The Italian Renaissance philosopher Giordano Bruno’s only literary work, the comedy titled Candelaio published in 1582, has been interpreted through a comparative analysis with either his philosophical writings or with other plays from the tradition of the commedia erudita. In this article, I focus on the Candelaio’s textual strategies by drawing on the analytical categories of dissonance and deflection in order to demonstrate how Bruno’s theatrical piece can be viewed as a polemical statement on aesthetics. The introductory peritexts of the work set the key parameters for reading his text as a conscious play on conventionality and thus provide the interpretive framework for disentangling the complex meanings embedded in the dramatic action of the five acts that follow. Ultimately, the comedy aims to question representational practices through an engagement with the debate over the nature and function of art and artifice that invested all of the arts during the Cinquecento.

意大利文艺复兴时期哲学家佐丹奴·布鲁诺（Giordano Bruno）唯一的文学作品，即喜剧电影《坎德拉约（Candelaio）》于1582年出版，通过对他的哲学著作或其他来自传播学博学的传统的戏剧进行比较分析得到了解释。在本文中，我重点介绍Candelaio的文本策略通过分析不谐和和偏斜的分析类别来证明布鲁诺的戏剧作品如何被视为美学的辩论性陈述。作品的介绍性文本为阅读他的文本奠定了关键参数，从而使他有意识地习以为常，从而为解开随后的五种戏剧性行为所蕴含的复杂含义提供了解释框架。最终，这部喜剧的目的是通过参与有关艺术的本质和功能以及在五渔村期间投入了所有艺术的艺术品的辩论，来质疑代表性实践。