[Autom. eng. transl.] When Søren Aabye Kierkegaard (1813-55) is fascinated by the work of Wolfgang Amadeus Mozart (1756-91), Don Giovanni (1787), whose libretto is translated into Danish in 1807 by Lauritz Kruse (1778-1839), deals with especially the music and not the constellation of the characters and the structure of the performance. Behind this singular circumstance there is a shift, consequently the fascination continues in the form of a visit to the theater in Copenhagen and Berlin. The literary critic Niels Barfoed (b. 1931), who did not notice Kierkegaard's move, states in the treatise Don Giovanni. A study of Danish literature: "No one sooner or later compared himself with such consistency in such a de-individualizing way to the subject". When the esthetician A, alias Søren Kierkegaard, transfers the energy of fascination from the characters of the work and from the interweaving that the librettist Lorenzo da Ponte (1749-1838) has realized, to the illustrative music, of accompaniment, he tries to keep at a distance the fear that the content of the work immediately arouses. Instead of recognizing the use of the incarnation of sensuality or sexuality, Don Giovanni, as a figure of identification or a reflected figure, which could have led to a form of integration of the demonic shadow that as the split shadow, but deceptive of the learned in the profound fable of HC Andersen Skyggen [The shadow] (1847) seduces the shrewd but passionate daughter of the king, he persists in writing about music in a particular way, identifying himself, yes, imitating, in a way that is in fact unique in the its kind.
|Translated title of the contribution||[Autom. eng. transl.] Don Giovanni. L'ombra di Søren Kierkegaard|
|Title of host publication||La profondità della scena. Il teatro visitato da Kierkegaard, Kierkegaard visitato dal teatro|
|Number of pages||29|
|Publication status||Published - 2008|