Reviewed by:

• Three Loves for Three Oranges: Gozzi, Meyerhold, Prokofiev ed. by Dassia N. Posner, Kevin Bartig and Maria De Simone
• Anna Muza

The volume under review considers the whimsical comedy of three oranges as scripted, first, by Carlo Gozzi in eighteenth-century Venice; by Vsevolod Meyerhold in early twentieth-century St. Petersburg; and just a few years later by Sergei Prokofiev, whose opera is the best-known work of the three in the New World. An (equally) international collective of scholars offer erudite, insightful, and truly interdisciplinary readings of the dramatic texts, realized and unrealized performances, artistic controversies, and of a continuous creative absorption of ideas, styles, and techniques. The volume’s title is elegant yet unduly restrictive: In addition to the three titular artists, the book presents other seminal authors enamored of commedia dell’arte, such as German Romantics and Russian Symbolists, whose sensibilities and influences are specifically addressed in Natalya Baldyga’s and Vadim Shcherbakov’s contributions but resonate throughout the volume. Examining the pertinent theatrical, cultural, and critical history of the Italian masks, the book also brings to light some of the less famous yet remarkable figures (such as the theatre scholar and practitioner Konstantin Miklashevsky featured in Laurence Senelick’s essay, and the artist Boris Anisfeld in John E. Bowlt’s). As a result, the scholarly volume dedicated to a series of extremely fluid theatrical texts and events is as sparkling and fascinating as the delightful source material itself.

The main elements of the whimsical plot retained by all of its co-creators concern a prince first cursed by an inability to laugh and then sent on a romantic pursuit of three oranges, which eventually prove to enclose three fair maidens, one of whom becomes the prince’s bride. Each of the book’s three parts— “The Fiaba,” “The Divertissement,” and “The Opera”—contains a translation of a verbal script produced by Gozzi in Italian (1772), by Meyerhold in Russian (1913), and by Prokofiev in French (1919). The English translations are done, respectively, by Maria De Simone, Dassia Posner (who has also participated in rendering the rhyming verse in Gozzi’s text), and Kevin Bartig. The editors-translators have meticulously examined and coordinated the scripts to preserve and reveal borrowings, correspondences, and emendations. The scholarly precision, historical sensitivity, and literary quality of the three translations are matched by a theatrical thrust: all (re)create the vivid atmosphere (I might say, ecology) of live, audience-oriented theatre. As Posner observes in her sharp overview of the collection’s main goals and themes, the “fairy-tale manifestoes” by the three great artists are extremely relevant to our ongoing attempts to “rethink what is primary in stage performance” (3). The volume not only discusses but also invites stage practice. All translated texts are stage-ready: framed and enhanced by the research, they can be used in all kinds of training and studio work, interdisciplinary courses, and full-scale productions.

Gozzi’s “Reflective Analysis of the Fairy Tale ‘The Love of Three Oranges,’” written eleven years after its actual stage performance, is striking in its montage of scripted parts and “self-referential commentary,” which includes, in De Simone’s words, “descriptions of mise-en-scène, audience reactions, [End Page 414] and Gozzi’s explanations of his formal experiments” (6). “Analysis” provides a conceptual trajectory for the collection not only as the origin of the itinerant plot, but also as a template for daring generic innovations, assertive self-awareness, and metatheatricality. The historical and histrionic background on Venetian theatre (provided by Alberto Benuscelli, Guiletta Bazoli, and Domenico Pietropaolo) is also helpful in building an arch from the past to the future, and vice versa. That commedia dell’arte inspired Meyerhold, Prokofiev, and other modernists is well-known, yet the essays in Three Loves reach beyond the triviality of “everything new is the well-forgotten old.” Ted Emery’s chapter, aptly titled “Carlo Gozzi’s Reactionary Imagination,” underscores Gozzi’s fierce anti-Enlightenment stance staged in his “imaginary fairy-tale worlds” (109), which...

审核人：

• 三个橘子的三个爱：Gozzi、Meyerhold、Prokofiev编着 Dassia N. Posner、Kevin Bartig 和 Maria De Simone
• 安娜·穆扎

正在审查的这本书认为三个橘子的异想天开的喜剧首先是由 Carlo Gozzi 在 18 世纪的威尼斯编写的。由 Vsevolod Meyerhold 在 20 世纪初的圣彼得堡创作；仅仅几年后，谢尔盖·普罗科菲耶夫（Sergei Prokofiev）的歌剧是新世界三人中最著名的作品。一个（同样）国际化的学者团体提供对戏剧文本、已实现和未实现的表演、艺术争议以及对思想、风格和技术的持续创造性吸收的博学、有见地和真正跨学科的阅读。本书的标题优雅但限制性过强：除了三位有名无实的艺术家外，本书还展示了其他迷恋commedia dell'arte的开创性作者，例如德国浪漫主义者和俄罗斯象征主义者，他们的情感和影响在 Natalya Baldyga 和 Vadim Shcherbakov 的贡献中得到了特别解决，但在整本书中引起了共鸣。这本书审视了意大利面具的相关戏剧、文化和批判历史，还揭示了一些不那么出名但非凡的人物（例如劳伦斯·塞内利克的文章中的戏剧学者和从业者康斯坦丁·米克拉舍夫斯基，以及艺术家鲍里斯·阿尼斯费尔德在约翰·E·鲍尔特的)。因此，致力于一系列极其流畅的戏剧文本和事件的学术卷与令人愉快的源材料本身一样闪闪发光和引人入胜。

所有共同创作者保留的异想天开情节的主要元素是一位王子首先被诅咒无法笑，然后被派去浪漫地追求三个橙子，最终证明包围了三个美丽的少女，其中一个成为了王子的新娘。这本书的三个部分——“The Fiaba”、“The Divertissement”和“The Opera”——都包含由 Gozzi 的意大利语（1772 年）、Meyerhold 的俄语（1913 年）和 Prokofiev 制作的口头脚本的翻译。法语（1919 年）。英文翻译分别由 Maria De Simone、Dassia Posner（他还参与了 Gozzi 文本中押韵诗的翻译）和 Kevin Bartig 完成。编辑和翻译人员仔细检查和协调脚本，以保存和揭示借用、通信和修改。学术严谨，三种译本的历史敏感性和文学品质与戏剧推力相匹配：都（重新）创造了以观众为导向的现场戏剧的生动氛围（我可以说是生态）。正如波斯纳在她对收藏的主要目标和主题的敏锐概述中所观察到的，三位伟大艺术家的“童话宣言”与我们正在进行的“重新思考舞台表演的主要内容”（3）的尝试极为相关。该卷不仅讨论，而且还邀请舞台练习。所有翻译文本都已准备就绪：通过研究框架和增强，它们可用于各种培训和工作室工作、跨学科课程和全面制作。生态）的现场观众导向的剧院。正如波斯纳在她对收藏的主要目标和主题的敏锐概述中所观察到的，三位伟大艺术家的“童话宣言”与我们正在进行的“重新思考舞台表演的主要内容”（3）的尝试极为相关。该卷不仅讨论，而且还邀请舞台练习。所有翻译文本都已准备就绪：通过研究框架和增强，它们可用于各种培训和工作室工作、跨学科课程和全面制作。生态）的现场观众导向的剧院。正如波斯纳在她对收藏的主要目标和主题的敏锐概述中所观察到的，三位伟大艺术家的“童话宣言”与我们正在进行的“重新思考舞台表演的主要内容”（3）的尝试极为相关。该卷不仅讨论，而且还邀请舞台实践。所有翻译文本都已准备就绪：通过研究框架和增强，它们可用于各种培训和工作室工作、跨学科课程和全面制作。该卷不仅讨论，而且还邀请舞台实践。所有翻译文本都已准备就绪：通过研究框架和增强，它们可用于各种培训和工作室工作、跨学科课程和全面制作。该卷不仅讨论，而且还邀请舞台实践。所有翻译文本都已准备就绪：通过研究框架和增强，它们可用于各种培训和工作室工作、跨学科课程和全面制作。

Gozzi 的“对童话《三个橘子的爱》的反思分析”在实际舞台表演后 11 年写成，其脚本部分的蒙太奇和“自我参照的评论”引人注目，其中包括，用 De Simone 的话来说， “对场面调度、观众反应的描述，[End Page 414]和 Gozzi 对他的正式实验的解释”（6）。“分析”为该系列提供了一个概念轨迹，不仅作为巡回情节的起源，而且作为大胆的通用创新、自信的自我意识和超戏剧性的模板。威尼斯剧院的历史和戏剧背景（由 Alberto Benuscelli、Guiletta Bazoli 和 Domenico Pietropaolo 提供）也有助于建立从过去到未来的拱门，反之亦然。那以艺术喜剧为灵感的梅耶霍尔德、普罗科菲耶夫和其他现代主义者广为人知，但《三爱》中的散文却超越了“一切新事物都是被遗忘的旧事物”的琐碎。泰德·埃默里 (Ted Emery) 的章节恰如其分地命名为“卡洛·戈齐的反动想象”，强调了戈齐在他的“想象中的童话世界”（109）中上演的激烈的反启蒙立场，其中...