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Commedia dell' Arte By Oksana Pavlov
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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
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Two form of comedy in Italy:
Commedia erudite Learned comedy Private performances Commedia dell’ Arte Popular comedy Professional and open to the public
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Commedia dell'arte "comedy of professional artists" "comedy of humors"
Improvised Comedy most popular between 1575 and 1650
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Contents of Commedia dell’ Arte
Improvisation Masked fools Acrobatic tricks Intrigue plots Satire Music
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Its beginnings: ?? Before 16th century not much is known
Fragments from letters and diaries indicate its existence before the 16th 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
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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 theaters Traveling troupe’s makeshift stage
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Themes Adultery Jealousy Old age Love
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Scripts Rough storyline: summarization of the situations, complications and the outcome Also called scenario or canvas Actors perform spontaneously by improvising their dialogues Thus, details differed at every performance
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Actors The heart of Commedia dell’ arte and the only essential element
Usually actors per troupe 7-8 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
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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)
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Lovers (Innamorati) Ottavio Most realistic roles Young and handsome
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
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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
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Masters 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
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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
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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 Flautino Pulcinello
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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.
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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
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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
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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
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Lazzi Stage business Humorous interjections which had nothing to do with the play itself such as: Humorous remarks Acrobatics Juggling Wrestling
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Lazzi Each actor has a notebook filled with well-rehearsed comic action such as: Sententious remarks Figures of speech Love discourses Rebukes
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Lazzi Used to: Fill up time Occasionally amuse the audience
Create a change of pace
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Lazzi Different forms of Lazzi: Lazzo of… Fear Weeping and laughing
Knocking at the door Fight
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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
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References Ball, Robert J., and Oscar G. Brockett. The Essential Theatre. United Kingdom: Thomson Wadsworth, 2000. Chaffee, Judith. Judith Chaffee’s Commedia Website. < Claudon, David. A Thumbnail History of Commedia Dell’ Arte. 15 Oct Commedia dell’ Arte. 20 Sep Wikipedia. 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.
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