The Origins of Theatre Ancient Greeks Commedia Dell’Arte

Italian Renaissance Late 1300s to about the 1600s Period of great cultural change and achievement Transition between Medieval and Early Modern Europe Rekindled interest in Greek and Roman Thought Literature Art

Two form of comedy in Italy: Commedia erudite – Academic or Learned comedy Private performances Commedia dell’ Arte - Popular comedy Professional and open to the public

Origins of Commedia dell’ Arte Before 16th century not much is known Fragments from letters and diaries indicate its existence before the 16 th century First mentioned in history in the 1560s Two playwrights of Roman comedies are credited for influencing Commedia dell’ Arte: Titus Maccius Plautus: 254 BC – 184BC Publius Terentius Afer (Terence): BC

Commedia dell‘ Arte “Comedy of professional artists" a cted by professional companies using vernacular dialects and plenty of comic action Improvised Comedy The first known commedia dell'arte troupe was formed in – 1700 (most popular between 1575 and 1650)

Contents of Commedia dell’ Arte Improvisation Masked fools Acrobatic tricks Intrigue plots Satire Music

Place & Performance Drum announces the actors’ arrival to a city Performances held almost anywhere: In town squares or at courts Indoors or outdoors On improvised stages or in permanent theatres Traveling troupe’s makeshift stage

Themes Adultery Jealousy Old age Love

Scripts Rough storyline: summarisation of the situations, complications and the outcome Also called scenario Actors perform spontaneously by improvising their dialogues Thus, details differed at every performance

Actors Usually actors per troupe 7-8 male; 3-4 female One actor rarely played more than one character in the lifetime. (except where the Young Lover grew older and developed a beer belly!) They perfected the role 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 costumes, masks or props Divided into 3 categories: Lovers (Innamorati) Masters Servants (Zanni)

Lovers (Innamorati) Most realistic roles Young and handsome (Did not wear masks and dressed in latest fashions Were children of the masters Come in obvious pairs - Masculine and feminine versions (Flavio and Flavia or Ottavio and Ottavia) Dressed in similar colours Often required to sing, play an instrument or recite poetry Lust, romance, vanity, and little sense were usually their characteristics

Masters Pantalone Elderly Venetian merchan t and the father of one of the lovers Obsess ed with money Mean and miserabl e Costu me: tight- fitting red vest, red breeches and stocking s, soft slippers, a black ankle- length coat, a soft, brimless cap, a brown mask with a large hooked nose, and a scraggly grey beard

Masters Il Dottore Pantalone’s friend or rival Possessed a high profession such as lawyer or doctor Loved to show off his “supposed wisdom” through his speeches in Latin In reality, was gullible and easily tricked Dressed in academic cap and gown of the time

Masters Il 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 or Columbine (female maid) La Ruffiana Cantarina and Ballerina Arlecchino (Harlequin) Male servant, usually went by the name Brighella, Scapino, Mezzetino, or Flautino Pulcinello

Servants Fantesca (female maid) Normally young, witty, and ready for intrigue Had her own affair while assisting the mistress with hers La Ruffiana An old woman, either the mother or a village gossiper Whore 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 partner Thrives on double dealings, intrigue, and foul play Cynical liar and a thief—would do anything for money Sleazy, seductive, and often cruel Witty, libidinous, and often cruel Costume: mask with a hooked nose and moustache, a jacket and trousers ornamented with a green braid

Servants Pulcinello A Neopolitan Had various functions Servant Host of an inn Merchant Had a huge hooked nose, a humped back, and wore a pointed cap Cruel bachelor who chased pretty girls Ancestor of the English puppet Punch

Lazzi Stage business Humorous interjections which had nothing to do with the play itself such as: Humorous remarks Acrobatics Juggling Wrestling

Lazzi Each actor has a notebook filled with well- rehearsed comic action such as: Sententious remarks Figures of speech Love discourses Rebukes

Lazzi Used to: Fill up time Occasionally amuse the audience Create a change of pace Different forms of Lazzi: Weeping and laughing Fear Knocking at the door Fight

Influence of Commedia dell’ Arte The art form flourished throughout Europe. Outside Italy it had its greatest success in France as the Comédie-Italienne In England, it was adapted in the harlequinade and the Punch-and-Judy show Moliere—French playwright during 17 th century Shakespeare’s plays such as “The Tempest” The silent treatment of mime Beaumarchais’ Le Barbier de Seville