The Poetics of Imitation in the Italian Theatre of the Renaissance

The theatre of the Italian Renaissance was directly inspired by the classical stage of Greece and Rome, and many have argued that the former imitated the latter without developing a new theatre tradition. In this book, Salvatore DiMaria investigates aspects of innovation that made Italian Renaissance stage a modern, original theatre in its own right. He provides important evidence for creative imitation at work by comparing sources and imitations – incuding Machiavelli’s Mandragola and Clizia , Cecchi’s Assiuolo , Groto’s Emilia , and Dolce’s Marianna – and highlighting source elements that these playwrights chose to adopt, modify, or omit entirely. DiMaria delves into how playwrights not only brought inventive new dramaturgical methods to the genre, but also incorporated significant aspects of the morals and aesthetic preferences familiar to contemporary spectators into their works. By proposing the theatre of the Italian Renaissance as a poetic window into the living realities of sixteenth-century Italy, he provides a fresh approach to reading the works of this period. The theatre of the Italian Renaissance was directly inspired by the classical stage of Greece and Rome, and many have argued that the former imitated the latter without developing a new theatre tradition. In this book, Salvatore DiMaria investigates aspects of innovation that made Italian Renaissance stage a modern, original theatre in its own right. He provides important evidence for creative imitation at work by comparing sources and imitations - incuding Machiavelli's Mandragola and Clizia, Cecchi's Assiuolo, Groto's Emilia, and Dolce's Marianna - and highlighting source elements that these playwrights chose to adopt, modify, or omit entirely. DiMaria delves into how playwrights not only brought inventive new dramaturgical methods to the genre, but also incorporated significant aspects of the morals and aesthetic preferences familiar to contemporary spectators into their works. By proposing the theatre of the Italian Renaissance as a poetic window into the living realities of sixteenth-century Italy, he provides a fresh approach to reading the works of this period Contents 5 Preface 7 Chapter One. Imitation: The Link between Past and Present 11 Chapter Two. Machiavelli’s Mandragola 36 Chapter Three. Clizia: From Stage to Stage 55 Chapter Four. Cecchi’s Assiuolo: An Apian Imitation 74 Chapter Five. Groto’s Emilia: Fiction Meets Reality 94 Chapter Six. Gli duoi fratelli rivali: Della Porta Adapts Bandello’s Prose Narrative to the Stage 115 Chapter Seven. Orbecche: Giraldi’s Imitation of His Own Prose Narrative 138 Chapter Eight. Dolce’s Marianna: From History to the Stage 158 Conclusion 177 Notes 183 Bibliography 209 Index 223