1. Italian Renaissance

2. Early Facts
There was an extensive growth in trade in Italy. As the merchant class grew and their wealth increased as did their leisure time and their eagerness to display their fortunes. As a result, a patronage system developed in which wealthy folks started to give financial support to artists.
Like the Roman and Medieval periods the Italian Renaissance is not known for it’s great playwrights.
Most plays written were staged, or sometimes read aloud at academies – formal institutions of learning – for wealthy patrons.
The printing press made plays and works of Aristotle and Horace more available than ever before.

3. Opera

4. Opera
The only theatrical form of the Italian Renaissance to survive.

5. Opera The only theatrical form of the Italian Renaissance to survive.
Most opera’s are completely sung and dramatic action, mood, and characters are created though song and music.

6. Opera Opera’s lean very heavily on the use of Spectacle
All Opera’s are Tragedies – i.e. they do not end happily
Opera’s are traditionally written in one of the
Romantic languages (Italian, Spanish, Latin, ect)

7. Opera Vocabulary Libretto - The text of an opera
Aria – a solo song accompanied by the orchestra
Duets , Trios, Quartets
Recitative – sung dialogue

8. Commedia dell’Arte

9. Commedia dell’Arte
Chief entertainment of the Italian Renaissance

10. Commedia dell’Arte
Chief entertainment of the Italian Renaissance
Traveling companies, usually consisting of about 10 performers – seven men and three women.

11. Commedia dell’Arte Usually staged comedies. Was not written down,
Chief entertainment of the Italian Renaissance
Traveling companies, usually consisting of about 10 performers – seven men and three women.
Usually staged comedies. Was not written down,
but rather consisted of improvise presentations.

12. Commedia dell’Arte
Scenarios – a short script without dialogue – were written by members of a company.
These scripts provided plot outlines as the actors invented the words and actions as they went along though improvisation.

13. Commedia dell’Arte Stock Characters -
Stereotypical person whom audiences recognize from frequent recurrences

14. “Pantalone” – a lecherous , miserly old man
Commedia dell’Arte
Popular Characters
“Pantalone” – a lecherous , miserly old man

15. Commedia dell’Arte
Popular Characters
“Dottore” – a foolish man who was always involved in his neighbors affairs.

16. “Capitano” – A cowardly braggart solider
Commedia dell’Arte
Popular Characters
“Capitano” – A cowardly braggart solider

17. “Harlequin” – sly servants
Commedia dell’Arte
Popular Characters
“Harlequin” – sly servants

18. Commedia dell’Arte
Popular Characters
“Young Lovers” whose romances were often blocked by Pantalone and Dottore

19. Commedia dell’Arte Elements
Serious young lovers whose romances were often blocked by Pantalone and Dottore.

20. Commedia dell’Arte Elements
Lazzi – repeated bits of physical comic business.

21. Commedia dell’Arte Elements
Lazzi – repeated bits of physical comic business.
Each character would always wear the same outfit and it’s exaggerated details reflected their comic personality, for example Harlequin costume had the addition of a slap stick.

22. Commedia dell’Arte
Performers Wore Half Masks With Over Excaudate Facial Features That Identified Which Character They Were
Dottore
Pantalone
Capitano
Harlequin

23. Neoclassical Ideals

24. Neoclassical Ideals
While there weren’t many plays being written, the Italian Renaissance did make massive contributions to the area of theatrical criticism.
Renaissance was a time when there was a widespread desire to analyze and explain the world
Neoclassicist believed that they were formulating rules which would force dramatics to imitate the Greek and Romans
Far more rigid than Aristotle; they had many more rules and applied these rules with greater strictness.

25. Neoclassical Rules

26. Decorum and Verisimilitude
Neoclassical Rules
Decorum and Verisimilitude
Decorum – Neoclassic ideal which meant that all dramatic character should behave in ways bases on their age, profession, sex, rank, and the like. Each character was expected to follow set behavior which was deemed appropriate.
Verisimilitude – all drama was to be “true to life.” Such things as ghosts, apparitions and supernatural events were forbidden. At the same time, the neoclassicists concept of verisimilitude was not the kind of “realism” we find in modern drama.

27. Place – restricted the action of the place to one location
Neoclassical Rules
3 Unities: Time, Place and Action
Time – required that the dramatic action in a place should not exceed 24 hours.
Place – restricted the action of the place to one location
Action – required one central story, involving a relatively small group of characters. This meant there could be no subplots.

28. Neoclassical Rules
Other Rules - Genre

29. Neoclassical Rules Other Rules - Genre
Neoclassicists defined genre – a French word meaning “type” or “category” – very narrowly.
Tragedy dealt with royalty, comedy dealt with common people.
Tragedy must be resolved calamitously, comedy must be resolved happily.
The genres must never mix and the function of all drama was to teach a moral lesson.

30. Neoclassical Rules Other Rules
Character actions must be morally acceptable to the audience.
Onstage violence was forbidden.
Banished the chorus and the dues ex machine and opposed the soliloquy.
Playwrights who ignored these precepts were vigorously attacked by the neoclassicists.

31. Should we only create works of art to teach lessons?
Neoclassical
Big Question
Should we only create works of art to teach lessons? OR
Should we create everything and let people find meaning where they want?