Theatre History

Lecture Notes
Commedia dellArte
Unit
Objectives:
Students will
expand their
vocabulary of
Commedia
dellArte.
Students will
understand the
impact of
Commedia
dellArte on
modern society
through analysis
of historical
trends from the
period.
Students will
acquire the
appropriate
skills to
accurately and
consistently
perform
Commedia
dellArte within
the specific
historical and
cultural context
of the era.
CA Theatre
Content
Standards:
Artistic Perception
1.1
Historical/Cultural
Context
3.1
3.2
3.3
Aesthetic Valuing
4.1
Lecture compiled by Justin Eick - Theatrical Education Group
Commedia dell'Arte is a theatrical form
characterized by improvised dialogue
and a cast of colorful stock characters
that emerged in northern Italy in the
fifteenth century and rapidly gained
popularity throughout Europe.
Performances were unscripted, held
outside, and used few props. They were
free to watch, funded by donations. A
troupe (or company) consisted of ten
Overview Commedia dellArte
Origins
Some theatre critics believe that
commedia may date back to around 200
AD, amongst the Romans. It is thought
they used commedia techniques in
theatre at the time, along with some of
the characters below, although they had
different names.
For example, the Romans had a
character called Homerus who wore a
military uniform and appeared to be
brave, although when it came to battle,
he was always the first to flee. These
are much the same characteristics as the
more modern Il Capitano.
It is quite possible that this kind of
improvised acting was passed down the
Italian generations until the 1600s, when
it was revived as a professional theatrical
technique again.
The earliest known commedia company
formed in Padua in 1545, and by the turn
of the seventeenth century troupes such
as the Gelosi, Confidenti, and Fedeli
enjoyed international celebrity. Some
troupes were favored at foreign courts,
especially in France, where images from
people: eight men and two women.
Outside Italy the form was also known as
"Italian Comedy".
Commedia Dell'Arte has received a great
deal of interest from a number of 20th
century theatre practitioners, including
Jacques Copeau, Meyerhold, Jacques
Lecoq and others, because of their wish
to move away from naturalism.
the commedia became a favorite theme
of artists such as Jean-Baptiste-Joseph
Pater and Jean Antoine Watteau.
In its golden age, plays of the commedia
dell'Arte (literally, "comedy of
professional artists") were usually
performed in open air by traveling
troupes of players.
Commedia dellArte
Each stock
character
evolved a
distinct set of
attributes -
characteristic
speech,
gestures,
props, and
costume -
that became
standard to
the portrayal
of the
character.
Plot Lines/Themes
Each stock character evolved a distinct
set of attributescharacteristic speech,
gestures, props, and costumethat
became standard to the portrayal of the
character. All characters except
Pedrolino and the innamorati wore
masks, a tradition deriving from ancient
Roman comedies.
Because the mask partially or entirely
obscured facial expression, emphasis
was placed on dialect and exaggerated
gesture to convey emotion and intention.
The cast of vecchi includes Il Dottore and
Pantalone. The latter is distinguished by
a costume of red vest, breeches, and
hose, a black cassock, and a mask with
hooked nose. Il Dottore wears black
academic robes and a black mask that
covers only the forehead and nose.
Playing either a vecchio or a zanni, Il
Capitano appears in a military uniform
Stock Characters - Masks/Costumes
Page 2 of 4
Performances were based on a
scenarioa basic plot, often a familiar
story, upon which the actors improvised
their dialogue. Thus actors were at liberty
to tailor a performance to their audience,
allowing for sly commentary on current
politics and bawdy humor that would
otherwise be censored.
Most commonly, the plot centered on the
struggles of young lovers, or innamorati,
whose union is hindered by one or
several elders (vecchi), possibly a
jealous guardian or even an aged
spouse. The innamorati seek assistance
from servant characters called zanni
(from which the word "zany" derives)
who, with cunning intervention, bring the
play to a happy conclusion.
Other popular scenari involved adultery,
marital jealousy, and the outwitting of a
foolish character by his servant.
Occasionally, stock characters acted out
and carries a sword, proclaiming his war
victories.
Perhaps best known of the zanni
(servants) is Arlecchino, characterized as
a poor man, whose diamond-patterned
costume suggests that he is wearing
patchwork, a sign of his poverty. His
mask is either speckled with warts or
shaped like the face of a monkey, cat, or
pig.
Pulcinella, a character of varying
temperament, is portrayed in loose white
garments, with conical hat and a black
mask with beaklike nose, and is often
hunchbacked.
Finally, the sweet-natured and naive
Pedrolino (or Pierrot). He wears white
garments with his face powdered white,
sometimes painted with a single teardrop
alluding to his melancholy.
stories from mythology and ancient
Greek and Roman comedies as well.
Beyond the most basic plot elements, the
only scripted components of the
performance were lazzirehearsed
interludes of comic stage business,
music, acrobatics, or fightingoften
unrelated to the development of the
scenario. The lazzi allowed actors,
usually those playing the zanni, to show
off a particular skill; some actors became
so famous for these routines that
audiences expected the "trademark"
lazzi of a particular actor or troupe at
each performance.
Characters were identified by costumes,
masks, and even props, such as a type
of baton known as a slapstick. These
characters included the forebears of the
modern clown, namely Harlequin
(English for arlecchino) and Zanni.
Etching of Colombina
Zanni Masks
Commedia dellArte
Page 3 of 4
Arlecchino/Harlequin - a clown.
Typically acrobatic and
mischievous, he is one of the zanni.
Arlecchino is often the servant to
Pantalone, or sometimes to Il
Dottore and is always planning and
plotting to trick his masters to no
avail. He is in love with Colombina,
who makes fun of him.
Brighella - plays either a
shopkeeper or servant. Brighella is
always out for a way to profit from
any given situation, and will
cheerfully lie to save himself.
Il Capitano (The Captain) - swash-
buckling and bold, but not
necessarily heroic. His attire is
generally foppish and overdone. He
is usually played as a braggart, a
ladies man, and a cavalier. He is
motivated by his desire for sex.
Colombina - developed as the
female counterpart of Arlecchino.
She is also a servant and a
member of the zanni. She
frequently initiates the plot of the
play. She is usually portrayed as
clever, crafty, and untamed.
Il Dottore - the doctor. He appears
to be a learned man, but generally
that impression proves to be false.
He is older, wealthy, and a member
of the vecchi. Pedantic and miserly,
he is hopelessly unsuccessful with
women.
Stock Characters Descriptions
The Innamorati (pl) - the lovers. The
inamorato(m) and inamorata(f) had
many different names over time.
They are young, righteous, and
hopelessly in love with one another.
Often seen singing, dancing, or
reciting poetry, they are frequently
portrayed as the children of Dottore
and Pantalone.
Pantalone - a member of the vecchi.
He is the archetypal "old miser." He
is quite wealthy but very greedy. He
only cares about money and he will
do anything to get it. His costume
usually incorporates a long beard
and red pants.
Pedrolino/Pierrot - the loyal servant.
He is hardworking, trustworthy,
honest and devoted to his master,
but tends to be the butt of the
physical jokes.. Charming and
likable, he wears a loose white outfit
with a neck ruff.
Pulcinella - sometimes called
"Punch," is portrayed as pitiable,
helpless, and often physically
disfigured. He usually has a hump, a
distinct limp, or some other obvious
physical deformity. In some
portrayals he cannot speak, and
expresses himself in squeaks or
other strange sounds.
Scaramuccia - also known as
Scaramouche, is a roguish
character who is usually portrayed
as a buffoon or boastful coward.
Significant Artists/Works
Commedia dell'Arte a theatrical
form characterized by improvised
dialogue and a cast of colorful stock
characters that emerged in northern
Italy in the fifteenth century and
rapidly gained popularity throughout
Europe.
Innamorati stock characters
categorized as young lovers, e.g.
Flavio and Flavia, Ottavio and
Ottavia, Isabella, and Colombina.
Lazzi rehearsed interludes of comic
stage business, music, acrobatics,
or fightingoften unrelated to the
development of the scenario.
Naturalism a theatre movement
that seeks to replicate a believable
everyday reality.
Vocabulary/Key Terms
Timeline
1518 - Machiavellis La
Mandragola'
1532 - Machiavelli's 'The
Prince'
1545 - Angelo Beolco, Il
Ruzzante
The First record of an
Italian acting troupe in
Padua.
1565 - First reference to
commedia characters.
1568 - First mention of the
Gelosi Company.
1571 - Gelosi Company
marks the start of
touring troupes.
1573 - Gelosi perform
Tasso's Aminta
1574 - Zan Ganassa
Company is in Madrid.
First record of Confidenti
Company.
1576 - First mention of
Pedrolino Company.
1577 - The company of
Drusiano Martinelli is in
London.
1578 - First mention of
Uniti Company.
1584 - Edward Alleyn
begins acting career.
1585 - Palladio's Teatro
Olimpico.
1589 - A great theatrical
spectacle in Florence
included a Commedia
performance.
1590 - First mention of the
Accesi Company.
1600 - Accessi Company
peforms for the
marriage of Henry IV
1601 - Tristano Martinellis
Compositions de
rhetorique.
Fedeli Company formed
1604 - Isabella Andreini
dies and Francesco
Andreini disbands
Gelosi Company.
Inigo Jones brings Italian
stage scenes to
England.
1605 - Comici Fedeli
formed
1611 - Flamino Scalas Il
teatro delle Favole
rappresentative.
Playwrights
Beolco:
Il Ruzzante - created character
similar to Il Capitano.
Machiavelli:
La Mandragola' - one of the
earliest plays with
commedia-like characters
and plot.
The Prince
Martinelli:
Compositions de rhetorique
Palladio:
Teatro Olimpico
Scala:
Il teatro delle Favole
rappresentative
Tasso:
Aminta
Companies/Troupes
Gelosi (1571 - 1604)
Zan Ganassa (1574 - )
Confidenti (1574 - 1640)
Pedrolino (1576 - )
Drusiano Martinelli (1577 - )
Uniti (1578 - )
Accesi (1590 - 1652)
Fedeli (1600 - )
Comici Fedeli (1605 - )
Performers
Edward Alleyn
Isabella Andreini
Francesco Andreini
Tristano Martinelli celebrated
Arlecchino performer
Scenario a basic plot, often a
familiar story, upon which the actors
improvised their dialogue.
Stock Characters archetypal
characters commonly used in
commedia dellarte.
Troupe (or company) a traveling
group that would perform commedia;
consisting of ten people, eight men
and two women.
Vecchi stock characters categorized
as aged, male characters, e.g.
Pantalone, Il Dottore, and Il Capitano.
Zanni stock characters categorized
as comic servants, e.g. Harlequin,
Brighella, Coviello, Pedrolino,
Pulcinella, Pierrot, Trivelino
Commedia dellArte Page 4 of 4