"The Holiday Trilogy" by Carlo Goldoni: A Theatrical Exploration of the Sacred and the Profane at the Theater in Josefstadt, Vienna
Essay by Simona Noja-Nebyla
On November 26, 2024, I attended Carlo Goldoni's Trilogia della villeggiatura (The Holiday Trilogy) at the Theater in Josefstadt, Vienna. This production provided a profound opportunity to reconnect with the theater as a space of transformative encounters, which can retrospectively be understood as sacred on multiple levels.
The Theater in Josefstadt, situated in Vienna's 8th district, was originally constructed in 1788 as a modest neighborhood theater. It was later redesigned in 1822 by architect Joseph Kornhäusel in the Biedermeier style, characterized by simplicity and elegance. In 1924, under the direction of Max Reinhardt, the theater underwent significant renovation by architect Carl Witzmann, who drew inspiration from the Teatro La Fenice in Venice. This renovation introduced neoclassical and Baroque influences, further enhancing the theater's aesthetic appeal.
While familiar with the preparation of the artistic act on stage and the creative process it entails, I was intrigued by the deliberate framing of the audience's role in this production. The spectator, much like the actor, undergoes a process of transformation—a necessary purification from the mundane, particularly relevant in today’s politically charged climate. This purification begins as one ascends the narrow staircases and navigates the low-ceilinged corridors of the theater, admiring the intricate designs of the box doors and feeling the tactile allure of the red velvet seating. Such sensory experiences create a liminal space, where one is drawn towards either the sacred or the profane.
As noted by Mircea Eliade, the sacred does not represent a homogeneous space but rather one punctuated by openings that allow for the manifestation of the sacred. Eliade posits that the homo religiosus "always believes in the existence of an absolute reality, the sacred, which transcends this world but manifests within it, sanctifying and making it real" (The Sacred and the Profane). Similarly, the homo creator, whether understood as homo faber (the artisan) or homo ludens (the playful being), requires a space where their creative essence can take root and bear fruit.
Recent advances in neuroscience corroborate the existence of a shared cognitive space between artist and audience—a dynamic interplay facilitated by mirror neurons. These neurons serve as intermediaries, creating a symbiotic relationship between action and observation, actor and spectator, and, by extension, the sacred and the profane. The "profane," in this context, denotes that which remains unexplored or unknown.
Goldoni's fictional Montemare—a symbol of the Venetian aristocracy's 18th-century desire to escape the urban environment for the rural idyll—becomes the site of this transformative journey. The trilogy, comprising Le smanie per la villeggiatura (The Fever of Vacation), Le avventure della villeggiatura (The Adventures of Vacation), and Il ritorno dalla villeggiatura (The Return from Vacation), marks a departure from the conventional masks of commedia dell'arte. While Goldoni retains the essence of character-driven storytelling, he deepens the psychological complexity of his figures.
Psychological Archetypes and Their Commedia dell'arte Parallels
Giacinta (Juliette Larat): An intelligent and independent young woman grappling with societal and familial pressures regarding marriage and social status, Giacinta recalls Isabella from commedia dell'arte, a character known for her beauty and wit.
Leonardo (Claudius von Stolzmann): A young aristocrat obsessed with appearances and social standing, Leonardo mirrors Flavio, the idealistic yet often naive lover.
Guglielmo (Alexander Absenger): Leonardo's rival, embroiled in romantic and social intrigues, Guglielmo aligns with Leandro, another archetype of the lover, often depicted as Flavio’s competitor.
Filippo (Marcus Bluhm): Giacinta's father, preoccupied with family reputation and advantageous matrimonial alliances, evokes Pantalone, the avaricious patriarch of commedia dell'arte.
Brigida (Katharina Klar): Giacinta’s practical and witty maid, Brigida parallels Colombina, the clever and loyal servant.
Themes of Transformation and Reflection
Goldoni’s characters, driven by their obsession with a summer retreat in Montemare—a vacation that symbolizes social prestige and the fulfillment of latent desires—undergo significant transformation throughout their journey. This process invites the audience to reflect on their own hidden aspirations. Do we, too, harbor a "Montemare" within ourselves? What are the social and economic consequences of striving to maintain appearances and social status? How do societal and familial pressures influence individual choices, particularly regarding relationships and marriage? What is the impact of escapism on interpersonal dynamics and personal identity?
The Staging: A Journey Through Purgatory
Director Janusz Kica and set designer Karin Fritz frame the trilogy as a journey akin to Dante’s Divine Comedy. The audience is metaphorically guided through seven terraces of Purgatory, faced with the choice of ascending to the paradisiacal or descending into infernal realms. Despite the minimalist staging of Goldoni’s Venetian terraces, the audience is invited to navigate these levels imaginatively, in accordance with their complicity in the theatrical act. The decision to pursue the sacred or the profane remains an open and deeply personal choice.
This production masterfully bridges the gap between Goldoni’s 18th-century context and contemporary questions of identity, societal expectation, and the transformative potential of art. Through its interplay of the sacred and the profane, it reaffirms theater's enduring power to illuminate and elevate.
