1. RENAISSANCE TO EARLY MODERN ERA A Theatrical Perspective

2. Italian Theatre  Renaissance brought renewed interest in Greek and Roman plays  It became a sign of enlightenment if a ruler provided theatrical entertainment Usually, reproductions of Roman comedies New plays written in Italian imitating Greek and Roman  Used at births, weddings, visits of emissaries Honor of performance not to a god(s)

3. Italian Theatre: Space  No permanent structures (unlike England)  Performed in halls (ballroom sized)  Sebastiano Serlio: Architettura Book showing how to set up a space for acting  Stages adapted to “Perspective” style of art Creating 3-D effect on 2-D surface HUGE change: moved away from formal background like in Greece, Rome, and English theatre houses (Globe) Scene changes emerges (new location = new background) Scene changes done in front of audience until 1800’s Demanded a frame to assist with 3-D illusion (Proscenium Arch)

4. Italian Theatre: Perspective Scenery

5. Italian Theatre: Conventions  Intermezzi  Interludes between acts of a play  Usually compared the honored host to a mythological figure  Used elaborate special effects  Music and dance common  Intermezzi was the birth of new form of drama: OPERA  Venetian opera houses were the prototype to many theatre houses  Divided into box, pit and gallery (split the different classes)

6. Italian Theatre: Commedia dell’Arte  Commedia dell’Arte = Comedy of Professional Artists  Performance Space: ANYWHERE  Town squares or Courts  Indoors or Outside  Permanent or Temporary stages  Characterized by improvisation  Used script, which provided an outline of what is to happen  Everything else the actors made up depending on audience responses  Actors abilities  Acrobatic, dancing, musical, orator, quick wits, knowledge of politics and human nature

7. Commedia dell’Arte: Stock Characters  Lovers  Most realistic  Did not wear masks  Dressed in latest fashions of day  Usually there were two pairs of lovers  Usually children of masters  Love usually opposed by masters, aided by servants  Masters  Pantelone, Dottore, and Capitano  Servants  AKA: Zanni  Usually two, one smart & one stupid  Arlecchino most famous zanni  Brighella was a companion of Arlecchino

8. masters

9. Commedia dell’Arte: Stock Characters  Pantelone  Old man: wealthy, paranoid, lustful merchant  Acts poor but money obsession Finds ways to extort, manage, hoard, or hide it  Usually gets duped in the end  Complains of physical ailments  Sometimes married to La Signora and/or father to one of the young lovers

10. Commedia dell’Arte: Stock Characters  Il Capitano  Cowardly braggart soldier (wimp)  Avoids conflict by faking death, or outsmarting  Claims to be awesome at everything, but fails  Usually a suit to La Signora, but never gets her  Has a big nose…bigger the nose, smaller the brains

11. Commedia dell’Arte: Stock Characters  Il Dottore  Thinks he knows everything, but knows nothing  Claims to be a doctor of something  When he enters the room, he demands attention with girth and loud speaking

12. Servants (zanni)

13. Commedia dell’Arte: Stock Characters  Arlecchino (Harlequin)  Most famous character  One of the servants  Like a 5 year old  Loves food, tricks and antics (Lazzi)  Never malicious, seldom considers consequences  Carries a slapstick (weapon, wand, etc)  Adores Columbia

14. Commedia dell’Arte: Stock Characters  Brighella  Servant character  Thrives on double crossing  Often depicted as innkeeper, shop owner  Looks out for self; sleazy  Obsessed with pleasure  Slinks out of muscular efforts  Like a rat or snake  Usually paired with Arlecchino

15. Commedia dell’Arte: Stock Characters  Pasquariello  Servant counterpart to Arlecchino  Quick to react, bow, sneak  Chatterbox  Like a fox