In the early period, representative works by painters at Fontainebleau were notable for their erotic depictions of the thinly veiled innamorata, or the bare-breasted courtesan/actress. Finden Sie alle Bücher, Informationen zum Autor. The first recorded commedia dell'arte performances came from Rome as early as 1551. Arlecchino (Harlequin), one of the zanni, was created by Tristano Martinelli as the witty servant, nimble and gay; as a lover, he became capricious, often heartless. Taviani's term negativa poetica describes this and other practices offensive to the church, while giving us an idea of the phenomenon of the commedia dell'arte performance. These compagnie traveled throughout Europe from the early period, beginning with the Soldati, then, the Ganassa, who traveled to Spain,[29] and were famous for playing the guitar and singing—never to be heard from again—and the famous troupes of the Golden Age (1580–1605): Gelosi, Confidenti, Accessi.

In commedia each character embodies a mood: mockery, sadness, gaiety, confusion, and so forth. [42] The 18th century is when the iconic Arlecchino look with the diamond shaped lozenges took shape. Sie hören eine Hörprobe des Audible Hörbuch-Downloads. By way of the British “panto” tradition, which flourished in the 18th and 19th Centuries, Commedia characters even found their way to New World stages. Giacomo Oreglia (2002).

A lazzo is a joke or "something foolish or witty", usually well known to the performers and to some extent a scripted routine. Beliebte Taschenbuch-Empfehlungen des Monats. [10], The characters of the commedia usually represent fixed social types and stock characters, such as foolish old men, devious servants, or military officers full of false bravado. [38] Some of the better known commedia dell'arte characters are Pierrot and Pierrette, Pantalone, Il Dottore, Brighella, Il Capitano, Colombina, the innamorati, Pedrolino, Sandrone, Scaramuccia (also known as Scaramouche), La Signora, and Tartaglia. [15] Some historians argue that Atellan stock characters, Pappus, Maccus+Buccus, and Manducus, are the primitive versions of the Commedia characters Pantalone, Pulcinella, and il Capitano. [42][41] In 1653, his costume was changed by Augustin Lolli who was a very popular Il Dottore actor. This page was last edited on 6 September 2020, at 19:00.

Troupes would typically perform in city streets or in town squares (piazze). The Commedia Dell'Arte: A Documentary History | Richards, Kenneth, Richards, Laura | ISBN: 9780631195900 | Kostenloser Versand für alle Bücher mit Versand und Verkauf duch Amazon. Lieferung verfolgen oder Bestellung anzeigen, Recycling (einschließlich Entsorgung von Elektro- & Elektronikaltgeräten). Of the many contributions Italy has made to world theatre, the Commedia dell'arte remains the one of the most widely known and admired. This nomadic nature, though influenced by persecution, was also largely due in part to the troupes requiring new (and paying) audiences. It flourished for well over two hundred years, from the mid 16th century to the mid 18th century, and exercised a wide influence throughout Europe, from England to Spain, to Sweden, Poland and Russia. A Potted History of Commedia dell’Arte Commedia dell’Arte which translates as “theatre of the professional” began in Italy in the early 16th Century and quickly spread throughout Europe, creating a lasting influence on Shakespeare, Molière, Opera, Music Hall, Musical Theatre, Sit-coms, and Improvisational comedy. [4][6] The form of theatre originated in Italy, but travelled throughout Europe and even to Moscow.[13]. The most famous early company was the Gelosi, headed by Francesco Andreini and his wife, Isabella; the Gelosi performed from 1568 to 1604.

Actors were known to switch from troupe to troupe "on loan," and companies would often collaborate if unified by a single patron or performing in the same general location.

Commedia’s origins have not been conclusively determined, and scholars have demonstrated a variety of possible factors in its development: the masked, improvised comedy of the Roman Atellan farce tradition; the mime theatre of the Byzantine world; the jugglers and traveling players of Medieval Europe; the market culture of early modern piazzas that featured performers, charlatans, and festivals; and Renaissance rediscoveries of Plautus and Terrence by theatre Academies and the commedia erudita tradition. Concomitantly, a Neapolitan tradition emerged in the south and featured the prominent stage figure Pulcinella. The zanni used certain tricks of their trade: practical jokes (burle)—often the fool, thinking he had tricked the clown, had the tables turned on him by a rustic wit as clever, if not so nimble, as his own—and comic business (lazzi). Began in the 14th century.

Rudlin and Crick use the Italian spelling Colombina in Commedia dell'arte: A Handbook for Troupes. Routledge Designed by Elegant Themes | Powered by WordPress.

the tirade, are derivative from the commedia (tirata). Indeed, Molière shared the stage with the Comédie-Italienne at Petit-Bourbon, and some of his forms, e.g. Leider ist ein Problem beim Speichern Ihrer Cookie-Einstellungen aufgetreten. Venetian merchant who is serious, accidentally funny, and prone to long tirades (speeches) and good advice. While the iconography gives evidence of the performance style (see Fossard collection), it is important to note that many of the images and engravings were not depictions from real life, but concocted in the studio. Additionally, each character has a singular costume and mask that is representative of the character's role.[26].

Il Teatro Delle Favole Rappresentative translated by Henry F. Salerno The “infarinato” tradition such as the character Pedrolino was a male servant who played in white face (hence the term “infarinato,” meaning “floured.”) This white-faced comic servant is an ancestor to the white-faced clown of the circus tradition and the modern, white-faced pantomime. Commedia dell’arte, (Italian: “comedy of the profession”) Italian theatrical form that flourished throughout Europe from the 16th through the 18th century. [45][46] Movements of the piece reflect the names of many characters of the Commedia, including Pierrot, Harlequin, Pantalon and Columbine.

Harlequin achieved more prominence during this period. [28] Members would also splinter off to form their own troupes, such was the case with the Ganassa and the Gelosi. Other national dramatic forms absorbed the comic routines and plot devices of the commedia. Commedia dell'arte masks are one of the most integral aspects of each stock character.

[citation needed]. [35], 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." They were characterized by shrewdness and self-interest; much of their success depended on improvised action and topical jokes. These additional characters allowed Commedia troupes to employ far more sophisticated dramaturgy and storylines, and the resultant tradition was dubbed “the Perfect Comedy” because of its balance of highbrow and lowbrow themes and its complicated plot twists centering on the thwarted dreams of young Lovers. Thus, though many players are individually associated with parts—the elder Andreini is said to have created the Capitano, and Tiberio Fiorillo (1608–94) is said to have done the same for Scaramuccia (the French Scaramouche—for an understanding of the commedia dell’arte, the mask is more important than the player. Generally, the actors playing were diverse in background in terms of class and religion, and performed anywhere they could. In Commedia dell'Arte the actors didn't just act.

Save my name, email, and website in this browser for the next time I comment. [6][11] The characters are exaggerated "real characters", such as a know-it-all doctor called Il Dottore, a greedy old man called Pantalone, or a perfect relationship like the Innamorati. Wählen Sie ein Land/eine Region für Ihren Einkauf. The Italian players were also popular in England, Spain, and Bavaria. Commedia dell'arte has four stock character groups: the servants or Zanni, these are characters such as Arlecchino, Brighella, Pulcinella and Pedrolino, all masked; the old men or vecchi, characters such as Pantalone and il Dottore also masked; the lovers or innamorati who would have names such as Flavio and Isabella; and the captains or Capitani who can also be La Signora if a female. Companies would also find themselves summoned by high-ranking officials, who would offer patronage in return for performing in their land for a certain amount of time. In keeping with the tradition of the Italian Academies, I Gelosi adopted as their impress (or coat of arms) the two-faced Roman god Janus. The absence of a mask allowed to actors to perform more freely. Most, if not all actors had numerous skills in order to keep the crowd engaged. Columbina, a maidservant, was often paired in love matches with Arlecchino, Pedrolino, or the Capitano. Außerdem analysiert es Rezensionen, um die Vertrauenswürdigkeit zu überprüfen. A lively and informative new podcast for kids that the whole family will enjoy! Pantalone was a Venetian merchant: serious, rarely consciously comic, and prone to long tirades and good advice. Castagno posits that the aesthetic of exaggeration, distortion, 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.

By the end of the 1570s, Italian prelates attempted to ban female performers; however, by the end of the 16th century, actresses were standard on the Italian stage. Dieser Artikel kann nicht an den von Ihnen ausgewählten Lieferort versendet werden. European puppet shows, the English harlequinade, French pantomime, and the cinematic slapstick of Charlie Chaplin and Buster Keaton all recall the glorious comic form that once prevailed. The male Lovers, as their counterpoints, also performed unmasked, and additional unmasked characters came to include the servetta an unmasked female servant like the famous Colombina. Doltish yet honest, he was often the victim of his fellow comedians’ pranks. Not all scenari were comic, there were some mixed forms and even tragedies.