves to seek revenge.
Hotel
Truffaldino meets Florindo, who allows him to order lunch. Then, Truffaldino receives the same order from Beatrice. Shegives him a cheque for 4000 ducats to be kept in her trunk. Truffaldino discusses the menu and table setting with Brighella He shows the intended placement with tearing into pieces the Cheque. Beatrice arrives to lunch with Pantalone. She discover the shredded cheque and beats him. She goes in her room to lunch. Arrives Florindo and does the same. Beatrice and Florindo are in two adjoining rooms. With the help of the waiter Truffaldino serves the meal to both masters.
Road
Smeraldina searches for Federigo. Skye has a letter from Clarice. She meets Truffaldino who declares his love for her. They try to read the letter but can not. Beatrice sees the open letter. Truffaldino and Smeraldina blame each other. Beatrice beats Truffaldino Florindo sees it and beats Truffaldino too.
ACT THREE
Hotel
Truffaldino brings both his masters' trunks to the same hotel room. Gives the clothes an airing. Finds in a coat Florindo's portrait. When Florindo calls him from off stage mixes up dresses and books, putting the portrait in a black coat. Florindo asks for a black coat. He receives one and finds his portrait (once presented to Beatrice) inside of it. As an excuse Truffaldino says he received the portrait from "is previous master who is now dead. Florindo believing Beatrice is dead exits in desperation. Beatrice asks for his ledger book which is in the trunk and receives one of Florindo containing her love letters. Truffaldino repeats the story of the dead master. Beatrice believing Florindo is dead, confesses that he is a woman, and desperately exits
Street
Pantalone, who has discovered the truth identity of Beatrice, meets Lombardi and tells him that the marriage between Silvio e Clarice is possible. Lombardi refuses the offer. Comes Silvio and Pantalone tells him the wedding `still possible as Federigo is a woman.
Hotel
Beatrice and Florindo try to commit suicide and meet by chance. Alive! Their joy is immense. They plan to go back to Turin and to buy Florindo's freedom. Who is responsible for these misunderstandings? Brighella brings Truffaldino, who convinces both masters separately that the responsible party is another servant named Pasquale. He tells them that Pasquale is the servant of the other and that they should not talk about him. Truffaldino asks Florindo for permission to marry Smeraldina
House of Pantalone
The wedding between Clarice and Silvio is set again. Beatrice and Florindo are going to be married as well. Florindo asks Pantalone for permission to marry his servant to Smeraldina. Clarice says that Smeraldina is promised to Beatrice's servant. In order to marry Smeraldina, Truffaldino confesses he is the servant of both masters. Discovered the truth all masters chase Truffaldino who, escaped, monologues about love.
Servant of Two Masters
by
Directed by
Paolo Emilio Landi
Set & Costumes
Santi Migneco
Movements by
Lydia Biondi
Music by
Bach, Vivaldi, Tartini
produced by
the Saratov Youth Theatre
