COMMEDIA DELL’ARTE

1. COMMEDIA DELL’ARTE

2. The Renaissance in Italy • A period of Great cultural achievement in Europe, it encompasses the period between the end of the 14th century to about 1640 • The Italian Renaissance is considered to be the opening stage of the entire epoch in Europe • It marks the transition between the Medieval Ages to the Early Modern Age • The Italian Renaissance began in Tuscany, Florence and Siena • Some of the most important figures of the era are Petrarch, Machiavelli, Leonardo Da Vinci, Michelangelo, Castiglione, Galileo • Reawakened interests in Ancient Greek and Roman thought and achievements • As a cultural movement the Renaissance affected only small portions of the society

3. The Historical BackgroundItaly in the High-Middle Ages • Being the Core of the mighty Roman Empire, Southern Italy in the XIIIth and XIVth century was partitioned between many small countries • The Northern Part was highly developed because of the strong trade links after the crusades • The European economical boom of that era was at its strongest in Italy – this helped the numerous city-states to become independent from the Holy Roman Empire. • Agriculture flourished in the inner city-states • The Italian Mediterranean routes were also major sources of knowledge and cultural exchange • Many Byzantine scientists and scholars who came after the Ottoman invasion revived the academies in Italy • From Egypt and the Levant, the scientific, philosophical, and mathematical thinking of the Arabs entered Northern Italy • The 15th century was marked by a collapse of the European economy as a whole – due to the English-French War, “Little Ice Age”, and the Ottoman Empire in the East • Constant wars for dominance between the city-states followed by a peaceful period at the end of 16th century

4. The Italian Theatre • The Ancient legacies of Atellan Farces and Roman Comedies were revived and this led to occasional performances of Roman comedies in many small states in Italy – known as Neoclassicism in Italian Theatre • The initial purpose of the Italian Theatre was to reflect the glory and power of the ruler of the city state and thus theatrical productions were secular • Another major feature of the Italian Theatre was the desire to read and understand the basics of the works of Aristotle, Horace and other prominent ancient philosophers • The Renaissance Drama began developing in Italy at that time, marking the end of medieval practices • Fantasy and supernatural elements were avoided in neoclassical plays • The chorus and soliloquies were also discouraged. Reality was stressed in dramatic plays along with plays that teach moral lessons

5. The Italian Theatre • The creation of a frame (proscenium arch) for the pictorialised scenery became standard and remained so till today – the oldest theatre with a permanent proscenium is Teatro Farnese in Parma, built in 1618 • The themes and topics of many early Italian plays were drawn from ancient mythology • At first the Italians did not have any permanent theatre halls. They used to set up temporary performance stages in large halls, used for different purposes • The acceptance of perspective scenery brought the foundation of movement from architectural to representational and pictorial stage – the stage can be modified according the specific production • The architectural methods of perspectives gave the audience the illusion of distance and depth • Teatro Olympico was built in 1584 – used for a variety of productions

6. Sebastiano Serlio’s stage • A prominent Italian architect known for his high-quality illusions and plans for theatrical scenery and stages • in his Architettura Book II (1545), interpreted what he thought were classic ideas on perspective and the periaktoi and published the first designs on the definitive types of sets to be used—for tragedy, palaces; for comedy, street scenes; for satyr plays, the countryside.

7. Serlio’s ‘Tragic Scene’

8. Serlio’s ‘Comic Scene’

10. Stage • Serlio’s wing sets backdrop Flat wing angled wing Audience

11. Set with border at top of stage

12. Chariot and Pole System

13. Teatro Olimpico at Vicenza Designed by Andrea Palladio

14. Two forms of comedy in Italy: • Commedia erudite • Learned comedy • Private performances • Commedia dell’ Arte • Popular comedy • Professional and open to the public

15. Commedia Dell’arte • It means – “Comedy of Art” or “Comedy of the profession” – opposite to the literary comedy “Commedia Erudita” • It began in the 11th century and kept its popularity until the late 18th century (still performed today in some theatres in Italy) • For the first time women had the right to participate in theatrical production (in contrast to the Elizabethan age in England). The number of female roles increased, even though these didn’t become as permanent and deep as the male characters • The troupe consisted usually of 10 people (7 men and 3 women), traveling around the country • The plays were supported at the beginning by donations and were free to watch • The plays were held outside initially with poor props and modest staging • Outside Italy it was known as “Italian Comedy” • Improvised drama, implying the subject matter of the play than the manner of performance of the actors • Some of the plays can be traced back to the plays of Plautus and Terence • The play was adjusted though improvisation and most of the plays had satirical characters • Characters in plays were portrayed by actors wearing masks • Amusement in the form of acrobatics and juggling was also provided

17. Commedia Dell’arte • The material was divided into acts and scenes with a prologue • The situation (scenario) had been clearly determined and outlined, although the actors improvised the dialogue and the action to some extent • The performances created the impression of spontaneity because the behavior of the actors was quite unexpected by the other actors on the stage • The actor was the “heart” and the emphasis of the play • There were few scenarios which were tragic, melodramatic, musical, and most of them were comic, revolving around love affairs, intrigues, disguises and others • Many actors were required to record appropriate sentiments from poetry and popular literature

18. 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)

19. Characters • Lovers– the had the most realistic roles. They gained popularity very fast because they did not wear masks and were dressed according to the latest fashion trends at that time. Usually the “lovers” were children of the “Masters”. Their affairs were directly related to the opposition of their parents • Masters – The plutocrats, rich merchants, bank owners and ship owners. E.g. Pantalone, Dottore, and Capitano. They had dual characteristics. They were intelligent and braggarts, but later their controversial personality is revealed by the plot • Servants – Most of them were male actors. They were the most diversified part of the plays. E.g. – Arlecchino, Pulcinelo and others

20. 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 common sense were usually their main characteristics Ottavia Ottavio

21. 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 • Montgomery Burns?

22. 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

23. 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

24. 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

25. 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.

26. 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

27. 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 • Costume: mask with a hooked nose and moustache, a jacket and trousers ornamented with a green braid

28. 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

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

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

33. Characters Arlecchino Brighella Columbina Pagliaccio Pantalone (Truffaldino)

34. Characters • Arlecchino and Colombina, or • Arlecchino the Seductor, • Antoine Watteau, 1716-18 Pantalone, Jacques Callot, eau forte, 1618

35. The Masks • They played crucial role in Commedia Dell’arte • All personages (except the “lovers”) wore coloured leather masks • As a means of character identification they demanded extremely advanced mimicry and sometimes acrobatics • Many of them were similar to masks used in the Ancient Roman Theatre

36. The Masks Arlecchino Brighella Pantalone Smerdaldina Truffaldino

37. Carlo Goldoni(1707-1793) • One of the Italy’s (Europe’s) Greatest playwrights, born in Venice in 1707 • He attracted the theatre-goers by creating characters that were similar to them, and often through dramatizing the conflicts and dramas of the contemporary middle-classes • Initially he wrote tragedies but later he found he is better in the comedy genre • He was the first to realize that the Italian stage needs reformation and adoption of Moliere’s model • He created his first real comedy in 1738 – “L'uomo di mondo ("The Man of the World")” and later he begins to develop his own style • During his adventures and journeys throughout Italy he was discovered as a talented playwright of the Venetian Theatre and was assigned by Medebac (a famous theatre manager at that time) and later by other managers. • He gradually develops his unique cross-style (writing influenced by Moliere’s style and and the model of Commedia Dell’arte, along with his wit and vigour style) – “La Donna Di Garbo” • His main idea was that the Italian life was susceptible to artistic treatment