Shakespeare, Gozzi, Tieck şi magia teatrului – reflecţii despre trei basme dramatice
Shakespeare, Gozzi, Tieck and the Magic of the Theatre – Reflections on Three Dramatic Fairy Tales

Summary/Abstract: It is an undisputed fact that Shakespeare, Gozzi and Tieck are highly interested in metatheatre as a fundamental dramatic strategy meant to build up the entire show consciously and to prepare the indispensable “glue” keeping it together, which is the spectator’s belief in the truth (not necessarily the reality) of the fictional world presented on stage. But self-reference reveals its being very different in scope, form and function in each of the three authors’ respective views. The three selected plays – Shakespeare’s Tempest, Gozzi’s Love of Three Oranges and Tieck’s Puss in Boots – are obviously concerned with the status and the role(s) of the fairy tale (and myth), as well as with the meanings and the use of theatre in various cultural contexts, but they convey disparate understandings of the matters under scrutiny and disparate messages as to how to deal with limitations and difficulties. If Shakespeare’s faerie epitomizes – by extolling and pleading for – an absolute belief in the magic of the theatre, in the power of illusion, Gozzi’s fiaba tries to act as a “guide for the perplexed” and redirect the attention of a disenchanted audience towards the magical virtues of the long-forgotten fabulous, while Tieck’s dystopia is intentionally dissatisfying and highly disturbing, because not only does the play itself seem to crumble under the countless technical errors, misunderstandings and stupid accidents occurring on stage, but it also threatens to become an agent of general destruction since it defies all rules, principles and conventions ever settled for the purpose of making the whole world a meaningful place.

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