By Teofilo Folengo
Mantovano, nato nel 1491, Folengo è stato uno dei principali esponenti della poesia maccheronica. los angeles sua prima pubblicazione, il Merlini Cocaii macaronicon racconta l. a. storia di un eroe immaginario, Baldus, e si connota in step with l'uso frequente di parole e frasi dal dialetto mantovano spesso di difficile comprensione. Più volte censurato proprio consistent with il suo linguaggio e los angeles manifestazione di idee ritenute volgari, il Merlini Cocaii macaronicon ha conquistato comunque una vasta popolarità ed in pochi anni è stato ristampato in numerosissime edizioni. Oggi il Baldus esce in line with UTET, completo di apparato critico, in un'edizione digitale di pregio.
Note: twin language: Latin and Italian. (no English)
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To demarcate too rigidly, however, between the semiotics of the private and public theatres would be to ignore some of the continuities which existed between them, as well as to overlook the contestation of the meaning of theatre which takes place often within a single play. There are three main headings under which I shall consider the semiotics of the Renaissance theatre. 14 These are three of the ways – there are undoubtedly more – in which I see theatre as signifying during the Renaissance.
How dost thou, Rafe? Art thou not shrodly hurt? The foul great lungies laid unmercifully on thee. There’s some sugar-candy for thee. Proceed. Thou shalt have another bout with him. Citizen. If Rafe had him at the fencing-school, if he did not make a puppy of him, and drive him up and down the school, he should ne’er come in my shop more. 327–34) This is illusionism with a vengeance, illusionism gone mad. Thus for the citizens, who are intended to represent a type of public theatre audience, the theatre is all about identification, enchantment and the customer power which can dictate the nature and extent of the theatre’s imagined realities.
I want to pick out one further feature of the widening divide between detached and committed kinds of spectatorship. This is the way in which the citizens attempt to overcome various kinds of estrangement by making themselves ‘at home’ in the theatre, in contrast with the implied stance of the Blackfriars audience which is to accept a condition of detachment or exile. ‘I’m a stranger here’, says the citizen’s wife in the ‘Induction’ (l. 51). If the citizens have, as Shepherd and Womack suggest, ‘walked into the wrong theatre’, because to ‘see the sort of performance they wanted, they should have gone to the Red Bull at Clerkenwell’,27 then they spend their time in the Blackfriars theatre trying to make up for that mistake by rewriting the play to their taste, talking freely to the actors and audience, introducing ‘their’ Rafe and treating not just Rafe but all the other players as though they are or have become members of their family: Wife.