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    Comdia Del Art Research

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    Christina Cannila
    Commedia dell'arte originated in 15th century Italy as street performances featuring stock characters in masks and costumes that drew from ancient Greek and Roman theater traditions. Troupes of actors traveled Europe improvising scenarios using established characters like Arlecchino the acrobat and Pulcinella the foolish servant. Performances relied on physical skills and occurred in town squares without scripts, instead using written scenarios that outlined the action and allowed actors to improvise dialogue tailored for each audience. The characters, scenarios, and skills of Commedia dell'arte influenced theater across Europe during its popularity between 1550 and 1750.

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    Comdia Del Art Research

    Uploaded by

    Christina Cannila
    67 views2 pages
    Commedia dell'arte originated in 15th century Italy as street performances featuring stock characters in masks and costumes that drew from ancient Greek and Roman theater traditions. Troupes of actors traveled Europe improvising scenarios using established characters like Arlecchino the acrobat and Pulcinella the foolish servant. Performances relied on physical skills and occurred in town squares without scripts, instead using written scenarios that outlined the action and allowed actors to improvise dialogue tailored for each audience. The characters, scenarios, and skills of Commedia dell'arte influenced theater across Europe during its popularity between 1550 and 1750.

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    comdia del arte

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    Comdia del art research

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    Commedia dell'arte originated in 15th century Italy as street performances featuring stock characters in masks and costumes that drew from ancient Greek and Roman theater traditions. Troupes of actors traveled Europe improvising scenarios using established characters like Arlecchino the acrobat and Pulcinella the foolish servant. Performances relied on physical skills and occurred in town squares without scripts, instead using written scenarios that outlined the action and allowed actors to improvise dialogue tailored for each audience. The characters, scenarios, and skills of Commedia dell'arte influenced theater across Europe during its popularity between 1550 and 1750.

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    © All Rights Reserved
    Download as DOCX, PDF, TXT or read online from Scribd
    Download as docx, pdf, or txt
    67 views2 pages

    Comdia Del Art Research

    Uploaded by

    Christina Cannila
    Commedia dell'arte originated in 15th century Italy as street performances featuring stock characters in masks and costumes that drew from ancient Greek and Roman theater traditions. Troupes of actors traveled Europe improvising scenarios using established characters like Arlecchino the acrobat and Pulcinella the foolish servant. Performances relied on physical skills and occurred in town squares without scripts, instead using written scenarios that outlined the action and allowed actors to improvise dialogue tailored for each audience. The characters, scenarios, and skills of Commedia dell'arte influenced theater across Europe during its popularity between 1550 and 1750.

    Copyright:

    © All Rights Reserved
    Download as DOCX, PDF, TXT or read online from Scribd
    Download as docx, pdf, or txt
    of 2

    ● With the fall of Constantinople in 1405, scholars fled to Italy carrying the classical works

    of the Greek and Roman playwrights.


    ● 1465, the printing press is invented, permitting the ancient texts to be widely distributed
    ● Commedia dell'arte (comedy of artists) originated in streets and marketplaces of the
    early Italian Renaissance, although it’s roots can be traced as far back as far as Ancient
    Greek and Roman Theater
    ● These Italian Street performers wear masks with exaggerated comic features to draw
    additional attention to themselves and distinguish the characters they play.
    ● Commedia performers depend upon physical and acrobatic skills.
    ● From the 1500’s on, these performers travelled across Europe, improvising their lines
    from established scenarios.
    ● Each stock character has a mask to accentuate her personality.
    ● Commedia dell’Arte, Italian for play of professional artists, was a popular form of
    entertainment in Italy during the Renaissance (the height of its popularity was from 1550
    to 1750).
    ● From Italy, Commedia gained great popularity in other European countries, especially in
    France.
    ● Commedia companies usually included ten actors--seven men and three women. (It
    should be noted that this is at the same time as William Shakespeare is writing his plays
    for an all male cast.)
    ● These performers played for the public in open town squares.
    ● There were no scripts, only written scenarios (In Italian canovaccios) which outlined the
    action. Using these sketches, the actors improvised the dialogue and action, tailoring the
    show to that day’s audience.
    ● The actors in a Commedia troupe each focus on one character, who they play for the
    rest of their lives. These characters were stocktypes, meaning that the same characters
    appeared in every show.
    ● Each character had its own bit of lazzi, or business, which the audience would instantly
    recognize.
    ● Focusing on one character allows an actor to fuse his or her own personality with that of
    the individual they are playing. And, since the actors worked in close quarters for an
    extended period of time, they grew used to each others’ portrayals. This allowed for easy
    improvisation and skillful comic interaction on the spur of the moment.
    ○ Arlecchino was the most famous. He was an acrobat and a wit, childlike and
    amorous. He wore a cat-like mask and motley colored clothes and carried a bat
    or a wooden sword.
    ○ Brighella, Arlecchino’s crony, was more roguish and sophisticated, a cowardly
    villain who would do anything for money.
    ○ The female zanni, Columbina was often the clever maid, and the only one with a
    clear head in the chaos of the story. She is in love with Arlecchino, but sees him
    for what he is.
    ○ Pulcinella was the foolish servant, often hunchback, who carried a club and
    engaged in acrobatics.
    ○ Pantalone was a caricature of the Venetian merchant, rich and retired, mean and
    miserly, with a young wife or an adventurous daughter. He was forever desiring
    the beauty and money of the young Issabella.
    ○ Il Capitano (the captain) was a caricature of the professional soldier- bold
    swaggering, and cowardly. He was constantly bragging about his exploits and
    carried an oversized sword with an undersized blade.
    ○ Il Dottore (the doctor) was a caricature of learning - pompous and fraudulent. He
    was constantly speaking in Latin- incorrectly and knew nothing about medicine.
    ○ The Inamorati were the young lovers. They were unmasked and normal in
    appearance and behavior but for their obsessive passion for each other.
    ● Playwrights
    ○ Lodovico Ariosto, (1474-1533) The Casket
    ○ Niccolo Macciavelli (1469-1527) The Mandrake ```
    ● Architects
    ○ Serlio, Sebastiano (1475-1554) Designed indoor theatres, proscenium staging
    and candle / oil lamp lighting.
    ○ Nicola Sabbattini (1574-1654) Wrote book on theatre design and scenery
    ○ Giocomo Torelli (1608-1678) Chariot & Pole System for changing scenery. When
    ropes and pulleys installed, synchronized scene shifting possible.
    ● Theatres were equipped with:
    ○ Raked stages
    ○ Scenery flats
    ○ Perspective
    ○ Chariot and pole scenery changes
    ○ Indoor Chandelier lighting
    ○ Colored light gels.
    ● 1585-Teatro Olimpico-in Vicenza Italy. The oldest surviving Renaissance theatre.
    ● 1618-Teatro Farnese-in Parma. The first theatre built with a permanent proscenium
    arch-it protected the illusion of perspective. Additional arches were farther back to add
    depth.

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