This book received a 2001 Weiss/ Brown Publication Subvention Award from the Newberry Library.
Author: Francesco Cotticelli
Commedia dell'arte, an improvised performance art that flourished in the 16th and 17th centuries, vanished leaving very few traces. What remain, besides some intriguing descriptions, are about a dozen manuscript collections of plot outlines, or scenarios, often written in dialect, which the Italian professional actors must have used to guide them through each drama, from scene to scene and act to act. Only a few such collections have ever been published in Italian, and far fewer in English translation. The present volume remedies this situation by providing bilingual access to the largest known collection of scenarios: the Casamarciano manuscripts of Naples. There are 176 decipherable scenarios in the source's two volumes. They record some important early examples of plays or operas that would later become famous, like the legend of the stone guest (cf. Molière's Don Juan ou, Le Festin de Pierre, or Mozart's Don Giovanni), preserved in this manuscript under the title "Comvitato de Pietra." They also give us a rare glimpse into living cultural traditions that were at the root of modern theater. Stock characters like clueless Pulcinella and cunning Coviello, jealous lovers and lecherous fathers, swaggering soldiers, mystified strangers, and clever chambermaids--all conspire to bring to life an art form too long hidden in indecipherable Italian manuscripts. This book received a 2001 Weiss/ Brown Publication Subvention Award from the Newberry Library. The award supports the publication of outstanding works of scholarship that cover European civilization before 1700 in the areas of music, theater, French or Italian literature, or cultural studies. It is made to commemorate the career of Howard Mayer Brown.
There are indeed two surviving, albeit quite different, Neapolitan scenari from the
early modern period that present the ... 34 Francesco Cotticelli, Anne Goodrich
Heck, and Thomas Heck, eds and trans., The commedia dell'arte in Naples: A ...
Author: Anthony R. DelDonna
The operatic culture of late eighteenth-century Naples represents the fullest expression of a matrix of creators, practitioners, theorists, patrons, and entrepreneurs linking aristocratic, public and religious spheres of contemporary society. The considerable resonance of 'Neapolitan' opera in Europe was verified early in the eighteenth century not only through voluminous reports offered by locals and visitors in gazettes, newspapers, correspondence or diaries, but also, and more importantly, through the rich and tangible artistic patrimony produced for local audiences and then exported to the Italian peninsula and abroad. Naples was not simply a city of entertainment, but rather a cultural epicenter and paradigm producing highly innovative and successful genres of stage drama reflecting every facet of contemporary society. Anthony R. DelDonna provides a rich study of operatic culture from 1775-1800. The book demonstrates how contemporary stage traditions, stimulated by the Enlightenment, engaged with and responded to the changing social, political, and artistic contexts of the late eighteenth century in Naples. It focuses on select yet representative compositions from different genres of opera that illuminate the diverse contemporary cultural forces shaping these works and underlining the continued innovation and European recognition of operatic culture in Naples. It also defines how the cultural milieu of Naples - aristocratic and sacred, private and public - exercises a profound yet idiosyncratic influence on the repertory studied, the creation of which could not have occurred elsewhere on the Continent.
The Merchant's urgency suggests that there is urgency to the action although
neither we nor Flavio (Memmii) know that Flavio's love is in Naples and that in
leaving Naples, he would be leaving her. The captain likely exits towards the ship
Author: Natalie Crohn Schmitt
Publisher: University of Toronto Press
Schmitt demonstrates that the commedia dell'arte relied as much on craftsmanship as on improvisation and that Scala's scenarios are a treasure trove of social commentary on early modern daily life in Italy.
... 1989); and Alessandro Lattanzi and Paologiovanni Maione, eds., Commedia
dell'arte e spettacolo in musica tra Sei e Settecento (Naples: Editoriale Scientifica
, 2003). 6. The humor was both violent and physical—involving jokes about farts,
Author: Emily Wilbourne
Publisher: University of Chicago Press
This book considers the relationship between commedia dell arte and early operatic forms, from the court operas of the first years of the seventeenth century, through semi-private productions in Rome, to the public stages of Venice over fifty years later. While musicology has largely ignored the commedia dell arte, except in cases of specifically comic opera characters, this book offers a corrective. The importance of serious commedia characters and situations for the development of opera is articulated, with particular attention given to the prime donne innamorate and the use of lament. Through a series of case studies that situate side by side commedia dell arte plays, pedagogical texts on acting, and some of the century s best-known operatic works, the book illustrates how sound itself functioned as a crucial and influential component of commedia dell arte dramaturgy. Furthermore, it argues that the aural epistemology of the commedia dell arte theatre in which the gender, class, geographic origins, motivations and predilections of each character were audible in their voice trained Italian audiences in habits of listening that rendered the musical drama of opera verisimilar according to existing dramatic norms, thus underwriting the success of the genre. Vincenzo Galilei s 1581 exhortation for composers to listen to the speech of the commedia actors for inspiration on how to make their music expressive is used to contextualize the link between the sound of the commedia dell arte and that of early opera.The first chapter introduces commedia dell arte and its stock characters, with particular attention paid to the sound of the genre as a whole and the use of music within spoken dramatic performances. Subsequent chapters examine Monteverdi s early opera "L Arianna "(of which only the famous lament survives) and his "Il Ritorno d Ulisse" and "L incoronazione" "di Poppea," as well as some of the first operas in the comic vein, often written by commedia practitioners such as Giovan Battista Andreini. The conclusion looks at how the new genre of opera, both serious and comic, comes to fruition in Cavalli s large-scale Venetian operas of the 1650s. Throughout, the book articulates the productive overlapping of the worlds of commedia dell arte and early opera, from shared audiences and performing venues, to shared actors/singers (especially female, such as the first Arianna, the actress and Giovan Battista s wife, Virgina Ramponi Andreini), who brought their spoken-theater prowess to their impersonation of operatic characters and helped disseminate the new genre on the Italian stage and beyond. "
See Cesare Molinari ' s discussion of the term in La Commedia dell ' Arte ( Milan :
Mondadori , 1985 ) , pp . ... primary object of this and other studies on the
commedia dell ' arte , there were southern companies , especially based in
Author: Robert Henke
Publisher: Cambridge University Press
This book explores the commedia dell'arte: the Italian professional theatre in Shakespeare's time. The actors of this theatre usually did not perform from scripted drama but instead improvised their performances from a shared plot and thorough knowledge of individual character roles. Robert Henke closely analyzes hitherto unexamined commedia dell'arte texts in order to demonstrate how the spoken word and written literature were fruitfully combined in performance. Henke examines a number of primary sources including performance accounts, actors' contracts, and letters, among other documents.
Day 36 Isabella the Astrologer (Isabella astrologa) Comedy Argument In Naples
the title of Regent of the Vicaria [High Court] was held by a most noble gentleman
named Lucio Cortesi, a Spaniard by birth, who had a most noble daughter ...
Author: Richard Andrews
Publisher: Scarecrow Press
The Commedia dell'Arte of Flaminio Scala presents a translation and commentary of selected scenarios composed or collected by the actor-manager Flaminio Scala that were first published in 1611. Thirty of Scala's 50 scenarios are included, complete with a detailed scene-by-scene analysis that demonstrates the methodology of Italian improvised theatre in the early modern period for the purposes of study as well as re-creation. Taking into consideration previous translations of the work, Richard Andrews's English translation and lengthy analytic commentary of the scenarios provide an overview of the commedia dell'arte style, describing how actors fleshed out scenes by inserting existing material from their repertoire into a plot framework and demonstrating a constant interchange of plot, characterization, and scene structure that moved between scripted and improvised comedy. Andrews points out similarities between the scenarios, borrowings from earlier Italian scripted comedies, analogies with other early modern drama including Shakespeare, and the re-use of these components by later dramatists such as Molière and Goldoni. An extensive introduction sets the parameters for the commentaries, giving a description of commedia dell'arte as a phenomenon, explaining the categories of masked characters, and describing the nature and structure of the genre. A comprehensive index is organized for quick reference and lists which characters and masks appear in which scenarios, as well as frequent scenic components that recur, such as types of speeches, relationships, and emotional situations.
Not the legendary scamp, the Commedia Dell'Arte spirit of the populace of
Naples and Southern Italy, in the flesh, instead, the comic actor who
impersonated Pulcinella on the dusty boards of the theatres of the city. On his day
off, he was ...
Author: Frank Palescandolo
Mark Vitelli, age 25, scion of a successful manufacturer of pizza: The Perfetto Pizza Company of Milwaukee, is deputized by his father to introduce the fast food pizza to Italy beginning in Naples. He is in charge of six huge refrigerated containers of pizza dough, and thousands of frozen individual pizza pie samples stowed in the refrigerated hold of a freighter whose direct port of call is Naples. On landing, Mark is greeted by Katerina Smith, a rep of the Wall Street underwriter of this enterprise. The proposal meets with violent opposition by two groups: The Anti-Blue Sky (anti cielo azzurro) movement that wishes to violently disassociate Naples from folklore kitsch and emblematic buffoonery of the pizza mystique. Their manifesto reads radically like that of the once Italian Futurists, the Anti-Blue Sky wish is to drag Naples into the 21st Century, an example: that the Sorrentine Peninsula be turned into a Silicon Valley, etc. Another group objecting is the Slow Food Movement against fast food emporiums, especially shoddy pizza palaces in the environs of Naples, and the cielo azzurro Pro-Blue Sky is championing the ancestral culture and charms of Naples. Mark, after many hilarious tries is blocked which leaves him footloose in Italy.
Commedia dei Comici dell ' Arte . Turin : Utet , 1982 . Ferrone , Siro . Attori
Mercanti Corsari : La Commedia dell ' Arte in Europa Tra Cinque e Seicento .
Turin : Einaudi , 1993 . Greco , Franco Carmelo . Pulcinella Maschera del Mondo
. Naples ...
Author: Antonio Fava
"The mask - as object, symbol, character, theatrical practice, even spectacle - is the central metaphor around which Fava builds his discussion of structure, themes, characters, and methods. His book combines historical fact, personal experience, philosophical speculation, and passionate opinion. Including period drawings, prints, and color photographs of leather masks made by Fava himself, The Comic Mask in the Commedia dell'Arte is a rich work of singular insight into one of the world's most venerable forms of theater." --Book Jacket.
The Italian theatre was a dialect once dominated by Neapolitan actors, although
a few non-Neapolitans were ... Later, of all the Commedia Dell'Arte characters,
Pantaleone represented Naples; a raunchy, loud scheming fellow with an ...
Author: Frank Palescandolo
Everyone will agree, a great Coney Island restaurant, one of a kind, is a coveted core sample of the late historical past. Imagine table talk and social customs of a pulsing patronage encased now in the cruel aspic of time. May I place you at a favored table facing a proscenium populated by diners—cooks, scullions, waiters, musicians of the cafe chantant scullery maids, deadbeats—and the notable and notorious of the years 1915-1975; an inscape for the "livingness" of an era. I, too, am playing my role, only consciously by writing what I remember in this loving memoir of a gathering place, a showplace of human kindred at its mellowed best. Not a history pinched by spinsterish qualms, bigoted asides, shrivelled libidos, and dyspeptic frowns, for bitter lips make for bitter palates, and stingy tipping. No, rather a free spending largesse cuore a cuore of matching vignettes, anecdotes, profiles, tintypes, tales and tattles in full bodied appearances. Restaurants are marvelous core samples of the past. How wonderful if all the great restaurants of the past were written up so devotedly and grandly!
COMMEDIA. A. case. study. of. the. mask. of. Scaramouche. Stephen P. J.
Knapper Adapted from the doctoral thesis ... Gli Accesi,I Fedeli and I Confidenti),
among them the Neapolitan, Giovan Battista Fiorillo, in arte (who played)
Author: Judith Chaffee
From Commedia dell’Arte came archetypal characters that are still with us today, such as Harlequin and Pantalone, and the rediscovered craft of writing comic dramas and masked theatre. From it came the forces that helped create and influence Opera, Ballet, Pantomime, Shakespeare, Moliere, Lopes de Vega, Goldoni, Meyerhold, and even the glove puppet, Mr Punch. The Routledge Companion to Commedia dell’Arte is a wide-ranging volume written by over 50 experts, that traces the history, characteristics, and development of this fascinating yet elusive theatre form. In synthesizing the elements of Commedia, this book introduces the history of the Sartori mask studio; presents a comparison between Gozzi and Goldoni’s complicated and adversarial approaches to theatre; invites discussions on Commedia’s relevance to Shakespeare, and illuminates re-interpretations of Commedia in modern times. The authors are drawn from actors, mask-makers, pedagogues, directors, trainers and academics, all of whom add unique insights into this most delightful of theatre styles. Notable contributions include: • Donato Sartori on the 20th century Sartori mask • Rob Henke on form and freedom • Anna Cottis on Carlo Boso • Didi Hopkins on One Man, Two Guv’nors • Kenneth Richards on acting companies • Antonio Fava on Pulcinella • Joan Schirle on Carlo Mazzone-Clementi and women in Commedia • and M.A. Katritzky on images Olly Crick is a performer, trainer and director, having trained in Commedia under Barry Grantham and Carlo Boso. He is founder of The Fabulous Old Spot Theatre Company. Judith Chaffee is Associate Professor of Theatre at Boston University, and Head of Movement Training for Actors. She trained in Commedia with Antonio Fava, Julie Goell, Stanley Allen Sherman, and Carlos Garcia Estevez.
Bari , 1966 ( texts : L'ateista fulminato , Biancolelli , commedia dell'arte scenario (
Rome , Biblioteca Casanatense ) ... ( Naples , Biblioteca Nazionale , and Rome ,
Biblioteca Casanatense ) , L'ateista fulminato , Biancolelli ) Individual texts ...
Author: Julian Rushton
Publisher: Cambridge University Press
A study of Mozart's Don Giovanni, one of the best known and most often performed opears of the last 200 years.
This section is composed of monographs on the leading ltalian commedia dell'
arte companies from 1568 (the earliest ... Milan, Naples and Sicily - which were
ruled directly by the Austro-Spanish Empire of the Habsburgs; Ferrara and
Author: Oliver Crick
A companion to John Rudlin's best-selling Commedia dell'Arte: A Handbook for Actors, this book covers both the history and professional practice of commedia dell'arte companies from 1568 to the present day. Indispensable for both the beginner and the professional, it contains historical and contemporary company case histories, details on company organisation, and tips on practical stagecraft. Essential for students and practitioners, this book enables the reader to understand how successful commedia dell'arte companies function, and how we can learn from past and current practice to create a lively and dynamic form of theatre. Includes tips on: * writing a scenario * mask-making * building a stage * designing a backdrop * costume * music. _
The dramatic sensibility in the Viaggi has its roots in part in the Italian culture of
spectacle , from the theater in Naples to the commedia dell'arte to the extravagant
Catholic ceremonies , such as holiday processions and funerals , and the ...
Author: Nathalie Hester
Publisher: Ashgate Publishing, Ltd.
This first full-length study in English on seventeenth-century Italian travel writing enriches our understanding of an unusually fertile period for Italian contributions to the genre. The intrinsic qualities of this literature can now be grasped in terms of the larger question of cultural identity in Italy. For Hester, the specifically literary characteristics of Italian travel writing--including its humanism or Petrarchism--highlight the classic eminence throughout Europe of a prestigious tradition inherent to Italy, one compensating then for the peninsula's lack of a national political identity.
21 Neapolitan zanni of note are of course , Pulcinella and the lesser figures of
Tartaglia , the stammerer , and Coviello . 22 Because of his transformable nature
, Coviello is not typical of commedia dell ' arte figures . 23 On occasion he
Author: Paul C. Castagno
Publisher: Peter Lang Pub Incorporated
This book establishes a Mannerist context for the early "commedia dell'arte" during its advent in the latter half of the sixteenth century and the beginning of the seventeenth century. The geographical area is based in Italy, with consideration of "commedia dell'arte" influences in other European countries. The "commedia dell'arte" is linked to "maniera," the word from which Mannerism is etymologically based, and other concepts such as "disegno interno, licenzia, " and "gusto." Utilizing a synchronic methodology, Castagno explores the link between the Mannerist "pittore vago" (-wandering painters-) and the itinerant performers of the "commedia dell'arte." By way of conclusion, Castagno demonstrates how Mannerist terms can be applied to the salient performance features of the "commedia dell'arte," establishing this theatrical form and practice within a Mannerist context."