The Only Commedia Del Arte Script in Existence Is

Class of theatre originating in Italy

Commedia dell'arte Troupe on a Wagon in a Town Square past Jan Miel (1640)

Commedia dell'arte (;^{[1] [ii]} Italian: [komˈmɛːdja delˈlarte]; lit. 'comedy of the profession')^[3] was an early form of professional theatre, originating in Italy, that was popular throughout Europe between the 16th and 18th centuries.^{[four] [5]} It was formerly called Italian one-act in English and is also known as commedia alla maschera , commedia improvviso , and commedia dell'arte all'improvviso .^[6] Characterized past masked "types", commedia was responsible for the ascension of actresses such as Isabella Andreini^[7] and improvised performances based on sketches or scenarios.^{[8] [ix]} A commedia , such as The Tooth Puller, is both scripted and improvised.^{[8] [10]} Characters' entrances and exits are scripted. A special characteristic of commedia is the lazzo , a joke or "something foolish or witty", usually well known to the performers and to some extent a scripted routine.^{[10] [11]} Some other characteristic of commedia is pantomime, which is mostly used past the grapheme Arlecchino, now ameliorate known equally Harlequin.^[12]

The characters of the commedia usually represent stock-still social types and stock characters, such equally foolish one-time men, devious servants, or military officers full of faux bravado.^{[8] [13]} The characters are exaggerated "real characters", such as a know-information technology-all doctor called Il Dottore, a greedy old man called Pantalone, or a perfect relationship like the Innamorati.^[seven] Many troupes were formed to perform commedia , including I Gelosi (which had actors such as Andreini and her hubby Francesco Andreini),^[14] Confidenti Troupe, Desioi Troupe, and Fedeli Troupe.^{[7] [eight]} Commedia was often performed outside on platforms or in popular areas such as a piazza (town foursquare).^{[six] [8]} The grade of theatre originated in Italy, just travelled throughout Europe and even to Moscow.^[15]

The genesis of commedia may be related to carnival in Venice, where the author and histrion Andrea Calmo had created the graphic symbol Il Magnifico, the precursor to the vecchio (onetime man) Pantalone, by 1570. In the Flaminio Scala scenario, for example, Il Magnifico persists and is interchangeable with Pantalone into the 17th century. While Calmo'due south characters (which as well included the Castilian Capitano and a dottore blazon) were not masked, information technology is uncertain at what point the characters donned the mask. However, the connection to carnival (the menses betwixt Epiphany and Ash Midweek) would propose that masking was a convention of carnival and was applied 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 south and featured the prominent stage figure Pulcinella, which has been long associated with Naples and derived into various types elsewhere—well-nigh famously equally the puppet character Punch (of the eponymous Punch and Judy shows) in England.

History [edit]

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

Although commedia dell'arte flourished in Italy during the Mannerist flow, there has been a long-continuing tradition of trying to establish historical antecedents in antiquity. While it is possible to discover formal similarities betwixt the commedia dell'arte and before theatrical traditions, there is no way to establish certainty of origin.^[16] Some engagement the origins to the period of the Roman Republic (Plautine types) or the Empire (Atellan Farces). The Atellan Farces of the Roman Empire featured crude "types" wearing masks with grossly exaggerated features and an improvised plot.^[17] Some historians contend 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 recent 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 by professional person 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 describe the Gelosi performing Tasso'southward Aminta, for example, and much was done at court rather than in the street. By the mid-16th century, specific troupes of commedia performers began to coagulate, and past 1568 the Gelosi became a singled-out company. In keeping with the tradition of the Italian Academies, I Gelosi adopted as their print (or coat of arms) the two-faced Roman god Janus. Janus symbolized both the comings and goings of this travelling troupe and the dual nature of the actor who impersonates the "other." The Gelosi performed in Northern Italy and French republic where they received protection and patronage from the King of French republic. Despite fluctuations the Gelosi maintained stability for performances with the "usual ten": "two vecchi (onetime men), four innamorati (ii male and ii female person lovers), two zanni , a captain and a servetta (serving maid)".^[25] Commedia frequently performed inside in courtroom theatres or halls, and also every bit some fixed theatres such as Teatro Baldrucca in Florence. Flaminio Scala, who had been a minor performer in the Gelosi published the scenarios of the commedia dell'arte effectually the offset of the 17th century, really in an endeavor to legitimize the class—and ensure its legacy. These scenarios are highly structured and congenital around the symmetry of the various types in duet: two zanni , vecchi , inamorate and inamorati , etc.

In commedia dell'arte , female person roles were played past women, documented as early as the 1560s, making them the beginning known professional actresses in Europe since artifact. Lucrezia Di Siena, whose name is on a contract of actors from 10 Oct 1564, has been referred to as the first Italian extra known by name, 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 actors (some decades later, Ben Jonson referred to i female person performer of the commedia as a "tumbling whore"). By the end of the 1570s, Italian prelates attempted to ban female performers; even so, by the end 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 as a kind of courtesan, whose scanty attire and promiscuous lifestyle corrupted young men, or at to the lowest degree infused them with carnal desires. Taviani'southward term negativa poetica describes this and other practices offensive to the church, while giving us an idea of the miracle of the commedia dell'arte performance.

By the early on 17th century, the zanni comedies were moving from pure improvisational street performances to specified and clearly delineated acts and characters. 3 books written during the 17th century—Cecchini's [it] Fruti della moderne commedia (1628), Niccolò Barbieri'south La supplica (1634) and Perrucci's Dell'arte rapresentativa (1699—"made firm recommendations concerning performing practice." Katritzky argues, that every bit a result, commedia was reduced to formulaic and stylized interim; as far every bit possible from the purity of the improvisational genesis a century before.^[28] In France, during the reign of Louis XIV, the Comédie-Italienne created a repertoire and delineated new masks and characters, while deleting some of the Italian precursors, such every bit Pantalone. French playwrights, peculiarly Molière, gleaned from the plots and masks in creating an indigenous treatment. Indeed, Molière shared the stage with the Comédie-Italienne at Petit-Bourbon, and some of his forms, e.grand. 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 as information technology evolved toward a more pantomimed style. With the dispatch of the Italian comedians from France in 1697, the grade transmogrified in the 18th century as genres such equally comédie larmoyante gained in attraction in French republic, particularly through the plays of Marivaux. Marivaux softened the commedia considerably by bringing in true emotion to the phase. Harlequin achieved more prominence during this period.

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

Curiously, commedia dell'arte was equally if not more popular in French republic, where it continued its popularity throughout the 17th century (until 1697), and it was in France that commedia developed its established repertoire. Commedia evolved into various configurations beyond Europe, and each country acculturated the form to its liking. For instance, pantomime, which flourished in the 18th century, owes its genesis to the character types of the commedia , particularly Harlequin. The Dial and Judy puppet shows, popular to this solar day in England, owe their basis to the Pulcinella mask that emerged in Neapolitan versions of the form. In Italy, commedia masks and plots institute their manner 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 dominion and hurling blatant insults and criticisms at the regime. In 1797, in order to destroy the impromptu style of carnival as a partisan platform, Napoleon outlawed the commedia dell'arte. It 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 part. 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 order. Actors were known to switch from troupe to troupe "on loan," and companies would oft collaborate if unified past a single patron or performing in the same full general location.^[31] Members would as well splinter off to form their ain troupes, such was the case with the Ganassa and the Gelosi. These compagnie travelled throughout Europe from the early on period, showtime with the Soldati, then, the Ganassa, who travelled to Espana,^[32] and were famous for playing the guitar and singing—never to exist heard from over again—and the famous troupes of the Gilded Historic period (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. However, each troupe had its impresse (like a glaze of arms) which symbolized its nature. The Gelosi, for case, used the two-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 too signified the duality of the actor, who is playing a character or mask, while still remaining oneself.

Magistrates and clergy were non always receptive to the travelling compagnie (companies), particularly during periods of plague, and considering of their itinerant nature. Actors, both male and female, were known to strip nearly 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 day (vagabond). This was in reference to the nomadic nature of the troupes, often instigated by persecution from the Church, civil government, and rival theatre organisations that forced the companies to move from place to place.

A troupe often consisted of x performers of familiar masked and unmasked types, and included women.^[25] The companies would apply carpenters, props masters, servants, nurses, and prompters, all of whom would travel with the company. They would travel in big carts laden with supplies necessary for their nomadic fashion of functioning, enabling them to motility from place to identify without having to worry about the difficulties of relocation. This nomadic nature, though influenced past persecution, was likewise largely due in office to the troupes requiring new (and paying) audiences. They would take advantage of public fairs and celebrations, near often in wealthier towns where fiscal success was more than likely. Companies would also find themselves summoned by high-ranking officials, who would offer patronage in render for performing in their land for a certain amount of time. Companies in fact preferred to not stay in whatever one place too long, mostly out of a fear of the act becoming "stale." They would move on to the next location while their popularity was still active, ensuring the towns and people were pitiful to see them go out, and would exist more likely to either invite them back or pay to picket performances again should the troupe ever return.^[34] Prices were dependent on the troupe's decision, which could vary depending on the wealth of the location, the length of stay, and the regulations governments had in place for dramatic performances.

List of known commedia troupes [edit]

• Compagnia dei Fedeli: active 1601–52, with Giambattista Andreini
• Compagnia degli Accesi: active 1590–1628
• Compagnia degli Uniti [it]: 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: agile 1568–1610

^[36]

Characters [edit]

Generally, the actors playing were various in background in terms of class and religion, and performed anywhere they could. Castagno posits that the artful of exaggeration, distortion, anti-humanism (equally 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 Dark-green points to the extravagance of emotion during the menses of commedia 's emergence as the reason for representational moods, or characters, that ascertain the fine 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 every bit a kind of characteristic representative of some particular Italian district or boondocks." (archetypes)^{[29] [39]} The character's persona included the specific dialect of the region or town represented. Meaning that on stage, each graphic symbol was performed in its ain dialect. Characters would often be passed downward from generation to generation, and characters married onstage were frequently married in real life also, seen most famously with Francesco and Isabella Andreini. This was believed to brand performances more natural, likewise as strengthening the bonds inside the troupe, who emphasized complete unity between every fellow member. Additionally, each character has a singular costume and mask that is representative of the graphic symbol'due south role.^[29]

Commedia dell'arte has 4 stock character groups:^[13]

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

Masked characters are oft referred to equally "masks" (in Italian: maschere ), which, according to John Rudlin, cannot be separated from the character. In other words, the characteristics of the character and the characteristics of the mask are the same.^[41] In fourth dimension however, the word maschere came to refer to all of the characters of the commedia dell'arte whether masked or non. Female person characters (including female servants) are most oft not masked (female person amorose are never masked). The female graphic symbol in the masters grouping is called Prima Donna and tin can be one of the lovers. There is also a female person grapheme known as The Courtisane who tin also take a retainer. 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 whatever female person character in the masters group, which may stand for younger women who have e.m. married an former human, or a loftier-grade courtesan. Female characters in the masters group, while younger than their male counterparts, are nevertheless older than the amorosi . Some of the better known commedia dell'arte characters are Pierrot and Pierrette, Pantalone, Gianduja, Il Dottore, Brighella, Il Capitano, Colombina, the innamorati , Pedrolino, Pulcinella, Arlecchino, Sandrone, Scaramuccia (too known equally Scaramouche), La Signora, and Tartaglia.

Brusk list of characters^[42]

Character(s)	Masks	Status	Costume
Arlecchino	Yes	Servant (sometimes to two masters)	Colorful tight-fitting jacket and trousers
Pulcinella	Aye	Servant or master	Baggy, white outfit
Il Dottore	Yes	Head of the household	Black scholarly robe
Il Capitano/La Signora	Yes	Indigent loner	Military uniform
Innamorati	No	Loftier-class hopeless lovers	Nicely dressed on par with the time
Pantalone	Yep	Older wealthy man	Nighttime capes and ruby-red trousers
Tartaglia	Yeah	Stuttering statesman	Large felt chapeau and enormous cloak
Colombina	Yep	Perky maid / servant	Tin can exist colourful on par with Arlecchino or black and white
Pierrot	Yes	Servant (Pitiful 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, co-ordinate to Greenish.^[43]

Costumes [edit]

Each character in commedia dell'arte has a distinct costume that helps the audition understand who the character is.

Arlecchino originally wore a tight fitting long jacket with matching trousers that both had numerous odd shaped patches, usually green, yellow, blood-red, and chocolate-brown.^{[44] [45]} Usually, there was a bat and a wallet that would hang from his belt.^[45] His hat, which was a soft cap, was modeled afterward Charles IX or after Henri II, and most always had a tail of a rabbit, hare or a fox with the occasional tuft of feathers.^{[45] [44]} During the 17th century, the patches turned into blue, red, and light-green triangles arranged in a symmetrical design.^[45] The 18th century is when the iconic Arlecchino look with the diamond shaped lozenges took shape. The jacket became shorter and his hat changed from a soft cap to a double pointed hat.^[45]

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

Il Capitano's costume is like to Il Dottore's in the fact that it is too a satire on military wear of the fourth dimension.^[44] This costume would therefore change depending on where the Capitano character is from, and the menstruation the Capitano is from.^{[44] [45]}

Pantalone has one of the most iconic costumes of commedia dell'arte . Typically, he would wear a tight-fitting jacket with a matching pair of trousers. He normally pairs these two with a large 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 wear what was considered to be the manner of the time flow. They would only article of clothing patently half-masks with no character distinction or street makeup.

Subjects [edit]

Conventional plot lines were written on themes of sexual activity, jealousy, love, and erstwhile age. Many of the basic plot elements tin can be traced back to the Roman comedies of Plautus and Terence, some of which were themselves translations of lost Greek comedies of the 4th century BC. However, it is more than probable that the comici used contemporary novella, or, traditional sources too, and drew from current events and local news of the day. Not all scenari were comic, in that location were some mixed forms and even tragedies. Shakespeare's The Tempest is drawn from a pop scenario in the Scala drove, his Polonius (Hamlet) is drawn from Pantalone, and his clowns acquit 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 vocal grade that uses chromatics and shut harmonies. Audiences came to run across the performers, with plotlines becoming secondary to the performance. Amidst the slap-up innamorate , Isabella Andreini was maybe the nigh widely known, and a medallion defended to her reads "eternal fame". Tristano Martinelli achieved international fame every bit the starting time of the peachy Arlecchinos, and was honoured by the Medici and the Queen of France. Performers made use of well-apposite jokes and stock concrete gags, known every bit lazzi and concetti , also as on-the-spot improvised and interpolated episodes and routines, called burle (singular burla , Italian for 'joke'), usually involving a applied joke.

Since the productions were improvised, dialogue and action could hands be inverse to satirize local scandals, current events, or regional tastes, while still using one-time jokes and punchlines. Characters were identified by costumes, masks, and props, such as a type of billy known every bit a slapstick. These characters included the forebears of the modern clown, namely Harlequin ( Arlecchino ) and the zanni. Harlequin, in particular, was allowed to comment on current events in his amusement.^[46]

The archetype, traditional plot is that the innamorati are in dear and wish to exist married, but one elderberry ( vecchio ) or several elders ( vecchi ) are preventing this from happening, leading the lovers to ask i or more zanni (eccentric servants) for help. Typically the story ends happily, with the marriage of the innamorati and forgiveness for whatsoever wrongdoings. There are countless variations on this story, as well as many that diverge wholly from the structure, such as a well-known story near Arlecchino becoming mysteriously significant, or the Punch and Judy scenario.^{[ citation needed ]}

While by and large 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 17th century, are the nigh widely known collection and representative of its nigh esteemed compagnia , I Gelosi.

Influence in visual art [edit]

The iconography of the commedia dell'arte represents an unabridged subject field that has been examined past commedia scholars such as Erenstein, Castagno, Katritzky, Molinari, and others. In the early period, representative works by 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 equally commedia figures entered the globe of the vanitas genre, depicting the dangers of lust, drinking, and the hedonistic lifestyle. Castagno describes the Flemish pittore vago (wandering painters) who assimilated themselves inside Italian workshops and even assumed Italian surnames: one of the most influential painters, Lodewyk Toeput, for example, became Ludovico Pozzoserrato and was a celebrated painter in the Veneto region of Italia. The pittore vago can exist attributed with establishing commedia dell'arte every bit a genre of painting that would persist for centuries.

While the iconography gives testify of the functioning fashion (see Fossard drove), it is of import to notation that many of the images and engravings were not depictions from real life, simply 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 trip the light fantastic toe grade, or typical masks. While these are oftentimes reproduced in large formats, it is important to note that the bodily prints measured about two×iii inches. In the 18th century, Watteau'due south painting of commedia figures intermingling with the aristocracy were often set in sumptuous garden or pastoral settings and were representative of that genre.

Pablo Picasso's 1921 painting Iii Musicians is a colorful representation of commedia -inspired characters.^[47] Picasso likewise designed the original costumes for Stravinsky's 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 art [edit]

The expressive theatre influenced Molière'south one-act and subsequently ballet d'action , thus lending a fresh range of expression and choreographic ways. An case of a commedia dell'arte grapheme in literature is the Pied Piper of Hamelin who is dressed every bit Harlequin.

Music and dance were central 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 characteristic singing innamorati or dancing figures. In fact, it was considered role of the innamorati role to be able to sing and have the popular repertoire under their belt. Accounts of the early commedia , as far back as Calmo in the 1570s and the buffoni of Venice, note the ability 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 by Tom Heck, who has documented this area.

The works of a number of playwrights accept featured characters influenced past the commedia dell'arte and sometimes directly drawn from it. Prominent examples include The Tempest by William Shakespeare, Les Fourberies de Scapin by Molière, Servant of Two Masters (1743) by Carlo Goldoni, the Figaro plays of Pierre Beaumarchais, and particularly Honey for Three Oranges, Turandot and other fiabe past Carlo Gozzi. Influences appear in the lodgers in Steven Berkoff'due south adaptation of Franz Kafka's 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'due south Don Giovanni sets a puppet show story and comic servants like Leporello and Figaro accept commedia precedents. Soubrette characters like Susanna in Le nozze di Figaro, Zerlina in Don Giovanni and Despina in Così fan tutte remember Columbina and related characters. The comic operas of Gaetano Donizetti, such equally Elisir d'affection, draw readily upon commedia stock types. Leoncavallo'southward tragic melodrama Pagliacci depicts a commedia dell'arte visitor in which the performers observe their life situations reflecting events they depict on stage. Commedia characters also figure in Richard Strauss's opera Ariadne auf Naxos.

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

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

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

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

Run into likewise [edit]

Notes [edit]

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

References [edit]

1. ^ "commedia dell'arte". Merriam-Webster Dictionary.
2. ^ "commedia dell'arte". Lexico UK English Dictionary. Oxford University Printing. n.d.
3. ^ Commedia dell'arte at the Encyclopædia Britannica
4. ^ Lea, K. M. (1962). Italian Popular Comedy: A Report In The Commedia Dell'Arte, 1560–1620 With Special Reference to the English Land. New York: Russell & Russell INC. p. 3.
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 e} Chaffee, Judith; Crick, Olly (2015). The Routledge Companion to Commedia Dell'Arte. London and New York: Rutledge Taylor and Francis Grouping. 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. 3, 6–7. ISBN978-0-325-00346-seven.
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-four.
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 Flower, Inc. p. 135.
15. ^ Nicoll, Allardyce (1963). The Earth of Harlequin: A Critical 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 ever dressed in white similar Maccus, the mimus albus, or white mime.
19. ^ Duchartre, Pierre (1966). The Italian One-act. New York: Dover Publication, INC. p. 18. Next there is the ogre Manducus, the Miles Glorious in the plays of Plautus, who is later 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, Office One.
22. ^ Katritzky 2006, p. 82.
23. ^ Cohen & Sherman 2020, p. 192
24. ^ Rudlin p. 14
25. ^ ^{a b} Rudlin & Crick 2001, p. 15
26. ^ Giacomo Oreglia (2002). Commedia dell'arte. Ordfront. ISBN 91-7324-602-half dozen
27. ^ Katritzky 2006, p. xc.
28. ^ Katritzky 2006, p. 106.
29. ^ ^{a b c} Katritzky 2006, p. 19
30. ^ "Carnival in Venice".
31. ^ Ducharte, Pierre Louis (1966). The Italian Comedy. Toronto: Full general Publishing Visitor. p. 70.
32. ^ Kenley, Thousand. E. (2012-xi-01). "Il Mattaccino: music and dance of the matachin and its role in Italian comedy". Early Music. 40 (four): 659–670. doi:10.1093/em/cas089. ISSN 0306-1078.
33. ^ Ducharte, Pierre Louis (1966). The Italian Comedy. Toronto: General Publishing Visitor. p. 74.
34. ^ Ducharte, Pierre Louis (1966). The Italian Comedy. Toronto: Full 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. 20: 55–78. doi:10.3828/eci.2005.eight. 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. Loma & Wang. pp. 65, 71. OCLC 939808594.
40. ^ Rudlin, An Role player'south Handbook. p. 67.
41. ^ Rudlin, An Actor's 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 eastward f thousand h} Rudlin, John (1994). Commedia dell'Arte An Actor's Handbook. New York: Routledge. pp. 67–156. ISBN978-0-415-04769-ii.
45. ^ ^{a b c d e 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^{[ blank URL PDF ]}
50. ^ "Carnaval, Op. 9".
51. ^ Sacha Baron Cohen: How To Prank The Institution. YouTube. Archived from the original on 2021-12-11.

Sources [edit]

• Castagno, Paul C. (1994). The Early Commedia dell'arte (1550–1621): The Mannerist Context. Bern, New York: Peter Lang Publishing.
• Cohen, Robert; Sherman, Donovan (2020). Theatre: Cursory Edition (Twelfth ed.). New York, NY. ISBN978-ane-260-05738-6. OCLC 1073038874.
• Greenish, Martin; Swan, John (1993). The Triumph of Pierrot: The Commedia dell'arte and the Modern Imagination. Pennsylvania Land 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-xc-420-1798-6.
• Palleschi, Marino (2005). "The Commedia dell'arte: Its Origins, Evolution & 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-ix.
• Smith, Winifred (1964). The Commedia dell'arte. Benjamin Bloom.

Further reading [edit]

• Aguirre, Mariano 'Qué es la Commedia dell'arte' (Castilian) [1]
• Chaffee, Judith; Crick, Oliver, eds. (2014). The Routledge Companion to Commedia Dell'Arte. Routledge. ISBN978-1-317-61337-4.
• Callery, Dymphna. Through the Body: A Practical Guide to Physical Theatre. London: Nickalis Hernt Books (2001). ISBN one-85459-630-half-dozen
• 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 available 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 by F.Mariotti (1976). New partial translation (30 scenarios out of 50) past Richard Andrews (2008) The Commedia dell'arte of Flaminio Scala, A Translation and Analysis of Scenarios Published by: Scarecrow Press.
• Darius, Adam. The Commedia dell'arte (1996) Kolesnik Production OY, Helsinki. ISBN 952-ninety-7188-4
• DelPiano, Roberto La Commedia dell'arte 2007. Retrieved 2009-07-09.
• Grantham, Barry Playing Commedia, Nick Hern Books, London, 2000. ISBN 978-1-85459-466-two
• Grantham, Barry Commedia Plays: Scenarios – Scripts – Lazzi, Nick Hern Books, London, 2006. ISBN 978-1-85459-871-four
• Jordan, Peter (2013). The Venetian Origins of the Commedia Dell'Arte. Routledge. ISBN978-ane-136-48824-5.
• Katritzky, Thousand A (2019). "Stefanelo Botara and Zan Ganassa: Textual and Visual Records of a Musical commedia dell'arte Duo, In and Across Early Modern Iberia". Music in Art: International Journal for Music Iconography. 44 (ane–ii): 97–118. ISSN 1522-7464.
• Puppa, Paolo A History of Italian Theatre. Eds. Joseph Farrell. Cambridge Academy Printing. 2006. ISBN 0-521-80265-2
• Sand, Maurice (1860). Masques et bouffouns:(comédie italienne) (in French). Illustrated by Maurice Sand. Paris: Michel Levy Freres. Retrieved 22 October 2013.
• Smith, Winifred (1912). The Commedia dell'Arte: A Study in Popular Italian Comedy. New York: The Columbia University Press. Retrieved July x, 2009. john rudlin commedia dell'arte.
• Taviani, Ferdinando and Marotti, Ferruccio, and Romei, Giovanna. La Commedia dell'arte e la societa barocca M. Bulzoni, Roma : 1969
• Taviani, Ferdinando and Thou. 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 Teaching Commedia dell'arte (2010) A step by pace handbook for the theatre ensemble and Drama instructor. [2] ISBN 978-0-646-53217-ii
• 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 Brusk 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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