Brief biography of Carlo Gozzi. Brief biography of Carlo Gozzi Essay on literature on the topic: Brief biography of Gozzi

Ibid.) - Italian writer and playwright, author of fairy-tale plays (fiab; fiabe), using folklore elements plot and principles of commedia dell'arte in the choice of mask characters. Brother of the writer Gasparo Gozzi.

Biography

Carlo Gozzi was the sixth of eleven children of the impoverished Venetian count Jacopo Antonio Gozzi and his wife Angiola Tiepolo. In search of a livelihood, at the age of 16 he enlisted in the army operating in Dalmatia. Three years later he returned to Venice. Wrote several satirical works(poems and pamphlets), which ensured his fame and opened the way to the Granelleschi literary society (Academy). This society advocated the preservation of Tuscan literary traditions and against newfangled realistic plays playwrights such as Pietro Chiari and Carlo Goldoni. With his fairy tale plays, Gozzi tried to create an aesthetic opposition to the new literature.

My literary activity Gozzi began by writing poems that were fully in keeping with the spirit of Pulci (“The Freaky Marfisa,” etc.) and essays in which he polemicized with Goldoni, who was then carrying out his famous theatrical reform. An excellent connoisseur and ardent admirer of commedia dell'arte, Gozzi believed that plebeian tastes were indulged primarily by the comedies of Goldoni himself, and not by commedia dell'arte, as was claimed. Gozzi considered the comedy of masks to be the best that Venice gave to theatrical art.

Legend has it that Gozzi wrote his first play after betting with Goldoni (who was then at the zenith of his fame) that he would write a play based on the simplest plot and achieve enormous success. Soon after, “The Love for Three Oranges” appeared. With her appearance Gozzi created new genre- fyaba, or tragicomic tale for the theater. The fiaba is based on fairy-tale material, the comic and tragic are intricately mixed, and the source of the comic is, as a rule, collisions involving masks (Pantalone, Truffaldino, Tartagli, Brighella and Smeraldina), and the tragic is the conflict of the main characters. The story of this fairy tale was used by S. S. Prokofiev for his 1919 opera “The Love for Three Oranges”.

“The Love for Three Oranges” was written especially for the troupe of Antonio Sacchi, a great improvisational actor. Sacchi, together with his troupe, realized Gozzi’s plans in the best possible way - the success of “The Love for Three Oranges” was amazing, as was the success of the 9 subsequent fiabas.

"The Love for Three Oranges" was almost entirely improvisational. The nine subsequent fiabas retained improvisation only where the action was associated with the masks of the commedia dell'arte, the roles of the main characters were written in noble and expressive blank verse.

Gozzi's fiabs are extremely famous. They were highly valued by Goethe, brothers August and Friedrich Schlegel, E. T. A. Hoffmann, Madame de Stael, A. N. Ostrovsky and many others. Captivated by Gozzi's talent, Schiller reworked "Turandot" for the stage of the Weimar Theater - one of Gozzi's best plays, the plot of which was later written into music by Carl Maria von Weber and an opera by Puccini.

Having abandoned the writing of fiab around 1765, Gozzi did not leave the pen. However, 23 plays in the style of a comedy of cloak and sword brought him incomparably less fame than fiabs and the famous “Useless Memoirs” written at the end of his life. He was buried in the Venetian church of San Cassiano.

His fiabs still go all over the world to this day, causing the admiration of the viewer.

Essays

The Love for Three Oranges (L'amore delle tre melarance, 1761)
The Raven (Il Corvo, 1761)
The Stag King (Il Re cervo, 1762)
Turandot (1762)
The Snake Woman (La donna serpente, 1762)
Zobeide (La Zobeide, 1763)
Happy Beggars (I Pitocchi fortunati, 1764)
The Blue Monster (Il mostro turchino, 1764)
Green bird (L'Augellino belverde, 1765)
Zeim, king of the genies (Zeim, re de "geni, 1765)
Useless memoirs of the life of Carlo Gozzi, written by himself and published with humility by him (Memorie inutili della vita die Carlo Gozzi, scritte da lui medesimo, e da lui publicate per umilita, 1797). First translated into Russian by L. M. Chachko in 2013.

Films based on the works of Carlo Gozzi

“The Deer King” - USSR, “Film Studio named after. Gorky", 1969, director Pavel Arsenov
“Love for Three Oranges” - USSR, “Mosfilm” - Bulgaria, Sofia Studio, 1970, directors Viktor Titov and Yuri Bogatyrenko
“The Raven” - USSR, 1986, director Valentin Pluchek
“Turandot” - USSR, “Georgia Film”, 1990, director Otar Shamatava.

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Literature

Gozzi K. Fairy tales for the theater / Intro. Art., comment. and ed. lane S. Mokulsky. - M.: Art, 1956. - 889 p.
Gozzi K. Fairy tales for the theater / Intro. Art. N. Tomashevsky. - M.: Pravda, 1989.
Tomashevsky N.// C. Goldoni. Comedy. K. Gozzi. Fairy tales for the theater. V. Alfieri. Tragedies. - M.: Fiction, 1971.
Gozzi K. Useless memoirs / Transl. L. M. Chachko - M.: Bureau Mayak, 2013. - ISBN 978-5-518-35036-6

Notes

Excerpt characterizing Gozzi, Carlo

With shaking hands, Natasha held this passionate, love letter, composed for Anatoly by Dolokhov, and, reading it, found in it echoes of everything that it seemed to her that she herself felt.
“Since last night, my fate has been decided: to be loved by you or to die. I have no other choice,” the letter began. Then he wrote that he knew that her relatives would not give her to him, Anatoly, that there were secret reasons for this that he alone could reveal to her, but that if she loved him, then she should say this word yes, and no human forces will not interfere with their bliss. Love will conquer everything. He will kidnap and take her to the ends of the world.
“Yes, yes, I love him!” thought Natasha, re-reading the letter for the twentieth time and looking for some special deep meaning in every word.
That evening Marya Dmitrievna went to the Arkharovs and invited the young ladies to go with her. Natasha stayed at home under the pretext of a headache.

Returning late in the evening, Sonya entered Natasha's room and, to her surprise, found her not undressed, sleeping on the sofa. On the table next to her lay an open letter from Anatole. Sonya took the letter and began to read it.
She read and looked at the sleeping Natasha, looking on her face for an explanation of what she was reading, and did not find it. The face was quiet, meek and happy. Clutching her chest so as not to suffocate, Sonya, pale and trembling with fear and excitement, sat down on a chair and burst into tears.
“How did I not see anything? How could it have gone this far? Has she really stopped loving Prince Andrei? And how could she let Kuragin do this? He is a deceiver and a villain, that much is clear. What will happen to Nicolas, sweet, noble Nicolas, when he finds out about this? So this is what her excited, decisive and unnatural face meant the third day, both yesterday and today, thought Sonya; but it cannot be that she loves him! Probably, not knowing from whom, she opened this letter. She's probably offended. She can't do this!
Sonya wiped away her tears and walked up to Natasha, again peering into her face.
- Natasha! – she said barely audible.
Natasha woke up and saw Sonya.
- Oh, she’s back?
And with the determination and tenderness that happens in moments of awakening, she hugged her friend, but noticing the embarrassment on Sonya’s face, Natasha’s face expressed embarrassment and suspicion.
- Sonya, have you read the letter? - she said.
“Yes,” Sonya said quietly.
Natasha smiled enthusiastically.
- No, Sonya, I can’t do it anymore! - she said. “I can’t hide it from you anymore.” You know, we love each other!... Sonya, my dear, he writes... Sonya...
Sonya, as if not believing her ears, looked at Natasha with all her eyes.
- And Bolkonsky? - she said.
- Oh, Sonya, oh, if only you could know how happy I am! - Natasha said. – You don’t know what love is...
- But, Natasha, is it really all over?
Natasha looked at Sonya with big, open eyes, as if not understanding her question.
- Well, are you refusing Prince Andrey? - said Sonya.
“Oh, you don’t understand anything, don’t talk nonsense, just listen,” Natasha said with instant annoyance.
“No, I can’t believe it,” Sonya repeated. - I don't understand. How did you love one person for a whole year and suddenly... After all, you only saw him three times. Natasha, I don’t believe you, you’re being naughty. In three days, forget everything and so...
“Three days,” Natasha said. “It seems to me that I have loved him for a hundred years.” It seems to me that I have never loved anyone before him. You can't understand this. Sonya, wait, sit here. – Natasha hugged and kissed her.
“They told me that this happens and you heard correctly, but now I have only experienced this love.” It's not what it used to be. As soon as I saw him, I felt that he was my master, and I was his slave, and that I could not help but love him. Yes, slave! Whatever he tells me, I will do. You don't understand this. What should I do? What should I do, Sonya? - Natasha said with a happy and frightened face.
“But think about what you’re doing,” said Sonya, “I can’t leave it like that.” These secret letters... How could you let him do this? - she said with horror and disgust, which she could hardly hide.
“I told you,” Natasha answered, “that I have no will, how can you not understand this: I love him!”
“Then I won’t let this happen, I’ll tell you,” Sonya screamed with tears breaking through.
“What are you, for God’s sake... If you tell me, you are my enemy,” Natasha spoke. - You want my misfortune, you want us to be separated...
Seeing this fear of Natasha, Sonya cried tears of shame and pity for her friend.
- But what happened between you? – she asked. -What did he tell you? Why doesn't he go to the house?
Natasha did not answer her question.
“For God’s sake, Sonya, don’t tell anyone, don’t torture me,” Natasha begged. – You remember that you cannot interfere in such matters. I opened it for you...
– But why these secrets! Why doesn't he go to the house? – Sonya asked. - Why doesn’t he directly seek your hand? After all, Prince Andrei gave you complete freedom, if that’s the case; but I don't believe it. Natasha, have you thought about what secret reasons there could be?
Natasha looked at Sonya with surprised eyes. Apparently, this was the first time she had been presented with this question and she did not know how to answer it.
– I don’t know what the reasons are. But there are reasons!
Sonya sighed and shook her head in disbelief.
“If there were reasons...” she began. But Natasha, guessing her doubt, interrupted her in fear.
- Sonya, you can’t doubt him, you can’t, you can’t, do you understand? – she shouted.
– Does he love you?
- Does he love you? – Natasha repeated with a smile of regret about her friend’s lack of understanding. – You read the letter, did you see it?
- But what if he is an ignoble person?
– Is he!... an ignoble person? If only you knew! - Natasha said.
“If he is a noble man, then he must either declare his intention or stop seeing you; and if you don’t want to do this, then I will do it, I will write to him, I will tell dad,” Sonya said decisively.

Gozzi Carlo (1720-1806), Italian playwright.

Born December 13, 1720 in Venice. Count, descendant of a noble but ruined family; brother of the poet and critic Gasparo Gozzi.

Carlo Gozzi began his career as a military man, but from 1744 he devoted himself to literature and theater. He wrote several poetic novels and satires, 11 short stories in prose and the autobiographical “Useless Notes” (1797), painting a colorful picture of life in theatrical Venice. But Gozzi's fame rests on his work as a playwright.

In the fight against educational literature, C. Goldoni Gozzi created an original genre of theatrical fairy tales - fiabs, using plot motifs of folklore and the principles of commedia dell'arte (where the characters are typical "masks" moving from one play to another): "The Love for Three Oranges", "The Raven" (both 1761); The Stag King, Turandot (both 1762); “Green Bird” (1765), etc.

Gozzi's fiabs are characterized by contrasting oppositions of good and evil, pathos and buffoonery, a mixture of archaic literary language and everyday Venetian dialect. They glorified high human passions and at the same time were called upon to educate the lower classes in the spirit of religion and blind obedience to sovereigns (as Gozzi formulated his task in “A sincere reasoning and the true history of the origin of my ten fairy tales for the theater”). Gozzi also wrote 23 tragicomedies in the style of the Spanish comedy of cloak and sword.

In Italy, the playwright was quickly forgotten, but his fiabs aroused great interest among F. Schiller and German and French romantics.

“Turandot” was staged in Russia in 1922, and the play has not left the stage to this day. And based on the fairy tale “The Love for Three Oranges,” composer S. S. Prokofiev created an opera.

Carlo Gozzi- Italian playwright, who went down in the history of theater as the creator of the fiaba genre - theatrical fairy tale.

Count Carlo Gozzi was a native of Venice, where he lived all his life, with the exception of three years military service in Dalmatia (1741-1744) in the retinue of the governor of this province. He came from an old, but greatly impoverished aristocratic family. The Gozzi were once engaged in trade and owned several houses in the metropolis and lands in the provinces. However, by the time Carlo Gozzi was born, nothing remained of its former greatness. The chaotic and impractical family, numbering eleven children, of whom Carlo was the sixth, was already in the years of his early childhood under the threat of poverty and final ruin.

The main role in the family was played by Carlo's elder brother, poet and journalist Gasparo Gozzi (1713-1789), married to the poetess Luisa Bergalli (1703-1779). All other family members also wrote poetry and improvised comedies, which were staged on the home stage. The future poet himself discovered literary abilities already in childhood, and even in his youth, before leaving for Dalmatia, he wrote many short poems, mainly the so-called. "poems for the occasion", and four poems. Returning to Venice, Carlo, the only one among his relatives who had practical abilities, was forced to devote himself entirely to saving the remains of the family property. For a number of years, he negotiated with numerous and persistent creditors, moneylenders and financiers, lawyers and judges, buying out and renovating mortgaged houses. In the end, he managed to provide himself and his relatives with a relatively comfortable and independent existence.

In these difficult life circumstances, Gozzi decided to remain single, valuing his independence and not wanting to “give birth to a whole brood of little Gozzis, who would all end up poor.” The same desire for independence, according to his explanation, forced him to subsequently refuse the opportunities given to him to enter the service of the republic. He devoted his leisure time entirely to his favorite pastime: fiction.

As a writer, Gozzi represented the type of aristocrat-dilettante of poetry. He was proud that he wrote for his own pleasure and for the glorification of the Italian language and literature, and not to earn money like the professional playwright Goldoni or the new type of journalist like his brother Gasparo. He did not take a fee either for his poetry or for the plays that he wrote for Sacchi’s troupe, which was under his literary patronage. From his pen, by his own admission, “streams of poetry and prose” continuously poured out. Gozzi wrote lyric poems, mainly fashionable in the 18th century. sonnets "on occasion", heroic and comic poems, poetic and prose satires, fairy tales and domestic comedies, treatises, discussions and pamphlets in prose, devoted to issues of literary theory and criticism, the justification of their writings and polemics with various opponents. Two collected works during his lifetime do not exhaust all of his works, from which the memoirs came separate publication, many poems are scattered in collections of that time (the so-called Raccolti), and some satirical and polemical works remained unpublished during the poet’s lifetime and are still in manuscript. Most of these works were not republished after Gozzi's death and are currently forgotten. What relatively little remains of interest is directly or indirectly connected with Gozzi's struggle against Goldoni and the bourgeois Enlightenment.

Gozzi's literary tastes were conservative and sharply diverged from the literary and aesthetic guidelines of the ensuing Age of Enlightenment. He loved ancient Italian poetry, adored folk tales and the comedy of masks. In this, Carlo and Gasparo Gozzi found like-minded people in the members of the so-called Granelleschi Academy, founded in 1747 and which set itself the goal of preserving national traditions in poetry, reviving the original purity of the Italian language, and combating newfangled foreign trends in the Venetian literary life. The activities of the Academy were largely slapstick and parody in nature (the name “Granelleschi” comes from the word “grano”, meaning both “grain” and “nonsense”). Published under the solid-sounding title “Proceedings of the Granelleschi Academy”, they were flying sheets filled with comic allegories, biting satires and epigrams. Being one of the most active writers of these “works,” Carlo Gozzi chose the two most popular playwrights in Venice at that time as the main target of his satirical arrows - Carlo Goldoni and, now thoroughly and deservedly forgotten, Abbot Chiari. Gozzi reproached them for bad taste, false pathos and pomposity, vulgar naturalism, ignorance of folk traditions and thoughtless copying of fashionable foreign models. The aristocrat Gozzi blamed Goldoni for the fact that “in his comedies he presented genuine nobles as examples of vice worthy of ridicule, and in contrast to them he presented various plebeians as examples of seriousness, virtue and dignity.”

Today, when the plays of Gozzi and Goldoni coexist peacefully in the volumes of selected Italian drama, this looks somewhat strange, but we should not forget that Goldoni, unlike his namesake, earned his living precisely by literary work, and he worked quite intensively. In 1750 alone, he wrote and presented sixteen comedies to the public. Of course, a sophisticated critic could easily discern in them both numerous repetitions and some negligence. Goldoni’s pen also produced not only domestic comedies, which have not left the stage to this day, but also numerous moralizing tragedies.

Gozzi's literary polemics with Goldoni and Chiari continued for several years (1756-1761) and as a result led Carlo Gozzi to the decision to fight his rivals on their own field. Pavel Muratov in his book “Images of Italy” describes how this happened:

“Once upon a time, several writers met in Bettinelli’s bookstore, located in a dark corner behind the Toppe del Orologio. Among them was Goldoni himself. Intoxicated by his success, he talked for a long time about the significance of the revolution he had made in the Italian theater, he showered ridicule and abuse on the old comedy of masks. Then one of those present, a tall and thin man, who until then had been sitting silently on a bunch of books, stood up and exclaimed: “I swear that with the help of the masks of our old comedy I will gather more spectators for “The Love of Three Oranges” than you for your various Pamelas and Irkana." Everyone laughed at this joke from Count Gozzi: “The love of three oranges” was folk tale, which nannies told little children back then. But Carlo Gozzi did not mean to joke, and Venice was soon convinced of this.”

We do not find confirmation of this story in Gozzi’s memoirs, but the fact remains a fact. On January 25, 1761, during the winter carnival, a troupe of comedy actors, led by the famous comedian Antonio Sacchi, presented the first play of Carl Gozzi to the Venetian public from the stage of the Teatro San Samuele. Magic, buffoonery of masks, jokes, parodies, spectacular effects of this fairytale performance delighted the audience. Gozzi's idea to combine the fairy tale and the comedy of masks into a single genre was completely successful.

This genre, which is based on fairy-tale material, in which the comic and tragic are intricately mixed, is called fiabe teatrali. The fyaba “The Love for Three Oranges” has come to us in the form of “Analysis from Memory,” that is, in essence, it is a script accompanied by the author’s comments about the performance and the reaction of the audience. Gozzi cited only a parody-satirical scene in which he brought Goldoni and Chiari under the guise of the magician Celio and the fairy Morgana.

Inspired by the unexpected success, Antonio Sacchi invites Gozzi to sign a contract and take on the task of replenishing the troupe’s repertoire. True to his principles, Gozzi refuses money, thus becoming a patron of the troupe’s actors, because he can no longer stop. Over the course of five years, he wrote nine more theatrical tales - “The Raven”, “The Deer King”, “Turandot”, “The Snake Woman”, “Zobeide”, “The Happy Beggars”, “The Blue Monster”, “The Green Bird”, "Dzeim, King of the Spirits" - which also enjoys unfailing success, ensuring full collections. It was a complete triumph. Chiari went to Brescia, and then emigrated to America altogether, abandoning his theatrical craft. The wounded Goldoni also left Venice forever, moving to Paris. The battlefield remained with Gozzi.

Gozzi's subsequent fiabs differ markedly from the opening both in form and content. These are no longer dotted scripts, but fully written plays, leaving much less room for improvisation. They are written mainly in poetry, scenes are written in prose in which the masks of the commedia dell'arte take part - Pantalone, Tartaglia, Brighella and Truffaldino. Literary parody almost disappears, and tragic collisions are added.

Gozzi's best and most famous fiaba is Turandot, which premiered on January 22, 1762. It was after the production of this play that Gozzi’s literary rivals left Venice forever, and Sacchi’s troupe was able to move from the Teatro San Samuele to the more spacious and comfortable Teatro Sant’Angelo. At least eight operas have been written based on the plot of “Turandot”, including the famous opera by G. Puccini.

Gozzi's last fiaba, Zeim, King of the Spirits, was staged on November 25, 1765. In a relatively short period of time, this genre has exhausted itself, having lost the taste of novelty. However, of great importance was the fact that the production of fiab required large expenditures on scenery, costumes, and stage effects, which was beyond the capabilities of the Venetian theaters, which did not have large financial resources. It should also be noted that, unlike Goldoni’s comedies, which were successful throughout Italy, Gozzi’s fiabas were not staged at all outside of Venice. Gozzi's triumph was a narrowly local, Venetian success, and in the general Italian sense Goldoni, although he left the country, took revenge on his rival soon after the Fiabs left the scene.

Having stopped composing fiabs, Gozzi moved on to another genre - romantic tragicomedy in prose. In total he wrote twenty-three such plays. All of them were intended for the same Sacchi troupe. After the dissolution of the troupe in 1782, Gozzi stopped working for the theater forever.

In addition to his plays, Gozzi remains in the history of Italian literature thanks to his memoirs entitled “Useless Memoirs”. They were finished in 1780, but published only seventeen years later, when the Venetian Republic disappeared, destroyed by Napoleon.

Their appearance was facilitated by one sad circumstance in Gozzi’s life. In 1771, the confirmed bachelor became interested in the actress Theodora Ricci, but their relationship ended in a break in 1776, when Ricci chose him over the young diplomat Gratarol, secretary of the Venetian Senate. Gozzi took revenge on his rival by casting Gratarol in the role of a cutesy dandy in the comedy “Le droghe d'amore” (“The Love Potion”). Unable to withstand the ridicule of his fellow countrymen, Gratarol went to Stockholm, where he published a pamphlet, attacking with stinging attacks not only on Count Gozzi, but also against many influential Venetian nobles. The Senate sentenced Gratarol to death and confiscated his property. This episode was one of the reasons that brought to life “Useless Memories”. Although they describe the whole life of Gozzi, the story of his relationship with Ricci and Gratarol. occupies a central place in them.

Gozzi died forgotten by everyone in his homeland at the age of 86, not knowing that at that time in Germany, which he had never been to, great interest in his theatrical fairy tales, so firmly seemed to be forgotten in Italy.

Works on the website Lib.ru
Carlo Gozzi
Carlo Gozzi

Date of Birth:
Date of death:
Citizenship:	Venetian Republic
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Language of works:	Italian

“The Love for Three Oranges” was almost entirely improvisational. The nine subsequent fiabas retained improvisation only where the action was associated with the masks of the commedia dell'arte, the roles of the main characters were written in noble and expressive blank verse.

Gozzi's fiabs are extremely famous. Captivated by Gozzi's talent, Schiller remade Turandot, perhaps Gozzi's best work, for the stage of the Weimar Theater.

His fiabs still go all over the world to this day, causing the admiration of the viewer.

Essays

The Love for Three Oranges (L'amore delle tre melarance, 1761)
The Raven (Il Corvo, 1761)
Turandot (1762)
The Stag King (Il re cervo, 1762)
The Snake Woman (La donna serpente, 1762)
Zobeide (1763)
The Blue Monster (Il mostro turchino 1764).
Happy Beggars (1764)
Green Bird (L'augellin belverde, 1765)
Zeim, king of the jinn (Zeim, re dei ginni, 1765)
Useless memoirs of the life of Carlo Gozzi, written by himself and published with humility by him (Memorie inutili della vita die Carlo Gozzi, scritte da lui medesimo, e da lui publicate per umilita, 1797)

Films based on the works of Carlo Gozzi

“The Deer King” - USSR, “Film Studio named after. Gorky", 1969, director Pavel Arsenov
“Love for Three Oranges” - USSR, “Mosfilm” - Bulgaria, Sofia Studio, 1970, directors Viktor Titov and Yuri Bogatyrenko

Carlo Gozzi (Gozzi, Carlo) (1720–1806), Italian playwright. Born December 13, 1720 in Venice. Received home education. At the age of 16 he went to military service in Dalmatia and returned to his homeland three years later. An aristocrat and conservative by nature, Gozzi opposed any literary innovations. In 1757 in the comic almanac The Sailboat of Power (La Tartana degli influssi) and in 1761 in La Marfisa bizarra, a satire poem on Venetian society, he attacked C. Goldoni and P. Chiari, who refused to write in their plays from the traditional commedia dell'arte with its masked characters and gave preference to realism. Reviving the traditional comedy of masks, Gozzi wrote a number of fairy-tale plays, which he called “fiabs.” Their plots were based on children's fairy tales; The plays themselves are distinguished by their unusual setting, wonderful transformations and the presence of familiar mask characters - Pantalone, Truffaldino, etc. Staged with resounding success on January 25, 1761, Love for Three Oranges (L "amore delle tre melarance) later formed the basis of S. Prokofiev's opera (1921 In total, Gozzi composed 10 fiab tales, including The Raven (Il Corvo, 1761), Turandot (Turandot, 1762) and The Green Bird (L "augellin belverde, 1765). Schiller's adaptation of Turandot later formed the basis of G. Puccini's opera. These plays, marked by the imagination and dramatic talent of the author, still owe much of their effect to the acting. Subsequently, Gozzi wrote comedies in the spirit of the Spanish “comedy of the cloak and sword.” Around 1780 he began work on his memoirs, entitled Useless Memories (Memorie inutili, 1797). This work recreates a vivid picture of Venetian life and the battles in which Gozzi was a participant.

Brief biography of Carlo Gozzi. Brief biography of Carlo Gozzi Essay on literature on the topic: Brief biography of Gozzi

Biography

Essays

Films based on the works of Carlo Gozzi

Write a review of the article "Gozzi, Carlo"

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Excerpt characterizing Gozzi, Carlo

Essays

Films based on the works of Carlo Gozzi