Turandot, Princess of China: A Chinoiserie in Three Acts

By Carlo Gozzi and Karl Vollmöller

'Turandot' is a commedia dell'arte play written by Carlo Gozzi. It was inspired by a supposedly Persian story from the collection 'Les Mille et un jours' by François Pétis de la Croix. Gozzi's work would later be adapted by various creative professionals worldwide, from the Italian composer, Giacomo Puccini with his opera, 'Turandot', best-known for the aria 'Nessun dorma' to a German film adaptation entitled 'Prinzessin Turandot'.

• Language: English
• Publisher: DigiCat
• Release date: Sep 15, 2022
• ISBN: 8596547312963

Book preview

Carlo Gozzi, Karl Vollmöller

Turandot, Princess of China: A Chinoiserie in Three Acts

EAN 8596547312963

DigiCat, 2022

Contact: [e-mail]

Table of Contents

PLAYS OF TO-DAY AND TO-MORROW

TURANDOT

PRINCESS OF CHINA

A CHINOISERIE IN THREE ACTS

BY KARL VOLLMOELLER

THE FIRST ACT

SCENE I

SCENE II

SCENE III

SCENE IV

SCENE V

SCENE VI

SCENE VII

SCENE VIII

SCENE IX

SCENE X

SCENE XI

THE SECOND ACT

SCENE I

SCENE II

SCENE III

SCENE IV

SCENE V

SCENE VI.

SCENE VII

SCENE VIII

SCENE IX

SCENE X

SCENE XI

SCENE XII

SCENE XIII

SCENE XIV

THE THIRD ACT

SCENE I

SCENE II

PLAYS OF TO-DAY AND TO-MORROW

Table of Contents

TURANDOT

Table of Contents

PRINCESS OF CHINA

Table of Contents

A CHINOISERIE IN THREE ACTS

BY

KARL VOLLMOELLER

Table of Contents

AUTHORIZED ENGLISH VERSION,

BY

JETHRO BITHELL

LONDON: T. FISHER UNWIN

ADELPHI TERRACE

First Edition, January, 1913

(All rights reserved.)

DRAMATIS PERSONÆ

SCENE: Pekin.—All the acting characters wear Chinese costume, except Adelma and Calaf, who are in Tartar dress.

Cast of the play as produced at the St. James's Theatre, London, on January 18, 1913, under the management of Sir George Alexander.

The action takes place outside the gates of Pekin, and inside the Emperor's Palace.

to

my friend that great artist

FERRUCCIO BUSONI

NOTE

The very affecting history of the cruel Princess Turandot and the handsome Prince Calaf may be read in those Persian tales which are known by the name of The Thousand and One Nights.

Twice already has the story gone over the boards: in 1762 in Venice as Turandotte, one of the fiabe of Count Carlo Gozzi; in 1804 in Weimar, as Friedrich Schiller's Turandot. Both versions lived their passing hour, and died to the stage.

The present dramatisation of the ancient fable—a modest attempt to cast good metal anew—closely follows the Italian of the sardonic nobleman whose bones have been mouldering by the blue lagoons for over a hundred years.

Karl Vollmoeller.

THE FIRST ACT

SCENE I

Table of Contents

One of the city gates of Pekin. Over the gate, planted on iron poles, a row of severed heads with shaven crowns and Turkish tufts.

TIME: Shortly after sunrise. When the curtain rises the gate is closed. From within the roll of drums and military commands.

BRIGELLA.

(Behind the scenes.) Halt! Present arms!

TRUFFALDINO.

(Behind the scenes.) Halt! Slope swords!

Open the gate! At ease! Quick march!

(The gate is thrown open.

TRUFFALDINO

,

leading the eunuchs; then, between

PANTALONE

and

TARTAGLIA

, the

PRINCE OF

SAMARKAND

; behind them, at the head

of his pages,

BRIGELLA

. The whole

procession halts in front of the gate,

they all draw up in one line, and gaze

upwards at the bloody heads.)

PANTALONE.

(Stepping in front of the footlights.)

My name is Pantalone, and I am a native of Venice. At

the moment I am the Prime Minister of the

Chinese Empire. Eh, what d'ye say? What

I'm doing here in Pekin? H'm. (Puts his hand

in front of his mouth.) Venice got too hot for

me. An ind-indelicate affair. My wife of

course, you guess my meaning. (To the

PRINCE

.)

This, your Royal Highness, is the place you

have heard so much of. Have a good look at

it, please. Make yourself quite at home. Yes,

quite right, up there, please! (To

TARTAGLIA

.)

I say, my dear Lord Chancellor. Be so good as

to show his Royal Highness the elevated position

he will occupy in the near future. You have the

information, I presume.

(

TARTAGLIA

turns towards the

PRINCE

,

PANTALONE

pulls his sleeve.)

Don't forget, my dear Lord Chancellor.

TARTAGLIA.

(Stepping in front of the footlights.) My name

is Tat-Tra-Tartaglia (stammers). From Naples.

My mother always maintained that she was the

daughter of a Spanish grandee, but I fear she

was a fisherman's daughter from Po-Po-Pozzuoli.

My father, on the other hand (stops short and

looks round)——

(

PANTALONE

makes signs to him.)

PANTALONE.

Better not.

TARTAGLIA.

Better not! That old scarecrow there makes

out that nobody ever knew