By Oksana Pavlov. Italian Renaissance Late 1300s to about the 1600s Period of great cultural change and achievement Transition between Medieval.

By Oksana Pavlov

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

Contents of Commedia dell’ Arte

ImprovisationMasked fools Acrobatic tricksIntrigue plotsSatireMusic

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

Themes

AdulteryJealousyOld ageLove

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

Lazzi

Used to:Fill up time Occasionally amuse the audienceCreate a change of pace

Lazzi

Different forms of Lazzi: Lazzo of…FearWeeping and laughingKnocking at the doorFight

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.

End of Show!

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