Dramatic Experience

Katja Gvozdeva, Ph.D (1994) in French Literature, Gorky Institute of World Literature (Russian Academy of Sciences, Moscow), has been doing research and teaching in Germany since 1998 and is member of the ERC-funded project Early Modern Drama and the Cultural Net (“DramaNet”) at the Freie Universität Berlin. She has published on French, Italian, and German literature and theatre, medieval and early modern European carnivalesque culture and history of literary and dramatic societies, including Savoirs ludiques: Pratiques de divertissement et émergence d'institutions, doctrines et disciplines dans l'Europe moderne, ed. with A.Stroev (2014).Tatiana Korneeva, Ph.D. (2008) in Classics, Scuola Normale Superiore di Pisa, is Research Fellow at the Freie Universität Berlin and a member of the ERC-funded project Early Modern Drama and the Cultural Net (“DramaNet”), 2010–2016. She is the author of ‘Alter et ipse’: identità e duplicità nel sistema dei personaggi della Tebaide di Stazio (2011). Her research interests include early modern political thought, the reception of the classical tradition, the history of theatre in comparative perspective (1400–1800), and opera studies. She is currently working on a book about the interaction between political discourse, spectatorship, and the emergent public sphere in seventeenth- and eighteenth-century Italian theatre.Kirill Ospovat, Ph.D. in Russian Literature, Russian State University for the Humanities, Moscow (2005), is Research Associate in the Higher School of Economics in St. Petersburg. He has written on eighteenth-century Russian literary and cultural history, primarily focusing on the functioning of literary aesthetics and intellectual disciplines in early modern structures of power, including his forthcoming book Terror and Pity: Aleksandr Sumarokov and the Theater of Power in Elizabethan Russia (Boston: Academic Studies Press, 2016).

• AcknowledgmentsContributor biographiesIntroduction1. Sven Thorsten Kilian, ‘Opening Spaces for the Reading Audience: Fernando de Rojas’s Celestina (1499/1502) and Niccolò Machiavelli’s Mandragola (1518)’2. Katja Gvozdeva, ‘Why Do Men Go Blind in the Theatre? Gender Riddles and Fools’ Play in the Italian Renaissance Comedy Gl’Ingannati (1532)’3. Déborah Blocker, ‘The Accademia degli Alterati and the Invention of a New Form of Dramatic Experience: Myth, Allegory, and Theory in Jacopo Peri’s and Ottavio Rinuccini’s Euridice (1600)’4. Wendy Heller, ‘Il favore degli dei (1690): Meta-Opera and Metamorphoses at the Farnese Court’5. Tatiana Korneeva, ‘Entertainment for Melancholics: The Public and the Public Stage in Carlo Gozzi’s L’Amore delle tre melarance’6. Logan J. Connors, ‘Pierre Nicole, Jean-Baptiste Dubos, and the Psychological Experience of Theatrical Performance in Early Modern France’7. Kirill Ospovat, ‘The Catharsis of Prosecution: Royal Violence, Poetic Justice, and Public Emotion in the Russian Hamlet (1748)’8. Nigel Smith, ‘The Politics of Tragedy in the Dutch Republic: Joachim Oudaen’s Martyr Drama in Context’9. Hans Rudolf Velten, ‘Devils On and Off Stage: Shifting Effects of Fear and Laughter in Late Medieval and Early Modern German Urban Theatre’10. Toni Bernhart, ‘Imagining the Audience in Eighteenth-Century Folk Theatre in Tyrol’11. Stanca Scholz-Cionca, ‘Nô within Walls and Beyond: Theatre as Cultural Capital in Edo Japan (1603–1868)’List of illustrationsList of tablesIndex