By Oksana Pavlov. Italian Renaissance Late 1300s to about the 1600s Period of great cultural...
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Transcript of By Oksana Pavlov. Italian Renaissance Late 1300s to about the 1600s Period of great cultural...
Italian Renaissance
Late 1300s to about the 1600sPeriod of great cultural change and
achievementTransition between Medieval and
Early Modern EuropeRekindled interest in Greek and
Roman Thought, LiteratureArt
Two form of comedy in Italy:
Commedia eruditeLearned comedyPrivate performances
Commedia dell’ ArtePopular comedyProfessional and open to the public
Commedia dell'arte
"comedy of professional artists""comedy of humors"Improvised Comedy1550 - 1700
most popular between 1575 and 1650
Its beginnings: ??
Before 16th century not much is knownFragments from letters and diaries indicate
its existence before the 16th centuryFirst mentioned in history in the 1560s
Two playwrights of Roman comedies are credited for influencing Commedia dell’ Arte:Titus Maccius Plautus: 254 BC – 184BCPublius Terentius Afer (Terence): --159 BC
Place & Performance
Drum announces the actors’ arrival to a city
Performances held almost anywhere: In town squares or
at courts Indoors or outdoorsOn improvised
stages or in permanent theaters
Traveling troupe’s makeshift stage
Scripts
Rough storyline: summarization of the situations, complications and the outcome
Also called scenario or canvas Actors perform spontaneously by
improvising their dialoguesThus, details differed at every
performance
Actors
The heart of Commedia dell’ arte and the only essential element
Usually 10-12 actors per troupe7-8 male; 3-4 female
One actor rarely played more than one character
Performances were spontaneous; thus each actor must be quick and witty to respond appropriately
Stock Characters
The same characters appeared in every play
The most essential part of Commedia
Identified by their costumes, masks or props such as slapstick
Divided into 3 categories:
Lovers (Innamorati) Masters Servants (Zanni)
Lovers (Innamorati) Most realistic roles Young and handsome Did not wear masks Dressed in latest fashions Were children of the masters Come in obvious pairs
Masculine and feminine versions of the same name
I.e. Flavio and Flavia or Ottavio and Ottavia Dressed in similar colors
Often required to sing, play an instrument or recite poetry
Lust, romance, vanity, and little sense were usually their characteristics
Ottavio
Masters
Pantalone Elderly Venetian merchant and
the father of one of the lovers Obsessed with money Mean and miserable Costume: tight-fitting red vest,
red breeches and stockings, soft slippers, a black ankle-length coat, a soft, brimless cap, a brown mask with a large hooked nose, and a scraggly gray beard
Masters
DottorePantalone’s friend or rivalPossessed a high profession such as
lawyer or doctorLoved to show off his “supposed wisdom”
through his speeches in Latin In reality, was gullible and easily trickedDressed in academic cap and gown of the
time
Masters
Capitano Originally was a lover,
but over time transformed into braggart and coward
Boasted of his prowess in love and war
Costume: a cape, sword, and feathered headdress
Typically an unwelcome suitor to one of the
young women
Servants (Zanni)
2-4 per troupe—at least one clever and one stupid
Most prominent are:Fantesca (female maid) La Ruffiana Cantarina and Ballerina Arlecchino (Harlequin)Male servant, usually went by the name
Brighella, Scapino, Mezzetino, or FlautinoPulcinello
ServantsFantesca (female maid)
Normally young, witty, and ready for intrigue
Had her own affair while assisting the mistress with hers
La RuffianaAn old woman, either the mother or a
village gossiperWhore Shady
Cantarina and Ballerina often took part in the comedy, but for the most part their job was to sing, dance, or play music.
Servants Arlecchino (Harlequin)
Also known as: Truffaldino and Trivellino
Originally of minor importance, he soon became the most popular
Was both cunning and stupid, a stunning acrobat and dancer
Could usually be found in the middle of any intrigue
Illiterate, but pretends to read Costume: evolved from a suit
with irregularly placed multicolored patches into one with a diamond-shaped red, green, and blue pattern, a rakish hat above a black mask, and a slapstick
Servants
Another male servant, usually went by the name Brighella, Scapino, Mezzetino, or Flautino
Harlequin’s partnerThrives on double dealings, intrigue, and
foul playCynical liar and a thief—would do anything
for moneySleazy, seductive, and often cruelWitty, libidinous, and often cruelCostume: mask with a hooked nose and
moustache, a jacket and trousers ornamented with a green braid
Servants
PulcinelloA NeopolitanHad various functionsServantHost of an innMerchantHad a huge hooked nose, a humped back,
and wore a pointed capCruel bachelor who chased pretty girlsAncestor of the English puppet Punch
Lazzi
Stage businessHumorous interjections which had
nothing to do with the play itself such as:Humorous remarksAcrobaticsJugglingWrestling
Lazzi
Each actor has a notebook filled with well-rehearsed comic action such as:Sententious remarks Figures of speechLove discoursesRebukes
Influence of Commedia dell’ Arte
By 1600s, it became popular in other European countries Moliere—French playwright during 17th century Punch and Judy show Shakespeare’s plays such as “The Tempest” The silent treatment of mime Beaumarchais’ Le Barbier de Seville Innamorati of the Count and Rosine The zanni Brighella is Figaro
References
• Ball, Robert J., and Oscar G. Brockett. The Essential Theatre. United Kingdom: Thomson Wadsworth, 2000.
• Chaffee, Judith. Judith Chaffee’s Commedia Website. < http://www.commedia-dell-arte.com/>
• • Claudon, David. A Thumbnail History of Commedia Dell’ Arte. 15 Oct.
2003. http://www.davidclaudon.com/arte/commedia.html• • Commedia dell’ Arte. 20 Sep. 2006. Wikipedia. http://en.wikipedia.org/
wiki/Commedia_dell%27arte• • Herrick, Marvin T. Italian Comedy in the Renaissance. London:
University of Illinois Press, 1966.• • Smith, Winifred. The Commedia Dell’ Arte. New York: Benjamin Blom,
Inc, 1964.