With its combination of gestures and music, instrumental sections, a narrator who occupies most of the composition, and two characters who sing for very short sections while acting and dancing for the rest of the piece, Monteverdi’s Combattimento defies genre definition. Starting from Tim Carter’s reading of the composition as a salon entertainment and responding to Suzanne Cusick’s call for the untangling of Combattimento’s multiplicity of meanings, this article investigates Combattimento in its ritualisation and performance of mutually defining relations that are mediated by the social and ideological implications of its immediate performance space, the salon – or portego, in Venetian dialect – the main entertainment hall of Venetian palaces. Using this as a key framework, the article explores the Combattimento’s associations with Venice itself as the broader performance space. Within that context, the choice of a particular episode from Tasso’s Gerusalemme liberata for Monteverdi’s composition – with its mixture of love and violence, assimilation and confrontation, personal identity and agency, history of winners and history of victims1 – proves as crucial to seventeenth-century Venice, at the crossroads between Western and Islamic civilisations, as it does for today’s culture.

中文翻译：

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蒙特威尔第《坦克雷迪与克罗林达的战斗》中的地点、表演和身份

结合了手势和音乐，器乐部分，一个占据大部分作品的叙述者，以及两个在很短的部分唱歌而在其余部分表演和跳舞的角色，蒙特威尔第战斗时刻无视流派定义。从蒂姆·卡特 (Tim Carter) 将作品解读为沙龙娱乐开始，响应苏珊娜·库斯克 (Suzanne Cusick) 的号召，战斗时刻的多重含义，本文探讨战斗时刻在它的仪式化和相互定义关系的表现中，由其直接表演空间的社会和意识形态影响调解，沙龙——或波特戈，用威尼斯方言——威尼斯宫殿的主要娱乐大厅。本文以此为关键框架，探讨了战斗时刻的联想与威尼斯本身作为更广阔的表演空间。在这种情况下，从 Tasso 的特定情节中选择自由之菊蒙特威尔第的作品——爱与暴力、同化与对抗、个人身份与代理、胜利者的历史和受害者的历史的混合1——对于 17 世纪的威尼斯，在西方文明和伊斯兰文明的交汇处，它被证明与今天的文化一样重要。