Γραμματειακά είδη: το θέατρο

Abstract

Η δραματουργία δίπλα στην πλασματική πεζογραφία ανήκει στα νεωτερικά είδη που συγκεντρώνουν αυξημένη προσοχή. Στο φαναριώτικο χώρο κυκλοφορούν μεταφράσεις θεατρικών έργων, αλλά και πρωτότυπα, σατιρικά, κυρίως, δραματικά κείμενα που δεν βρίσκουν το δρόμο τους προς τη σκηνή (γιατί σκηνή δεν υπάρχει), γνωρίζουν όμως έντυπη και χειρόγραφη διάδοση ως αναγνώσματα ("το θέατρο της πολυθρόνας"). Στην περιοχή της τραγωδίας και του δράματος εξαιρετικά πλούσια είναι η μεταφραστική παρουσία του ιταλού συγγραφέα Μεταστάσιο ενώ στην κωμωδία δίνει το "παρών" ο Γκολντόνι. Ιδιαίτερο ενδιαφέρον παρουσιάζει η σατιρική παραγωγή με τον "Αλεξανδροβόδα τον ασυνείδητο" του Γ.Ν.Σούτσου και τη γλωσσική σάτιρα "Κορακιστικά" του Ι.Ρ.Νερουλού. Στις παραμονές της Επανάστασης στις σκηνές του Βουκουρεστίου και της Οδησσού ανεβαίνουν ιδεολογικά φορτισμένα κείμενα με αντιτυρρανικές αιχμές που ενθαρρύνονται από τον κύκλο της Φιλικής Εταιρείας. Συνεξετάζεται και η επτανησιακή θεατρική παραγωγή. Το γραμματολογικό υλικό συνοδεύεται από ανθολόγιο κειμένων.

The chapter examines the theatrical production of the period 1670-1830. Included are original and translated plays, which were printed at the time, or remained in manuscript form. The original dramatic production of the Phanariots until the end of 18th century is dominated by satire on ecclesiastical and political circles, political figures, or social issues; these texts remained unpublished at the time, circulating in manuscripts. In the Ionian Islands during the same period, we find the tragedies of Petros Katsaitis and the satirical comedies of Savoya Rousmelis, and Dimitrios Gouzelis. Comedies of Moliere first and then of Goldoni had begun to be translated at the court of Mavrocordatos in the Danubian Principalities before the mid-18th century; these translations circulated in manuscripts. From the middle of the same century, we witness a gradual diffusion of translations through books printed in Venice and, mostly, in Vienna. The Italian librettist Metastasio became immensely popular; translations of Goldoni's comedies were also published. Guarini offers a timeless selection, as his work is translated by different translators from the beginning to the end of the period. In the two pre-revolutionary decades works on ancient theme, both original and translated, become more frequent. Antiquity is used to express the desire for liberation. Among the translated works are the tragedies of Voltaire and Alfieri, which convey political and ideological messages. In addition, original texts are written developing themes from antiquity and, often, the theme of tyrannicide. Of particular interest are the works on ancient theme of the Ionian writers Andreas Kalvos (tragedies in Italian language) and Ioannis Zampelios. From the Ionian Islands also comes a landmark work of the Greek theatre, the ‘Vassilikos’ by Antonios Matessis. In the field of translated comedy Molière reappears with two translations, exploiting the dynamic of typography. Special attention must be paid to the hellenized ‘Philargyros’, which had a brilliant success under the title of ‘Exintavelonis’. The early decades of the 19th century saw the first substantial samples of female literature through translation and original writing. Throughout the period, important literary figures are involved in the writing and translation of plays, many of whom we have already met in the chapters on poetry and prose. The stage performance of the plays, increased in the pre-revolutionary period, is supported by the Phanariot rulers as well as by circles associated with the Filiki Eteria.