{"id":269,"date":"2016-05-02T10:54:12","date_gmt":"2016-05-02T08:54:12","guid":{"rendered":"http:\/\/www.lilec.it\/tr\/wp\/?p=269"},"modified":"2020-01-09T12:11:57","modified_gmt":"2020-01-09T11:11:57","slug":"charles-dibdin-the-younger-1768-1833-2","status":"publish","type":"post","link":"https:\/\/www.lilec.it\/tr\/2016\/05\/02\/charles-dibdin-the-younger-1768-1833-2\/","title":{"rendered":"Charles Dibdin, ‘The Younger’, (1768-1833)"},"content":{"rendered":"

Click here<\/a> for English translation<\/strong><\/span><\/h6>\n
Charles Dibdin, ‘The Younger’, (1768-1833)<\/span><\/h5>\n
$\"\"$ <\/p>\n
Charles Dibdin \u201cil Giovane\u201d, noto anche come Charles Isaac Mungo, nacque il 27 ottobre 1768 a Londra, primogenito dell\u2019attore Charles Dibdin e dell\u2019attrice Harriet Pitt. Visse in un\u2019epoca di grande proibizionismo, ma fu sempre dedito al teatro, per il quale nutriva un enorme interesse, grazie anche all\u2019influenza del noto genitore. Ricevette il soprannome di Mungo in ragione di un ruolo interpretato dal padre nell\u2019opera The Padlock<\/em> (1768) del drammaturgo Isaac Bickerstaffe, dal quale invece eredit\u00f2 il suo secondo nome.<\/span><\/p>\n
Charles fece il suo debutto teatrale insieme al fratello, Thomas John, in The Jubilee<\/em> di Garrick nel 1775. In seguito alla separazione dei genitori, per\u00f2, venne affidato insieme a Thomas John ad un parente della madre, per poi venire mandato in collegio nel nord dell\u2019Inghilterra all\u2019et\u00e0 di nove anni. Cinque anni dopo Charles torn\u00f2 a Londra per cominciare un apprendistato di sette anni presso il banco dei pegni di Mr. Cordy a Snow Hill.<\/span><\/p>\n
Dibdin, tuttavia, preferiva la letteratura all\u2019attivit\u00e0 commerciale, come testimoniano alcune opere pubblicate a partire dal 1792, la prima delle quali fu la raccolta di poesie Poetical Attempts: by a Young Man.<\/em> Nel 1797, lasci\u00f2 il banco dei pegni per debuttare come intrattenitore al Royalty Theatre nel one-man show Sans six sous<\/em>, titolo che nasconde un gioco di parole sulla sua povert\u00e0 e un riferimento al teatro del padre, il Sans Souci Theatre.<\/span><\/p>\n
Nello stesso anno spos\u00f2 l\u2019attrice Mary Bates, dalla quale ebbe undici figli. In seguito al matrimonio i due coniugi firmarono un contratto della durata di tre anni con Philip Astley, proprietario dell\u2019Amphitheatre of the Arts, per il quale Dibdin scrisse canzoni, prologhi, epiloghi ed opere musicali in atto unico.<\/span><\/p>\n
Nel 1799 marito e moglie si unirono ad una compagnia equestre itinerante che li port\u00f2 ad esibirsi a Liverpool, Bristol e Manchester, mentre nel 1800 divenne impresario del teatro Sadler\u2019s Wells di Londra, la cui fortuna fu accresciuta anche dalle nuove opere scritte dallo stesso Dibdin, che soddisfacevano il gusto per lo spettacolo e per il sentimentalismo patriottico del pubblico. Un esempio fu The Wild Man<\/em> (1809), in cui l\u2019assoggettamento volontario dell\u2019\u2018uomo selvaggio\u2019 al potere imperiale sembra rappresentare la costituzione dell\u2019impero britannico come un processo benevolo giustificato da una motivata superiorit\u00e0 morale.<\/span><\/p>\n
$\"\"$ <\/p>\n
Nel 1804 Dibdin install\u00f2 al Sadler\u2019s Wells una grande vasca che gli permise di pubblicizzarlo come teatro acquatico in cui si svolgevano battaglie navali realistiche e salvataggi di bambini da parte di cani Terranova.<\/span><\/p>\n
Nelle sapienti mani di Dibdin e del suo maggior collaboratore Joseph Grimaldi, il clown pi\u00f9 popolare nel teatro dell\u2019epoca, la pantomima si trasform\u00f2 in un genere urbano, soprattutto grazie alla sua forma versatile, che permetteva di rappresentare scene della citt\u00e0 moderna, e alla satira, che prendeva di mira le manie del mondo metropolitano.<\/span><\/p>\n
Charles Dibdin mantenne il ruolo di manager del Sadler\u2019s Wells anche dopo il disastro avvenuto il 15 ottobre 1807, quando 18 persone morirono durante una fuga precipitosa causata da un falso allarme per un incendio. Tuttavia, la fama del teatro era ormai in decino: la fine delle guerre Napoleoniche ridusse l\u2019interesse del pubblico per il tipo di intrattenimento offerto da Dibdin, mentre la moglie mor\u00ec nel 1816, lasciandolo solo e pieno di debiti. Proprio a causa di questi, l\u2019attore fu imprigionato nel 1819, ma venne rilasciato due anni dopo, in seguito alla vendita delle sue azioni del Salder\u2019s Wells.<\/span><\/p>\n
Continu\u00f2 a scrivere canzoni, pantomime e poesie come Young Arthur, or, The Child of Mystery: a Metrical Romance<\/em>; fu direttore di scena al Royal Amphitheatre dal 1822 al 1823 e manager del Surrey Theatre tra il 1825 e il 1826. Nel 1826 pubblic\u00f2 A History of the London Theatres<\/em>, mentre la sua ultima farsa, Nothing Superfluous,<\/em> risale al 1829. Le sue memorie, completate nel 1830, non furono date alla stampa fino alla pubblicazione della versione ridotta del 1956.<\/span><\/p>\n
Charles Isaac Mungo Dibdin mor\u00ec il 13 gennaio 1833, senza essere riuscito ad eguagliare la fama del padre o il successo teatrale del fratello, ma essendosi distinto grazie all\u2019amministrazione del Sadler\u2019s Wells Theatre, alla sua fede incrollabile e alla sua salda morale.<\/span><\/p>\n
English Translation<\/strong><\/span><\/h6>\nCharles Dibdin, ‘The Younger’, (1768-1833)<\/span><\/h5>\n
Charles Didbin the younger, also known as Charles Isaac Mungo, was born on the 27th October 1768 in London, firstborn of actor Charles Didbin and actress Harriet Pitt. He lived in a time of great prohibitionism but was always dedicated to the theatre, to which he harboured great interest thanks, in part, to the influence of his then-famous parents. He was given the nickname Mungo because of a role he portrayed in The Padlock (1768) by Isaac Bickerstaffe, from whom he inherited his second name.<\/span><\/p>\n
Charles made his theatrical debut together with his brother, Thomas John, in David Garrick\u2019s The Jubilee in 1775. However, following their parents\u2019 separation, Charles and his brother were put into their mother\u2019s care and sent to a boarding school at the age of nine. Five years later, Charles returned to London to start a seven-year apprenticeship with a pawnbroker at Snow Hill.<\/span><\/p>\n
Still, Didbin preferred literature to business, as can be seen from his published works from 1792 onwards, the first of which was the collection of poetry titled Poetical Attempts: by a Young Man. In 1797, he left his apprenticeship to debut as a performer at the Royalty Theatre in a one-man show called Sans six sous, a title with a hidden play on words referring to his poverty and his father\u2019s theatre, the Sans Souci Theatre.<\/span><\/p>\n
That same year he married actress Mary Bates, with whom he had eleven children. Following the marriage, the couple signed a three-year contract with Philip Astley, owner of the Amphitheatre of the Arts, for whom Didbin wrote songs, prologues, epilogues and one-act musical plays.<\/span><\/p>\n
In 1799 Didbin and his wife joined a touring equestrian company that took them to perform in Liverpool, Bristol and Manchester; in 1800, he became manager of the Sadler\u2019s Wells Theatre in London. There, his new works were very appreciated, satisfying the public\u2019s patriotism and taste for performing arts. One example of this was The Wild Man (1809), in which the voluntary submission of the \u2018wild man\u2019 to imperial power seemed to make the creation of the British Empire out to be a benevolent act justified and driven by a sense of moral superiority.<\/span><\/p>\n
In 1804 Didbin had a large pool installed in the Sadler\u2019s Wells which allowed him to advertise the theatre as an aquatic theatre, where performances of realistic naval battles and children\u2019s rescues by Newfoundland dogs took place.<\/span><\/p>\n
In the skilful hands of Didbin and his main collaborator Joseph Grimaldi, the most popular clown in the theatre of the time, the pantomime transformed into an urban genre, thanks most of all to its versatile art form, that allowed the representations of scenes of the modern city, and to the satire that targeted the quirks of the metropolitan world.<\/span><\/p>\n
Charles Didbin remained the manager of Sadler\u2019s Wells even after the disaster that took place on the 15th October 1807, when 18 people died during a stampede caused by a false fire alarm. However, the theatre\u2019s fame had started to decline: the end of the Napoleonic wars reduced public interest in the type of entertainment Didbin offered, whilst his wife died in 1816, leaving him alone and in debt. Due to the outstanding debts, the actor was jailed in 1819 but released two years later following the sale of his shares of Salder\u2019s Wells.<\/span><\/p>\n
He continued to write songs, pantomimes and poems like Young Arthur, or, The Child of Mystery: a Metrical Romance; he became stage manager of the Royal Amphitheatre from 1822-1823 and manager of the Surrey Theatre from 1825-1826. In 1826, he published A History of the London Theatres, meanwhile his last show, Nothing Superfluous, took place in 1829. His memoirs, completed in 1830, weren\u2019t printed until the abridged version was published in 1956.<\/span><\/p>\n
Charles Isaac Mungo Didbin died on the 13th January 1833, without having succeeded at equalling his father\u2019s fame or his brother\u2019s theatrical success. Nevertheless, it should be mentioned that he distinguished himself for his good administration of the Sadler\u2019s Wells Theatre, his unwavering faith and his sound morals.<\/span><\/p>\n
Translated by Aisha Gueye
\nRevised by Dott.ssa Valentina Pramaggiore<\/span><\/p>\n
Bibliografia\/Bibliography:<\/u><\/strong><\/span><\/p>\n
Moody, Jane, Illegitimate Theatre in London, 1770-1840<\/em> (Cambridge, Cambridge University Press, 2000)<\/span><\/p>\n
http:\/\/www.oxforddnb.com\/view\/article\/7586?docPos=2<\/a> [Matthew Kilburn, \u2018Dibdin, Charles Isaac Mungo (1768\u20131833)\u2019, Oxford Dictionary of National Biography<\/em>, Oxford University Press, 2004; consultato il 12\/04\/16]<\/span><\/p>\n
\n","protected":false},"excerpt":{"rendered":"
Click here for English translation Charles Dibdin, ‘The Younger’, (1768-1833) Charles Dibdin \u201cil Giovane\u201d, noto anche come Charles Isaac Mungo, nacque il 27 ottobre 1768 a Londra, primogenito dell\u2019attore Charles Dibdin e dell\u2019attrice Harriet Pitt. Visse in un\u2019epoca di grande proibizionismo, ma fu sempre dedito al teatro, per il quale nutriva un enorme interesse, grazie … Leggi tutto “Charles Dibdin, ‘The Younger’, (1768-1833)”<\/span><\/a><\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[3,4,5],"tags":[37,38,39,26],"_links":{"self":[{"href":"https:\/\/www.lilec.it\/tr\/wp-json\/wp\/v2\/posts\/269"}],"collection":[{"href":"https:\/\/www.lilec.it\/tr\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.lilec.it\/tr\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.lilec.it\/tr\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.lilec.it\/tr\/wp-json\/wp\/v2\/comments?post=269"}],"version-history":[{"count":20,"href":"https:\/\/www.lilec.it\/tr\/wp-json\/wp\/v2\/posts\/269\/revisions"}],"predecessor-version":[{"id":953,"href":"https:\/\/www.lilec.it\/tr\/wp-json\/wp\/v2\/posts\/269\/revisions\/953"}],"wp:attachment":[{"href":"https:\/\/www.lilec.it\/tr\/wp-json\/wp\/v2\/media?parent=269"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.lilec.it\/tr\/wp-json\/wp\/v2\/categories?post=269"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.lilec.it\/tr\/wp-json\/wp\/v2\/tags?post=269"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}