ダンヌンツィオの演劇とワーグナー

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タイトル別名
  • D'Annunzio's Theatre and Wagner: Focusing on the Tragedy <i>Francesca da Rimini</i>
  • ダンヌンツィオの演劇とワーグナー : 悲劇『フランチェスカ・ダ・リミニ』を中心に
  • ダンヌンツィオ ノ エンゲキ ト ワーグナー : ヒゲキ 『 フランチェスカ ・ ダ ・ リミニ 』 オ チュウシン ニ
  • ―悲劇『フランチェスカ・ダ・リミニ』を中心に―

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<p>In this article, I examine the impact of D'Annunzio's tragedy Francesca da Rimini on Italian theatre and also analyze how the influence of Wagner resulted in innovation in D'Annunzio's work.</p><p>After becoming a Wagnerian, D'Annunzio was strongly influenced by Wagner both in his novels and plays, and the results are evident in both the content and the performance of Francesca: the plot and the composition of scenes are quite similar to those of Wagner's opera Tristan und Isolde, and D'Annunzio consciously maintained this similarity in performance. His intent was to create a drama as a total art form following Wagner's art theory. As a leading figure of the Latin Renaissance, D'Annunzio chose Francesca, a story from Dante's Divine Comedy, an epic poem that was and is still regarded as the pinnacle of Italian literature. By doing so he aimed to create a new Italian art form that exceeded Wagner, who was a representative of Nordic culture. The first performance of Francesca failed at its opening in Rome in 1901; however it eventually succeeded after repeat performances in 1902, garnering high praise. D'Annunzio's emphasis on comprehensive direction had a significant influence on Italian theatre, which until then, was mainly centered on the performances by famous actors. His methods slowly gained traction and his subsequent theatrical activities led to a new wave of Italian theatre like those of Futurism and Pirandello. Hence it can be concluded that his tragedy Francesca ushered in a new era of Italian theatre.</p>

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