Editing Carlo Gozzi (section)

==Works ==
[[Pietro Chiari]] and [[Carlo Goldoni]], two Venetian writers, were moving away from the old style of Italian theatre, which threatened the work of the Granelleschi Society.<ref name=":2" /> In 1757 Gozzi defended ''[[Commedia dell'arte]]'' by publishing a satirical poem, ''La tartana degli influssi per l'anno 1756''; and in 1761, in his comedy based on a fairy tale, ''[[The Love for Three Oranges (fairy tale)|The Love for Three Oranges]]'' or ''Analisi riflessiva della fiaba L'amore delle tre melarance'', he parodied Chiari and Goldoni.<ref name=":5">{{Cite book|title=Five Tales for the Theatre|last=Gozzi|first=Carlo|publisher=The Chicago University Press|year=1989|pages=1}}</ref> He engaged the Sacchi company of players, a Commedia dell'arte troupe who had had dwindling engagements because of Chiari and Goldoni's efforts.<ref name=":4" />  Their acting was informed by personal vendetta, making the play an extraordinary success.<ref name="EB1911"/> Gozzi donated his play and the rest of his fairy tales to Sacchi's troupe, in effect saving the company.<ref name=":0">{{Cite book|title=Carlo Gozzi: A Life in 18th Century Venetian Theatre, an Afterlife in Opera|last=DiGaetani|first=John Louis|publisher=McFarland & Company|year=2000|pages=61}}</ref> Gozzi's efforts on behalf of the genre were anachronistic, since Gozzi wrote out all his scripts. whereas traditional Commedia dell'arte was always improvised.<ref name=":1" />

Struck by the effect produced on the audience by the introduction of the supernatural or mythical element,<ref name=":3" /> which he had merely used as a convenient medium for his satirical purposes, Gozzi produced a series of dramatic pieces based on [[fairy tale]]s.<ref name="EB1911"/> These were hugely popular, but after Sacchi's company disbanded, they were unjustly neglected. Gozzi's fairy tales drew influence from ''[[Commedia dell'arte]]'', and the popularity of them caused a revival of Commedia dell'arte in Italy.<ref name=":3">{{Cite book|title=Magic flutes and Enchanted Forests: The Supernatural in Eighteenth Century Musical Theatre|url=https://archive.org/details/magicflutesencha00buch|url-access=limited|last=Buch|first=David J.|publisher=University of Chicago Press|year=2009|pages=[https://archive.org/details/magicflutesencha00buch/page/n246 214]}}</ref> These fairy tales were much praised by [[Johann Wolfgang von Goethe|Goethe]], [[August Wilhelm von Schlegel|Schlegel]] brothers, [[E. T. A. Hoffmann|Hoffmann]], [[Anne Louise Germaine de Staël|Madame de Staël]], [[Jean Charles Leonard de Sismondi|Sismondi]] and [[Aleksandr Ostrovsky|Ostrovsky]]. One of them, ''[[Turandot (play and character)|Turandot]]'' or ''La Turandotte'', was translated by [[Friedrich Schiller]] and staged by Goethe in Weimar in 1802 with great success. Gozzi was acclaimed throughout most of Europe, but was less esteemed in his own homeland.<ref name=":5" />

In the last years of Gozzi's life he had begun to experiment by producing tragedies with largely comical influences, but these endeavors were met with harsh critical response. He then began to work in Spanish drama, and found minor success before his death.<ref name=":4" /> He was buried in the church of San Cassiano in Venice.<ref name=":2" />