Good question and one that just is not followed up very well on the
internet. I know this is just a comment and I am not sure how to get
paid for this answer but maybe I will be noticed and get some sort of
compesation for my effort...I digress...
I actually went out to a dissertation website to find your answer you
may need to purchace the dissertation but it seems to cover excatly
what you are looking for. Toward the end of the abstract you can find
a clear answer to your question. I recommend getting this diss.
Author: Hunter, Mead Kinsella UNIVERSITY OF CALIFORNIA, LOS ANGELES
Title: Carlo Gozzi and his 'Ten Tales for the Theatre'
Source: DAI-A 55/11, p. 3354, May 1995
This is Mead's abstract found on this site,
"In eighteenth-century Venice, halfway through the Age of
Enlightenment, Carlo Gozzi began his career as a playwright on a dare.
Carlo Goldoni, in response to Gozzi's criticism that his comedies were
substandard, challenged Gozzi to write his own plays if he thought he
could do better. Gozzi answered Goldoni by writing The Love of Three
Oranges, a satirical play based on a well-known Italian folktale. The
Love of Three Oranges was the first of many popular success. This
caused Goldoni much consternation, because Gozzi's avowed
dramaturgical imperative was to reverse everything Goldoni's theater
reforms had labored to effectuate. Whereas Goldoni advocated using the
stage to reflect the life of ordinary citizens, Gozzi proposed the
dramatization of fairy tales--a move calculated to represent an
affront to the era's incipient sense of realism in the theater. Also,
since Goldoni took care to replicate details of everyday existence,
Gozzi instead offered a fantastic style of presentation that reveled
in the use of stage magic, stunning scenic bravura, and spectacle. And
because Goldoni had banished the traditional masked characters of
commedia dell'arte from his stage, Gozzi made a point of writing
scenarios designed to show the commedia actors at their inventive
best. In so doing, Gozzi created an entirely new genre of drama. He
called his plays fiabe, 'fables,' to signify that their fantastic
plots were allegories encoded with messages for the audience.
Initially these messages consisted primarily of topical and satirical
references, but by his second play Gozzi had already conceived of
targets much larger than Venice's literary rivalries. Increasingly
over the course of writing his 'ten tales for the theatre,' Gozzi
criticized and lampooned the entire eighteenth-century zeitgeist--the
Age of Enlightenment's reformist zeal which Gozzi felt was undermining
European tradition's most cherished ideals. This dissertation examines
the historical background and cultural climate that led to the
Gozzi/Goldoni contretemps, and then turns its attention to
dramaturgical explorations of the fiabe themselves"