Ο Κλαβίγιος : το ωραίον και συγκινητικόν δράμα του μέγιστου ποιητού της Γερμανίας Γαίτου στην ελληνική σκηνή του 19ου αιώνα
Part of : Παράβασις : επιστημονικό περιοδικό Τμήματος Θεατρικών Σπουδών Πανεπιστημίου Αθηνών ; Vol.4, No.1, 2002, pages 39-72
Issue:
Pages:
39-72
Parallel Title:
Clavigo : the beautiful and pathetic drama by Goethe, the greatest poet of Germany, on the Greek stage in the 19th century
Section Title:
Μελέτες και άρθρα
Author:
Abstract:
This paper investigates the presence of Goethe’s play Clavigo (1774) on the Greek stage during the 19th century. In the first part a philological as well as dramatological analysis is attempted. The original drama and its two Greek translations, both published in the middle of the 19th century, are placed in the context of their respective eras. The translations are compared to each other and to the original, their dramatic virtues and literary quality are evaluated etc. An hypothesis is put forward, based on detailed analysis and respective argumentation, that one of the two translators must have used a French translation of the play and not the German original. In the second part, the Greek performances during the 19th century have been discovered by direct research in the contemporary sources and have been systematically registered and critically presented. The career of the play in the repertory of theatrical companies and actors together with its critical reception is followed; all these lead to the conclusion that the play had an intense, successful but short presence, covering approximately twenty years (1864-1886) after which it fell into oblivion. In the third part, comments on its reception in Greece, almost a century after its composition, are entered, including all the subsequent particulars of different time (correlation with the question of the foundation of a Greek National Theatre and speculation concerning its suitability for this purpose, the antithesis of its romantic style to the neoclassical ideals of later time, emphasis on its didactic and moralistic element, strengthening of Beaumarchais’ role, stress on emotion etc.). In the end there is a comparison of the resonance of Goethe’s drama as text and performance in its own time and country to the resonance it had in Greece during the 19th century.
Keywords:
δραματουργία
