What Is the Definition of a Commedia Dellã¢ââ¢arte Scenario?

Form of theatre originating in Italia

Commedia dell'arte Troupe on a Wagon in a Town Foursquare by Jan Miel (1640)

Commedia dell'arte (;^{[1] [two]} Italian: [komˈmɛːdja delˈlarte]; lit. 'comedy of the profession')^[3] was an early on grade of professional person theatre, originating in Italy, that was pop throughout Europe between the 16th and 18th centuries.^{[4] [5]} It was formerly called Italian comedy in English and is also known every bit commedia alla maschera , commedia improvviso , and commedia dell'arte all'improvviso .^[6] Characterized by masked "types", commedia was responsible for the rise of actresses such as Isabella Andreini^[7] and improvised performances based on sketches or scenarios.^{[8] [ix]} A commedia , such as The Molar Puller, is both scripted and improvised.^{[eight] [10]} Characters' entrances and exits are scripted. A special characteristic of commedia is the lazzo , a joke or "something foolish or witty", commonly well known to the performers and to some extent a scripted routine.^{[10] [11]} Another characteristic of commedia is pantomime, which is by and large used past the character Arlecchino, now better known equally Harlequin.^[12]

The characters of the commedia normally represent fixed social types and stock characters, such as foolish old men, devious servants, or military officers full of fake bravado.^{[8] [13]} The characters are exaggerated "real characters", such as a know-it-all doctor chosen Il Dottore, a greedy old man called Pantalone, or a perfect human relationship like the Innamorati.^[7] Many troupes were formed to perform commedia , including I Gelosi (which had actors such as Andreini and her husband Francesco Andreini),^[xiv] Confidenti Troupe, Desioi Troupe, and Fedeli Troupe.^{[7] [eight]} Commedia was oft performed outside on platforms or in popular areas such as a piazza (boondocks foursquare).^{[6] [8]} The form of theatre originated in Italy, but travelled throughout Europe and even to Moscow.^[fifteen]

The genesis of commedia may be related to carnival in Venice, where the author and role player Andrea Calmo had created the grapheme Il Magnifico, the forerunner to the vecchio (old human) Pantalone, by 1570. In the Flaminio Scala scenario, for example, Il Magnifico persists and is interchangeable with Pantalone into the 17th century. While Calmo'south characters (which also included the Spanish Capitano and a dottore blazon) were not masked, it is uncertain at what point the characters donned the mask. However, the connection to funfair (the menses betwixt Epiphany and Ash Wed) would suggest that masking was a convention of carnival and was practical at some point. The tradition in Northern Italy is centred in Florence, Mantua, and Venice, where the major companies came under the protection of the various dukes. Concomitantly, a Neapolitan tradition emerged in the due south and featured the prominent stage figure Pulcinella, which has been long associated with Naples and derived into diverse types elsewhere—most famously as the puppet grapheme Punch (of the eponymous Punch and Judy shows) in England.

History [edit]

Claude Gillot (1673–1722), Iv Commedia dell'arte Figures: 3 Gentlemen and Pierrot, c. 1715

Although commedia dell'arte flourished in Italia during the Mannerist period, there has been a long-continuing tradition of trying to institute historical antecedents in antiquity. While it is possible to detect formal similarities betwixt the commedia dell'arte and earlier theatrical traditions, there is no manner to establish certainty of origin.^[sixteen] Some date the origins to the menses of the Roman Republic (Plautine types) or the Empire (Atellan Farces). The Atellan Farces of the Roman Empire featured rough "types" wearing masks with grossly exaggerated features and an improvised plot.^[17] Some historians fence that Atellan stock characters, Pappus, Maccus+Buccus, and Manducus, are the primitive versions of the commedia characters Pantalone, Pulcinella, and il Capitano.^{[18] [19] [20]} More than contempo accounts establish links to the medieval jongleurs, and prototypes from medieval moralities, such as Hellequin (as the source of Harlequin, for example).^[21]

The first recorded commedia dell'arte performances came from Rome as early as 1551.^[22] Commedia dell'arte was performed outdoors in temporary venues past professional actors who were costumed and masked, as opposed to commedia erudita ,^[a] which were written comedies, presented indoors by untrained and unmasked actors.^[24] This view may be somewhat romanticized since records depict the Gelosi performing Tasso'due south Aminta, for instance, and much was done at courtroom rather than in the street. By the mid-16th century, specific troupes of commedia performers began to coalesce, and past 1568 the Gelosi became a singled-out visitor. In keeping with the tradition of the Italian Academies, I Gelosi adopted as their impress (or coat of arms) the 2-faced Roman god Janus. Janus symbolized both the comings and goings of this travelling troupe and the dual nature of the thespian who impersonates the "other." The Gelosi performed in Northern Italy and France where they received protection and patronage from the King of France. Despite fluctuations the Gelosi maintained stability for performances with the "usual ten": "two vecchi (old men), 4 innamorati (two male and two female lovers), ii zanni , a captain and a servetta (serving maid)".^[25] Commedia frequently performed inside in court theatres or halls, and also as some fixed theatres such as Teatro Baldrucca in Florence. Flaminio Scala, who had been a pocket-sized performer in the Gelosi published the scenarios of the commedia dell'arte around the start of the 17th century, really in an try to legitimize the form—and ensure its legacy. These scenarios are highly structured and congenital effectually the symmetry of the diverse types in duet: ii zanni , vecchi , inamorate and inamorati , etc.

In commedia dell'arte , female roles were played by women, documented every bit early as the 1560s, making them the starting time known professional actresses in Europe since antiquity. Lucrezia Di Siena, whose name is on a contract of actors from 10 Oct 1564, has been referred to as the first Italian actress known by proper noun, with Vincenza Armani and Barbara Flaminia as the first primadonnas and the first well-documented actresses in Italy (and Europe).^[26] In the 1570s, English language theatre critics generally denigrated the troupes with their female person actors (some decades later, Ben Jonson referred to i female performer of the commedia as a "tumbling whore"). By the stop of the 1570s, Italian prelates attempted to ban female performers; withal, by the stop of the 16th century, actresses were standard on the Italian stage.^[27] The Italian scholar Ferdinando Taviani has collated a number of church documents opposing the appearance of the actress equally a kind of courtesan, whose scanty attire and promiscuous lifestyle corrupted young men, or at least infused them with lecherous desires. Taviani'south term negativa poetica describes this and other practices offensive to the church, while giving united states of america an thought of the miracle of the commedia dell'arte functioning.

By the early 17th century, the zanni comedies were moving from pure improvisational street performances to specified and conspicuously delineated acts and characters. Three books written during the 17th century—Cecchini's [information technology] Fruti della moderne commedia (1628), Niccolò Barbieri'south La supplica (1634) and Perrucci's Dell'arte rapresentativa (1699—"made business firm recommendations concerning performing practice." Katritzky argues, that as a upshot, commedia was reduced to formulaic and stylized acting; as far as possible from the purity of the improvisational genesis a century before.^[28] In France, during the reign of Louis 14, the Comédie-Italienne created a repertoire and delineated new masks and characters, while deleting some of the Italian precursors, such as Pantalone. French playwrights, specially Molière, gleaned from the plots and masks in creating an indigenous treatment. Indeed, Molière shared the phase with the Comédie-Italienne at Petit-Bourbon, and some of his forms, eastward.g. the tirade, are derivative from the commedia ( tirata ).

Commedia dell'arte moved exterior the city limits to the théâtre de la foire , or off-white theatres, in the early 17th century every bit it evolved toward a more pantomimed fashion. With the dispatch of the Italian comedians from France in 1697, the course transmogrified in the 18th century as genres such equally comédie larmoyante gained in attraction in France, peculiarly through the plays of Marivaux. Marivaux softened the commedia considerably by bringing in true emotion to the stage. Harlequin accomplished more than prominence during this period.

Information technology is possible that this kind of improvised acting was passed downwards the Italian generations until the 17th century when information technology was revived as a professional theatrical technique. However, as currently used the term commedia dell'arte was coined in the mid-18th century.^[29]

Curiously, commedia dell'arte was as if not more popular in France, where it connected its popularity throughout the 17th century (until 1697), and information technology was in France that commedia adult its established repertoire. Commedia evolved into diverse configurations across Europe, and each country acculturated the form to its liking. For case, pantomime, which flourished in the 18th century, owes its genesis to the graphic symbol types of the commedia , particularly Harlequin. The Punch and Judy puppet shows, popular to this day in England, owe their basis to the Pulcinella mask that emerged in Neapolitan versions of the grade. In Italy, commedia masks and plots found their style into the opera buffa , and the plots of Rossini, Verdi, and Puccini.

During the Napoleonic occupation of Italy, instigators of reform and critics of French Imperial rule (such as Giacomo Casanova) used the carnival masks to hide their identities while fueling political agendas, challenging social rule and hurling blatant insults and criticisms at the regime. In 1797, in society to destroy the impromptu style of carnival every bit a partisan platform, Napoleon outlawed the commedia dell'arte. Information technology was not reborn in Venice until 1979 considering of this.^[30]

Companies [edit]

Commedia dell'arte troupe I Gelosi in a late 16th-century Flemish painting

Compagnie , or companies, were troupes of actors, each of whom had a specific function or role. Actors were versed in a plethora of skills, with many having joined troupes without a theatre groundwork. Some were doctors, others priests, others soldiers, enticed by the excitement and prevalence of theatre in Italian society. Actors were known to switch from troupe to troupe "on loan," and companies would often interact if unified by a single patron or performing in the same full general location.^[31] Members would as well splinter off to form their own troupes, such was the case with the Ganassa and the Gelosi. These compagnie travelled throughout Europe from the early period, showtime with the Soldati, then, the Ganassa, who travelled to Spain,^[32] and were famous for playing the guitar and singing—never to exist heard from again—and the famous troupes of the Aureate Age (1580–1605): Gelosi, Confidenti, Accessi. These names which signified daring and enterprise were appropriated from the names of the academies—in a sense, to lend legitimacy. Withal, each troupe had its impresse (like a coat of arms) which symbolized its nature. The Gelosi, for example, used the 2-headed face of the Roman god Janus, to signify its comings and goings and relationship to the season of Carnival, which took place in January. Janus also signified the duality of the actor, who is playing a character or mask, while still remaining oneself.

Magistrates and clergy were not always receptive to the travelling compagnie (companies), especially during periods of plague, and because of their afoot nature. Actors, both male person and female, were known to strip nigh naked, and storylines typically descended into crude situations with overt sexuality, considered to teach nothing but "lewdness and adultery...of both sexes" by the French Parliament.^[33] The term vagabondi was used in reference to the comici , and remains a derogatory term to this solar day (vagabond). This was in reference to the nomadic nature of the troupes, ofttimes instigated past persecution from the Church building, civil government, and rival theatre organisations that forced the companies to motion from place to place.

A troupe often consisted of ten performers of familiar masked and unmasked types, and included women.^[25] The companies would use carpenters, props masters, servants, nurses, and prompters, all of whom would travel with the company. They would travel in large carts laden with supplies necessary for their nomadic style of performance, enabling them to move from place to place without having to worry near the difficulties of relocation. This nomadic nature, though influenced by persecution, was also largely due in part to the troupes requiring new (and paying) audiences. They would take advantage of public fairs and celebrations, nearly oftentimes in wealthier towns where fiscal success was more than probable. Companies would as well find themselves summoned by high-ranking officials, who would offering patronage in render for performing in their land for a certain amount of time. Companies in fact preferred to not stay in whatever ane identify as well long, mostly out of a fearfulness of the act condign "stale." They would move on to the next location while their popularity was even so active, ensuring the towns and people were deplorable to see them leave, and would be more likely to either invite them back or pay to watch performances again should the troupe ever render.^[34] Prices were dependent on the troupe's conclusion, which could vary depending on the wealth of the location, the length of stay, and the regulations governments had in identify for dramatic performances.

List of known commedia troupes [edit]

• Compagnia dei Fedeli: agile 1601–52, with Giambattista Andreini
• Compagnia degli Accesi: agile 1590–1628
• Compagnia degli Uniti [information technology]: active 1578–1640
• Compagnia dei Confidenti: active 1574–99; reformed under Flaminio Scala, operated again 1611–39
• I Dedosi: active 1581–99
• I Gelosi: active 1568–1604
• Signora Violante and Her Troupe of Dancers: agile 1729–32^[35]
• Zan Ganassa: active 1568–1610

^[36]

Characters [edit]

Generally, the actors playing were various in background in terms of grade and religion, and performed anywhere they could. Castagno posits that the aesthetic of exaggeration, baloney, anti-humanism (as in the masked types), and excessive borrowing as opposed to originality was typical of all the arts in the late Italian Renaissance.^[37] Theatre historian Martin Green points to the extravagance of emotion during the period of commedia 's emergence as the reason for representational moods, or characters, that define the art. In commedia , each character embodies a mood: mockery, sadness, gaiety, confusion, and so forth.^[38]

According to 18th-century London theatre critic Baretti, commedia dell'arte incorporates specific roles and characters that were "originally intended as a kind of characteristic representative of some particular Italian district or town." (archetypes)^{[29] [39]} The character's persona included the specific dialect of the region or town represented. Meaning that on stage, each grapheme was performed in its own dialect. Characters would oftentimes exist passed downwards from generation to generation, and characters married onstage were ofttimes married in real life too, seen most famously with Francesco and Isabella Andreini. This was believed to brand performances more than natural, too as strengthening the bonds within the troupe, who emphasized complete unity between every fellow member. Additionally, each grapheme has a singular costume and mask that is representative of the character's role.^[29]

Commedia dell'arte has iv stock character groups:^[13]

1. Zanni : servants, clowns; characters such as Arlecchino (also known as Harlequin), Brighella, Scapino, Pulcinella and Pedrolino^[40]
2. Vecchi : wealthy erstwhile men, masters; characters such every bit Pantalone and Il Dottore
3. Innamorati : young upper class lovers; who would take names such every bit Flavio and Isabella
4. Il Capitano : self-styled captains, braggarts; can also be La Signora if a female

Masked characters are often referred to as "masks" (in Italian: maschere ), which, according to John Rudlin, cannot exist separated from the graphic symbol. In other words, the characteristics of the character and the characteristics of the mask are the same.^[41] In time even so, the word maschere came to refer to all of the characters of the commedia dell'arte whether masked or not. Female characters (including female servants) are most oft non masked (female person amorose are never masked). The female character in the masters group is chosen Prima Donna and can be i of the lovers. At that place is also a female person character known as The Courtisane who can also have a servant. Female servants wore bonnets. Their character was played with a malicious wit or gossipy gaiety. The amorosi are often children of a male character in the masters group, but not of any female graphic symbol in the masters group, which may correspond younger women who have e.g. married an old homo, or a high-class courtesan. Female characters in the masters group, while younger than their male person counterparts, are nevertheless older than the amorosi . Some of the ameliorate known commedia dell'arte characters are Pierrot and Pierrette, Pantalone, Gianduja, Il Dottore, Brighella, Il Capitano, Colombina, the innamorati , Pedrolino, Pulcinella, Arlecchino, Sandrone, Scaramuccia (also known as Scaramouche), La Signora, and Tartaglia.

Brusque listing of characters^[42]

Grapheme(s)	Masks	Status	Costume
Arlecchino	Aye	Servant (sometimes to two masters)	Colorful tight-fitting jacket and trousers
Pulcinella	Yes	Retainer or master	Baggy, white outfit
Il Dottore	Yep	Head of the household	Black scholarly robe
Il Capitano/La Signora	Yes	Indigent loner	Military machine uniform
Innamorati	No	High-class hopeless lovers	Nicely dressed on par with the time
Pantalone	Yep	Older wealthy human	Nighttime capes and ruddy trousers
Tartaglia	Yes	Stuttering statesman	Large felt lid and enormous cloak
Colombina	Yes	Perky maid / servant	Can be colourful on par with Arlecchino or blackness and white
Pierrot	Yes	Retainer (Sad clown)	White, flowy costume with large buttons

In the 17th century as commedia became popular in France, the characters of Pierrot, Columbine and Harlequin were refined and became essentially Parisian, according to Green.^[43]

Costumes [edit]

Each grapheme in commedia dell'arte has a distinct costume that helps the audience sympathise who the character is.

Arlecchino originally wore a tight plumbing fixtures long jacket with matching trousers that both had numerous odd shaped patches, usually dark-green, yellow, red, and dark-brown.^{[44] [45]} Usually, there was a bat and a wallet that would hang from his chugalug.^[45] His hat, which was a soft cap, was modeled after Charles IX or afterwards Henri II, and almost e'er had a tail of a rabbit, hare or a pull a fast one on with the occasional tuft of feathers.^{[45] [44]} During the 17th century, the patches turned into blue, red, and green triangles arranged in a symmetrical pattern.^[45] The 18th century is when the iconic Arlecchino look with the diamond shaped lozenges took shape. The jacket became shorter and his hat inverse from a soft cap to a double pointed hat.^[45]

Il Dottore's costume was a play on the academic dress of the Bolognese scholars.^{[45] [44]} Il Dottore is almost always clothed entirely in black.^[45] He wore a long black gown or jacket that went beneath the knees.^{[45] [44]} Over the gown, he would have a long black robe that went downward to his heels, and he would have on black shoes, stockings, and breeches.^{[45] [44]} In 1653, his costume was changed past Augustin Lolli who was a very popular Il Dottore thespian. He added an enormous black hat, inverse the robe to a jacket cut similarly to Louis Xiv, and added a flat ruff to the neck.^[45]

Il Capitano'southward costume is similar to Il Dottore's in the fact that it is also a satire on military wear of the time.^[44] This costume would therefore change depending on where the Capitano character is from, and the period the Capitano is from.^{[44] [45]}

Pantalone has one of the almost iconic costumes of commedia dell'arte . Typically, he would clothing a tight-plumbing equipment jacket with a matching pair of trousers. He usually pairs these ii with a big black coat called a zimarra .^{[45] [44]}

Women, who usually played servants or lovers, wore less stylized costumes than the men in commedia . The lovers, Innamorati , would wearable what was considered to be the style of the time catamenia. They would only wear plain one-half-masks with no character distinction or street makeup.

Subjects [edit]

Conventional plot lines were written on themes of sexual activity, jealousy, dearest, and one-time historic period. Many of the basic plot elements can be traced back to the Roman comedies of Plautus and Terence, some of which were themselves translations of lost Greek comedies of the fourth century BC. All the same, it is more likely that the comici used contemporary novella, or, traditional sources as well, and drew from current events and local news of the day. Not all scenari were comic, there were some mixed forms and even tragedies. Shakespeare's The Storm is drawn from a pop scenario in the Scala drove, his Polonius (Village) is drawn from Pantalone, and his clowns deport homage to the zanni .

Comici performed written comedies at court. Song and dance were widely used, and a number of innamorati were skilled madrigalists, a song form that uses chromatics and close harmonies. Audiences came to see the performers, with plotlines becoming secondary to the functioning. Among the great innamorate , Isabella Andreini was perhaps the most widely known, and a medallion dedicated to her reads "eternal fame". Tristano Martinelli achieved international fame every bit the first of the slap-up Arlecchinos, and was honoured by the Medici and the Queen of France. Performers fabricated utilise of well-apposite jokes and stock physical gags, known every bit lazzi and concetti , every bit well every bit on-the-spot improvised and interpolated episodes and routines, called burle (atypical burla , Italian for 'joke'), usually involving a practical joke.

Since the productions were improvised, dialogue and activity could hands exist changed to satirize local scandals, electric current events, or regional tastes, while withal using one-time jokes and punchlines. Characters were identified past costumes, masks, and props, such as a type of baton known as a slapstick. These characters included the forebears of the mod clown, namely Harlequin ( Arlecchino ) and the zanni. Harlequin, in particular, was allowed to comment on electric current events in his amusement.^[46]

The classic, traditional plot is that the innamorati are in love and wish to be married, but one elder ( vecchio ) or several elders ( vecchi ) are preventing this from happening, leading the lovers to enquire one or more zanni (eccentric servants) for help. Typically the story ends happily, with the marriage of the innamorati and forgiveness for any wrongdoings. There are endless variations on this story, besides equally many that diverge wholly from the structure, such as a well-known story well-nigh Arlecchino condign mysteriously pregnant, or the Dial and Judy scenario.^{[ citation needed ]}

While generally personally unscripted, the performances often were based on scenarios that gave some semblance of a plot to the largely improvised format. The Flaminio Scala scenarios, published in the early on 17th century, are the virtually widely known collection and representative of its about esteemed compagnia , I Gelosi.

Influence in visual art [edit]

The iconography of the commedia dell'arte represents an unabridged field of study that has been examined by commedia scholars such as Erenstein, Castagno, Katritzky, Molinari, and others. In the early period, representative works past painters at Fontainebleau were notable for their erotic depictions of the thinly veiled innamorata , or the blank-breasted courtesan/actress.

The Flemish influence is widely documented as commedia figures entered the world of the vanitas genre, depicting the dangers of animalism, drinking, and the hedonistic lifestyle. Castagno describes the Flemish pittore vago (wandering painters) who alloyed themselves within Italian workshops and fifty-fifty assumed Italian surnames: 1 of the about influential painters, Lodewyk Toeput, for example, became Ludovico Pozzoserrato and was a celebrated painter in the Veneto region of Italy. The pittore vago tin can exist attributed with establishing commedia dell'arte as a genre of painting that would persist for centuries.

While the iconography gives bear witness of the operation style (run across Fossard collection), it is important to annotation that many of the images and engravings were not depictions from real life, but concocted in the studio. The Callot etchings of the Balli di Sfessania (1611) are most widely considered capricci rather than actual depictions of a commedia dance class, or typical masks. While these are oft reproduced in large formats, information technology is important to annotation that the actual prints measured about 2×3 inches. In the 18th century, Watteau's painting of commedia figures intermingling with the elite were often set in sumptuous garden or pastoral settings and were representative of that genre.

Pablo Picasso's 1921 painting Three Musicians is a colorful representation of commedia -inspired characters.^[47] Picasso as well designed the original costumes for Stravinsky'southward Pulcinella (1920), a ballet depicting commedia characters and situations. Commedia iconography is evident in porcelain figurines many selling for thousands of dollars at auction.

Influence in performance fine art [edit]

The expressive theatre influenced Molière's comedy and later ballet d'activeness , thus lending a fresh range of expression and choreographic means. An example of a commedia dell'arte character in literature is the Pied Piper of Hamelin who is dressed as Harlequin.

Music and dance were cardinal to commedia dell'arte performance, and most performances had both instrumental and vocal music in them.^[48] Brighella was often depicted with a guitar, and many images of the commedia feature singing innamorati or dancing figures. In fact, it was considered function of the innamorati office to be able to sing and accept the popular repertoire under their belt. Accounts of the early commedia , as far back equally Calmo in the 1570s and the buffoni of Venice, notation the power of comici to sing madrigali precisely and beautifully. The danzatrice probably accompanied the troupes and may have been in addition to the general cast of characters. For examples of strange instruments of diverse grotesque formations, see articles past Tom Heck, who has documented this area.

The works of a number of playwrights have featured characters influenced past the commedia dell'arte and sometimes directly fatigued from information technology. Prominent examples include The Tempest by William Shakespeare, Les Fourberies de Scapin past Molière, Servant of 2 Masters (1743) by Carlo Goldoni, the Figaro plays of Pierre Beaumarchais, and especially Beloved for Three Oranges, Turandot and other fiabe past Carlo Gozzi. Influences appear in the lodgers in Steven Berkoff'southward adaptation of Franz Kafka'southward The Metamorphosis.

Pierrot as "Pjerrot" in Denmark

Through their association with spoken theatre and playwrights commedia figures have provided opera with many of its stock characters. Mozart'southward Don Giovanni sets a puppet evidence story and comic servants like Leporello and Figaro have commedia precedents. Soubrette characters like Susanna in Le nozze di Figaro, Zerlina in Don Giovanni and Despina in Così fan tutte recall Columbina and related characters. The comic operas of Gaetano Donizetti, such as Elisir d'amore, describe readily upon commedia stock types. Leoncavallo's tragic melodrama Pagliacci depicts a commedia dell'arte company in which the performers find their life situations reflecting events they depict on phase. Commedia characters also effigy in Richard Strauss'due south opera Ariadne auf Naxos.

The piano slice Carnaval by Robert Schumann was conceived every bit a kind of masked brawl that combined characters from commedia dell'arte with real world characters, such every bit Chopin, Paganini, and Clara Schumann, as well every bit characters from the composer'south inner world.^{[49] [50]} Movements of the piece reflect the names of many characters of the Commedia , including Pierrot, Harlequin, Pantalon, and Columbine.

Stock characters and situations likewise appear in ballet. Igor Stravinsky's Petrushka and Pulcinella allude straight to the tradition.

Commedia dell'arte is performed seasonally in Denmark on the Peacock Stage of Tivoli Gardens in Copenhagen, and due north of Copenhagen at Dyrehavsbakken.^{[ commendation needed ]} Tivoli has regular performances, while Bakken has daily performances for children past Pierrot and a puppet version of Pulcinella resembling Punch and Judy.^{[ citation needed ]}

The characters created and portrayed by English language comedian Sacha Baron Cohen (most famously Ali G, Borat, and Bruno) accept been discussed in relation to their potential origins in commedia , every bit Baron Cohen was trained by French principal clown Philippe Gaulier, whose other students have gone on to go teachers and performers of commedia .^[51]

See as well [edit]

Notes [edit]

1. ^ English language literal translation: "learned comedies"^[23]

References [edit]

1. ^ "commedia dell'arte". Merriam-Webster Dictionary.
2. ^ "commedia dell'arte". Lexico Uk English Lexicon. Oxford Academy Printing. north.d.
3. ^ Commedia dell'arte at the Encyclopædia Britannica
4. ^ Lea, K. M. (1962). Italian Popular One-act: A Study In The Commedia Dell'Arte, 1560–1620 With Special Reference to the English language Land. New York: Russell & Russell INC. p. iii.
5. ^ Wilson, Matthew R. "A History of Commedia dell'arte". Faction of Fools. Faction of Fools. Retrieved 9 December 2016.
6. ^ ^{a b} Rudlin, John (1994). Commedia Dell'Arte An Actor's Handbook. London and New York: Routledge. p. 48. ISBN978-0-415-04769-2.
7. ^ ^{a b c} Ducharte, Pierre Louis (1966). The Italian Comedy: The Improvisation Scenarios Lives Attributes Portraits and Masks of the Illustrious Characters of the Commedia dell'Arte. New York: Dover Publication. p. 17. ISBN978-0486216799.
8. ^ ^{a b c d east} Chaffee, Judith; Crick, Olly (2015). The Routledge Companion to Commedia Dell'Arte. London and New York: Rutledge Taylor and Francis Group. p. 1. ISBN978-0-415-74506-2.
9. ^ "Faction Of Fools".
10. ^ ^{a b} Grantham, Barry (2000). Playing Commedia A Training Guide to Commedia Techniques. United Kingdom: Heinemann Drama. pp. iii, 6–7. ISBN978-0-325-00346-7.
11. ^ Gordon, Mel (1983). Lazzi: The Comic Routine of the Commedia dell'Arte . New York: Performing Arts Journal Publications. p. 4. ISBN978-0-933826-69-4.
12. ^ Broadbent, R.J. (1901). A History Of Pantomime. New York: Benjamin Blom, Inc. p. 62.
13. ^ ^{a b} "Faction of Fools | A History of Commedia dell'Arte". www.factionoffools.org . Retrieved 2016-12-09 .
14. ^ Maurice, Sand (1915). The History of the Harlequinade. New York: Benjamin Bloom, Inc. p. 135.
15. ^ Nicoll, Allardyce (1963). The World of Harlequin: A Disquisitional Study of the Commedia dell'Arte. London: Cambridge University Printing. p. 9.
16. ^ Castagno 1994, p. 94.
17. ^ Smith 1964, p. 26, quote: "Atellanae were forced marked by improvisations and masked personages...
18. ^ Duchartre, Pierre (1966). The Italian Comedy. New York: Dover Publications, INC. p. 29. Pulcinella was always dressed in white like Maccus, the mimus albus, or white mime.
19. ^ Duchartre, Pierre (1966). The Italian One-act. New York: Dover Publication, INC. p. eighteen. Next there is the ogre Manducus, the Miles Glorious in the plays of Plautus, who is later on metamorphosed into the swaggering Captain, of Captain.
20. ^ Duchartre, Pierre (1966). The Italian Comedy. New York: Dover Publications, INC. p. 18. ...Bucco and the sensual Maccus, whose lean figure and cowardly nature reappear in Pulcinella.
21. ^ Palleschi 2005, Part 1.
22. ^ Katritzky 2006, p. 82.
23. ^ Cohen & Sherman 2020, p. 192
24. ^ Rudlin p. 14
25. ^ ^{a b} Rudlin & Crick 2001, p. fifteen
26. ^ Giacomo Oreglia (2002). Commedia dell'arte. Ordfront. ISBN 91-7324-602-6
27. ^ Katritzky 2006, p. 90.
28. ^ Katritzky 2006, p. 106.
29. ^ ^{a b c} Katritzky 2006, p. nineteen
30. ^ "Carnival in Venice".
31. ^ Ducharte, Pierre Louis (1966). The Italian Comedy. Toronto: General Publishing Company. p. seventy.
32. ^ Kenley, M. E. (2012-xi-01). "Il Mattaccino: music and dance of the matachin and its role in Italian comedy". Early Music. forty (four): 659–670. doi:x.1093/em/cas089. ISSN 0306-1078.
33. ^ Ducharte, Pierre Louis (1966). The Italian Comedy. Toronto: Full general Publishing Company. p. 74.
34. ^ Ducharte, Pierre Louis (1966). The Italian Comedy. Toronto: General Publishing Visitor. p. 79.
35. ^ McArdle, Grainne (2005). "Signora Violante and Her Troupe of Dancers 1729-32". Eighteenth-Century Ireland / Iris an Dá Chultúr. xx: 55–78. doi:x.3828/eci.2005.viii. JSTOR 30071051.
36. ^ Ducharte, Pierre Louis (1966). The Italian Comedy. Toronto: General Publishing. pp. 86–98.
37. ^ Castagno 1994, p.^{[ page needed ]}.
38. ^ Light-green & Swan 1993, pp. xi–xii.
39. ^ Oreglia, Giacomo (1968). The Commedia dell'Arte. Hill & Wang. pp. 65, 71. OCLC 939808594.
40. ^ Rudlin, An Actor's Handbook. p. 67.
41. ^ Rudlin, An Actor'southward Handbook. p. 34.
42. ^ "Commedia Stock Characters". shane-arts.com. Archived from the original on 2005-02-07. Retrieved 2016-04-05 .
43. ^ Green & Swan 1993, p. 163.
44. ^ ^{a b c d due east f yard h} Rudlin, John (1994). Commedia dell'Arte An Actor'south Handbook. New York: Routledge. pp. 67–156. ISBN978-0-415-04769-2.
45. ^ ^{a b c d due east f g h i j k l} Ducharte, Pierre (1966). The Italian Comedy. New York: Dover. pp. 164–207.
46. ^ Oreglia, Giacomo (1968). The Commedia dell'Arte. Hill & Wang. p. 58. OCLC 939808594.
47. ^ Katritzky 2006, p. 26.
48. ^ Cohen & Sherman 2020, p. 233
49. ^ https://calperformances.org/acquire/program_notes/2011/pn_gerstein.pdf^{[ bare URL PDF ]}
50. ^ "Carnaval, Op. 9".
51. ^ Sacha Baron Cohen: How To Prank The Institution. YouTube. Archived from the original on 2021-12-eleven.

Sources [edit]

• Castagno, Paul C. (1994). The Early on Commedia dell'arte (1550–1621): The Mannerist Context. Bern, New York: Peter Lang Publishing.
• Cohen, Robert; Sherman, Donovan (2020). Theatre: Brief Edition (Twelfth ed.). New York, NY. ISBN978-ane-260-05738-vi. OCLC 1073038874.
• Green, Martin; Swan, John (1993). The Triumph of Pierrot: The Commedia dell'arte and the Modern Imagination. Pennsylvania State University. ISBN978-0-271-00928-5.
• Katritzky, M. A. (2006). The Fine art of Commedia: A Study in the Commedia dell'arte 1560–1620 with Special Reference to the Visual Records. New York: Editions Rodopi. ISBN978-90-420-1798-6.
• Palleschi, Marino (2005). "The Commedia dell'arte: Its Origins, Development & Influence on the Ballet". Auguste Vestris.
• Rudlin, John. Commedia dell'arte: An Actor's Handbook. Ebook Corporation.
• Rudlin, John; Crick, Oliver (2001). Commedia dell'arte: A Handbook for Troupes. London: Routledge. ISBN041-520-408-9.
• Smith, Winifred (1964). The Commedia dell'arte. Benjamin Bloom.

Further reading [edit]

• Aguirre, Mariano 'Qué es la Commedia dell'arte' (Spanish) [ane]
• Chaffee, Judith; Crick, Oliver, eds. (2014). The Routledge Companion to Commedia Dell'Arte. Routledge. ISBN978-i-317-61337-four.
• Callery, Dymphna. Through the Trunk: A Practical Guide to Concrete Theatre. London: Nickalis Hernt Books (2001). ISBN one-85459-630-6
• Cecchini, Pier Maria [it] (1628) Frutti delle moderne comedie et avvisi a chi le recita, Padua: Guareschi
• Perrucci, Andrea (1699) Dell'arte rappresentativa premeditata, ed all'improviso
• Scala, Flaminio (1611) Il Teatro Delle Favole Rappresentative (online pdf bachelor at Bavarian State Library website). Translated into English by Henry F. Salerno in 1967 as Scenarios of the Commedia dell'arte. New Italian edition cured past F.Mariotti (1976). New fractional translation (30 scenarios out of fifty) past Richard Andrews (2008) The Commedia dell'arte of Flaminio Scala, A Translation and Analysis of Scenarios Published past: Scarecrow Press.
• Darius, Adam. The Commedia dell'arte (1996) Kolesnik Product OY, Helsinki. ISBN 952-90-7188-iv
• DelPiano, Roberto La Commedia dell'arte 2007. Retrieved 2009-07-09.
• Grantham, Barry Playing Commedia, Nick Hern Books, London, 2000. ISBN 978-ane-85459-466-2
• Grantham, Barry Commedia Plays: Scenarios – Scripts – Lazzi, Nick Hern Books, London, 2006. ISBN 978-1-85459-871-4
• Hashemite kingdom of jordan, Peter (2013). The Venetian Origins of the Commedia Dell'Arte. Routledge. ISBN978-1-136-48824-5.
• Katritzky, M A (2019). "Stefanelo Botara and Zan Ganassa: Textual and Visual Records of a Musical commedia dell'arte Duo, In and Beyond Early Modern Iberia". Music in Art: International Journal for Music Iconography. 44 (one–ii): 97–118. ISSN 1522-7464.
• Puppa, Paolo A History of Italian Theatre. Eds. Joseph Farrell. Cambridge University Press. 2006. ISBN 0-521-80265-2
• Sand, Maurice (1860). Masques et bouffouns:(comédie italienne) (in French). Illustrated past Maurice Sand. Paris: Michel Levy Freres. Retrieved 22 Oct 2013.
• Smith, Winifred (1912). The Commedia dell'Arte: A Study in Popular Italian Comedy. New York: The Columbia University Press. Retrieved July 10, 2009. john rudlin commedia dell'arte.
• Taviani, Ferdinando and Marotti, Ferruccio, and Romei, Giovanna. La Commedia dell'arte eastward la societa barocca M. Bulzoni, Roma : 1969
• Taviani, Ferdinando and M. Schino (1982) Il segreto della commedia dell'arte.
• Tessari, R. (1969) La commedia dell'arte nel seicento
• Tessari, R. (1981) Commedia dell'arte: la maschera e l'ombra
• Tony, Kishawi Educational activity Commedia dell'arte (2010) A step by pace handbook for the theatre ensemble and Drama teacher. [ii] ISBN 978-0-646-53217-2
• Simply Masquerade – types of masks used

External links [edit]

• commedia-dell-arte.com – Judith Chaffee's Commedia website, with resources, annotated bibliography, and links
• Meagher, Jennifer (2007) Commedia dell'arte, Metropolitan Museum of Art, July 2007
• Bellinger, Martha Fletcher (2002) "The Commedia dell'arte", A Short History of the Drama (1927)
• Wilson, Matthew R. (2010) A History of Commedia dell'Arte

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Source: https://en.wikipedia.org/wiki/Commedia_dell%27arte

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