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The ''Improvisatori'' (also spelled “''improvvisatori''”) were a group of Italian improvisational poets who first appeared during the Trecento,〔Philip T. Jackson, ("Review: (untitled)" ), ''The Sixteenth Century Journal'', Vol. 19, No. 3, (Autumn, 1988). 〕 and gradually disappeared around 1840.〔Benedetto Croce, "Gli improvvisatori", ''La Letteratura Italiana del Settecento'' (Bari: Laterza, 1949)〕 Although few written copies of their poems exist today,〔Lindsay Waters, "The Desultory Rhyme of Don Juan: Byron, Pulci, and the Improvisatory Style", ''ELH'', Vol. 45, No. 3, (Autumn, 1978), Johns Hopkins Press, p. 431〕 the importance of the ''improvvisatori'' to Italian literature is significant for both their original poetic compositions as well as for the effect they had on the Italian madrigal〔Mark Jon Burford, ("Cipriano de Rore's Canonic Madrigals" ), ''The Journal of Musicology'', Vol. 17, No. 4, (Autumn, 1999), pp. 459–497. Published by the University of California Press〕 and the role they may have played in preserving older Italian epics.〔James Haar, ''Essays on Italian Poetry and Music During the Renaissance, 1350–1600''. Berkeley, University of California Press, 1986. Print. Pp.76–99〕 == History == Haar traces the figure of the ''improvisatore'' (the singular male form of “''improvvisatori''”) back to the middle of the 14th century.〔 Throughout the Renaissance (which Haar defines as the period spanning 1350 to 1600), an ''improvisatore'' or ''improvisatrice'' (singular feminine form of “''improvvisatori''”) was unlikely to glean a living solely from performing improvised poetry (although some, like the Brandolini brothers of the 15th century,〔Joseph Forsyth, ''Remarks on Antiquities, Arts, and Letters, During an Excursion in Italy, in the Years 1802 and 1803''. Boston, Wells and Lilly, 1818. Print. P. 58.〕 achieved a modicum of renown). Instead, the ''improvvisatori'' of the Renaissance were likely to have participated in religious festivals and community celebrations, performing mainly for their friends and neighbors. During this time, however, the ''improvvisatori'' were closely linked with the performance of sung madrigals, as well as the recitation of Italian oral epics, and the survival of these songs and poems is due in large part to the improvvisatori of the Renaissance.〔James Haar, ''Essays on Italian Poetry and Music During the Renaissance, 1350–1600''. Berkeley, University of California Press, 1986. Print. P.83〕 During the Italian literary “Period of Decadence," which spanned most of the 17th century, Italian literature as a whole produced little notable work. Although the ''improvvisatori'' likely continued to exist in some fashion during the 17th century, they did not contribute significantly to Italian literature for most of the century. 1690, however, marked the dawn of what Croce dubbed a “Golden Era” (“''epoca d'oro''”) of Italian improvisational poetry, which would last until around 1840.〔Benedetto Croce, “Gli improvvisatori,” ''La Letteratura Italiana del Settecento'' (Bari: Laterza, 1949). Pp. 299–311.〕 During this time, not only did the numbers of the ''improvvisatori'' increase greatly, but their influence on Italian literature likewise expanded. During the first half of the 18th century, the French diplomat Charles de Brosses wrote about encountering a famous Florentine ''improvisatore'' named Bernardo Perfetti,〔Charles de Brosses, ''Lettres Familières sur l’Italie'', ed. Yvonne Bezard, 2 vols. (Firmin-Didot, 1931 ), 1:385–387〕 and expressed admiration for Perfetti’s ability to express “true feeling〔” in his extemporaneously-composed poetry. By 1754, the ''improvvisatori'' were relevant enough within Italy that the Italian dramatist Carlo Goldoni published a play titled ''Poeta fanatico'', in which the protagonist is an improvisational poet.〔Lindsay Waters, “The Desultory Rhyme of Don Juan: Byron, Pulci, and the Improvisatory Style,” ''ELH'', Vol. 45, No. 3, (Autumn, 1978), Johns Hopkins Press, p. 431〕 During the second half of the 18th century, the importance of the ''improvvisatori'' continued to increase. By the dawn of the 19th century, the influence of the ''improvvisatori'' had expanded beyond the realm of art, and improvisational poets like Corilla〔Avriel Goldberger, "Introduction", in ''Corinne, or Italy'' by Madame de Staël. New Brunswick: Rutgers University Press, 1987. Print. Pp. xxix–xxx.〕 were receiving the laurel of Petrarch, Italy's highest poetic honor.〔Madame de Staël, ''Corinne, or Italy''. New Brunswick: Rutgers University Press, 1987. Print. Pp. 19–20.〕 Moreover, the ''improvvisatori'' were by this time so widely respected that they were frequently lauded in foreign travel journals (see “Significance outside of Italy”). The ''improvvisatori'' continued to enjoy widespread fame and success during much of the Romantic Era. ''Improvvisatori'' like Tommaso Sgricci mingled with leading English Romantic poets, including Percy Shelley and Lord Byron.〔Jeffrey C. Robinson. “Romantic Poetry: The Possibilities for Improvisation” ''Wordsworth Circle''; Summer2007, Vol. 38 Issue 3, p. 94〕 Early 19th century novels, like Germaine de Staël’s ''Corinne'' (1807) and Francesco Furbo’s ''Andrew of Padua'' (1820), featured ''improvvisatori'' as protagonists. By 1840, however, the popularity of the ''improvvisatori'' had begun to wane, likely due to some combination of stagnation in form and their overexposure to foreign tourists.〔Lindsay Waters, “The Desultory Rhyme of Don Juan: Byron, Pulci, and the Improvisatory Style,” ''ELH'', Vol. 45, No. 3, (Autumn, 1978), Johns Hopkins Press, p. 438〕〔James Haar, Essays on Italian Poetry and Music During the Renaissance, 1350–1600. Berkeley, University of California Press, 1986. Print. P.97〕 However, academic interest in the ''improvvisatori'' remained strong until the end of the nineteenth century, and numerous articles were published on topics ranging from the relation of the ''improvvisatori'' to the German Mastersingers〔"Of the Mastersingers' Gracious Art", ''The Musical Times and Singing Class Circular'', Vol. 34, No. 606 (April, 1893), p. 457〕 to the effect Sgricci had on the poetry of Shelley and Byron〔H. Buxton Foreman, “The Improvvisatore Sgricci in Relation to Byron,” ''The Gentleman's Magazine'', 1880. Pp. 115–123.〕 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Improvisatori」の詳細全文を読む スポンサード リンク
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