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91-769: Flaminio Scala (27 September 1552 – 9 December 1624), commonly known by his stage name Flavio , was an Italian stage actor of commedia dell'arte , scenario writer, playwright, director, producer, manager, agent, and editor. Considered one of the most important figures in Renaissance theatre, Scala is remembered today as the author of the first published collection of commedia scenarios, Il Teatro delle Favole Rappresentative, short comic plays that served as inspiration to playwrights such as Lope de Vega , William Shakespeare , Ben Jonson , and Molière . Scala's career as an actor began sometime prior to 1577 in Florence, where he

182-506: A captain and a servetta (serving maid)". Commedia often performed inside in court theatres or halls, and also as some fixed theatres such as Teatro Baldrucca in Florence. Flaminio Scala, who had been a minor performer in the Gelosi, published the scenarios of the commedia dell'arte around the start of the 17th century, really in an effort to legitimize the form—and ensure its legacy. These scenarios are highly structured and built around

273-517: A commedia dell'arte company in which the performers find their life situations reflecting events they depict on stage. Commedia characters also figure in Richard Strauss 's opera Ariadne auf Naxos . The piano piece Carnaval by Robert Schumann was conceived as a type of masked ball that combined characters from commedia dell'arte with real world characters, such as Chopin , Paganini , and Clara Schumann , as well as characters from

364-514: A fresh range of expression and choreographic means. An example of a commedia dell'arte character in literature is the Pied Piper of Hamelin who is dressed as Harlequin . Music and dance were central to commedia dell'arte performance, and most performances had both instrumental and vocal music in them. Brighella was often depicted with a guitar, and many images of the commedia feature singing innamorati or dancing figures. In fact, it

455-459: A great amount of jeux de scene . Within the style and staging of Scala's works, he understood commedia dell'arte was a very expressive and physical art form and furthers the importance of expressive body and facial gestures. Scala provided the lines and written language for the verbal aspect of the performance, but the portrayal also requires a very physicalized manner. Actors should understand that there are essential movements and skills involved in

546-472: A high-class courtesan. Female characters in the masters group, while younger than their male counterparts, are nevertheless older than the amorosi . Some of the better known commedia dell'arte characters are Pierrot and Pierrette, Pantalone , Gianduja , il Dottore , Brighella , il Capitano , Colombina , the innamorati , Pedrolino , Pulcinella , Arlecchino , Sandrone , Scaramuccia (also known as Scaramouche), la Signora , and Tartaglia . In

637-505: A joke or "something foolish or witty", usually well known to the performers and to some extent a scripted routine. Another characteristic of commedia is pantomime , which is mostly used by the character Arlecchino , now better known as Harlequin. The characters of the commedia usually represent fixed social types and stock characters , such as foolish old men, devious servants, or military officers full of false bravado . The characters are exaggerated "real characters", such as

728-427: A know-it-all doctor called il Dottore , a greedy old man called Pantalone , or a perfect relationship like the innamorati . Many troupes were formed to perform commedia , including I Gelosi (which had actors such as Isabella Andreini and her husband Francesco Andreini ), Confidenti Troupe, Desioi Troupe, and Fedeli Troupe. Commedia was often performed outside on platforms or in popular areas such as

819-614: A little stage. They look down through a window in the sky, and see Armanda's sack being disposed of. But they are not forgotten. Instead, a "film projector" begins to flicker, and they see a parade of comic icons— Lucille Ball , Buster Keaton , Charlie Chaplin , etc.—they realize their comedy has survived the centuries and exists today. The curtain closes as the Glorious Ones explode into joyous peals of laughter. Charles Isherwood, in his review in The New York Times of

910-400: A number of innamorati were skilled madrigalists , a song form that uses chromatics and close harmonies . Audiences came to see the performers, with plotlines becoming secondary to the performance. Among the great innamorate , Isabella Andreini was perhaps the most widely known, and a medallion dedicated to her reads "eternal fame". Tristano Martinelli achieved international fame as

1001-509: A number of playwrights have featured characters influenced by the commedia dell'arte and sometimes directly drawn from it. Prominent examples include The Tempest by William Shakespeare , Les Fourberies de Scapin by Molière , The Servant of Two Masters (1743) by Carlo Goldoni , the Figaro plays of Pierre Beaumarchais , and especially The Love for Three Oranges , Turandot and other fiabe by Carlo Gozzi . Influences appear in

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1092-667: A partisan platform, Napoleon outlawed the commedia dell'arte. It was not reborn in Venice until 1979 because of this. Compagnie, or companies, were troupes of actors, each of whom had a specific function or role. Actors were versed in a plethora of skills, with many having joined troupes without a theatre background. Some were doctors, others priests, others soldiers, enticed by the excitement and prevalence of theatre in Italian society. Actors were known to switch from troupe to troupe "on loan", and companies would often collaborate if unified by

1183-473: A patchwork costume for a new character-- Arlecchino , the clown—and gives his young protege this featured role. The quack Dottore tries frantically to get onto the stage but is prevented by an invisible wall. In mime, he manages to find a way to get through, and then happily insults the audience in Latin . At last he introduces the next adventure for The Glorious Ones--"The Invitation to France," and they embark on

1274-624: A piazza ( town square ). The form of theatre originated in Italy, but travelled throughout Europe—sometimes to as far away as Moscow. The genesis of commedia may be related to Carnival in Venice , where the author and actor Andrea Calmo had created the character Il Magnifico, the precursor to the vecchio (meaning 'old one' or simply 'old') Pantalone, by 1570. In the Flaminio Scala scenario, for example, Il Magnifico persists and

1365-407: A play she has written, "The Moon Woman," and soon they have discovered they are kindred spirits, born to play "Opposite You." They elope, and Isabella joins the troupe. All the men are enamored of her. Armanda is jealous, but Columbina understands how men are. In "My Body Wasn't Why," she sings about her passionate love affair with Flaminio, which led her to be his leading lady. But during the course of

1456-607: A puppet version of Pulcinella resembling Punch and Judy . The characters created and portrayed by English comedian Sacha Baron Cohen (most famously Ali G , Borat , and Bruno ) have been discussed in relation to their potential origins in commedia , as Baron Cohen was trained by French master clown Philippe Gaulier , whose other students have gone on to become teachers and performers of commedia . The Glorious Ones After premiering in Pittsburgh in April 2007,

1547-475: A result, commedia was reduced to formulaic and stylized acting; as far as possible from the purity of the improvisational genesis a century earlier. In France, during the reign of Louis XIV , the Comédie-Italienne created a repertoire and delineated new masks and characters, while deleting some of the Italian precursors, such as Pantalone. French playwrights, particularly Molière , gleaned from

1638-535: A sack under her bed. She and Flaminio rehearse a comic sketch about a little dog. They are interrupted by the leading lady, Columbina , who is Flaminio's mistress. She is sick of waiting for him and sick of his antics. ("Making Love.") By the time the number is over, he has seduced her once again. We next meet Pantalone , who was once a tailor but now plays the roles of the old misers in the troupe's plays. ("Pantalone Alone.") He and Armanda commiserate about their lovelorn states ("The Comedy of Love"). Dottore Graziano ,

1729-581: A single patron or performing in the same general location. Members would also splinter off to form their own troupes, such was the case with the Ganassa and the Gelosi. These compagnie travelled throughout Europe from the early period, beginning with the Soldati, then, the Ganassa, who travelled to Spain, and were famous for playing the guitar and singing—never to be heard from again—and the famous troupes of

1820-494: A slapstick version of his early life, in which he demonstrates how he was raised by monks and later thrown onto the street. There, the endless parade of humanity inspires him to create a new kind of theater—masked the Commedia dell'arte . We meet Armanda Ragusa, a dwarf, who is madly in love with the dashing Flaminio. She steals little mementos of her idol—his lost buttons, one of his old stockings, posters, etc.--and keeps them in

1911-439: A talented young comic, who is performing on the street. Flaminio takes him under his wing, ("The Glorious Ones - Reprise") and before long they are like father and son. Flaminio teaches Francesco what it means to be an actor ("Madness to Act") but Francesco lets us know that he's more ambitious than he may appear. ("Absalom.") During the course of this song, Flaminio gets an idea from the many patches on Francesco's clothes—he creates

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2002-544: A trick on Flaminio, and suddenly the clownish Arlechino becomes the leading man. After the show, Flaminio is furious at the trick, but Columbina tells him to deal with the fact that he's too old to play the role of the lover. She had to. Flaminio has "Flaminio Scala's Ominous Dream" in which he fantasizes that Isabella and Francesco are leading him astray and trying to destroy him. The actors tease each other backstage. Francesco presents Isabella's play to them, and suggests they try it, implying that their roles will be fuller than

2093-477: A type of baton known as a slapstick . These characters included the forebears of the modern clown , namely Harlequin and the Zanni. Harlequin, in particular, was allowed to comment on current events in his entertainment. The classic, traditional plot is that the innamorati are in love and wish to be married, but one elder ( vecchio ) or several elders ( vecchi ) are preventing this from happening, leading

2184-464: A type of characteristic representative of some particular Italian district or town" (archetypes). The character's persona included the specific dialect of the region or town represented. Meaning that on stage, each character was performed in its own dialect. Characters would often be passed down from generation to generation, and characters married onstage were often married in real life as well, seen most famously with Francesco and Isabella Andreini. This

2275-625: A whirlwind trip, filled with travails, to perform for the French Court ("Flaminio Scala's Historical Journey to France"). Flaminio is convinced that their lowbrow humor will enchant the King, make their fortunes, and cement his reputation as a theatrical genius for all time. Once in France , their performance for the King begins with three vulgar "lazzi" or comic routines, which lead up to the most bawdy piece of all, "Armanda's Tarantella ," featuring

2366-432: Is a colorful representation of commedia -inspired characters. Picasso also designed the original costumes for Stravinsky 's Pulcinella (1920), a ballet depicting commedia characters and situations. Commedia iconography is evident in porcelain figurines many selling for thousands of dollars at auction. The expressive theatre influenced Molière 's comedy and subsequently ballet d'action , thus lending

2457-437: Is called Prima Donna and can be one of the lovers. There is also a female character known as The Courtisane who can also have a servant. Female servants wore bonnets. Their character was played with a malicious wit or gossipy gaiety. The amorosi are often children of a male character in the masters group, but not of any female character in the masters group, which may represent younger women who have e.g. married an old man, or

2548-572: Is centred in Florence , Mantua , and Venice, where the major companies came under the protection of the various dukes . Concomitantly, a Neapolitan tradition emerged in the south and featured the prominent stage figure Pulcinella , which has been long associated with Naples and derived into various types elsewhere—most famously as the puppet character Punch (of the eponymous Punch and Judy shows) in England. Although commedia dell'arte flourished in

2639-408: Is credited with bringing the famous sixteenth-century actress and poet Isabella Andreini into I Gelosi to play opposite him as his inamorata , making him considered the stage's first professional producer. Isabella, the sixteen-year-old wife of the actor Francesco Andreini (whose stage name was Capitan Spavento), went on to become such a celebrated actress in her own right that a new role known as

2730-657: Is depressed, but Columbina suggests maybe they should finally retire and settle down together. "There's more to life than theater," she tells him, and he seems to agree. The Glorious Ones present "The Moon Woman," now dressed in more elegant masks and costumes. The play is stilted and poetic, nothing like their old, freewheeling slapstick. Flaminio tries to play his part, but can't. He throws off his mask and begins to improvise. The cast can't help themselves—they join him. At last, he pretends to kill himself for love as he always did, staggers around and falls. Columbina falls to her knees, praying comically for him, but suddenly realizes that

2821-499: Is interchangeable with Pantalone into the 17th century. While Calmo's characters (which also included the Spanish Capitano and a il Dottore type) were not masked, it is uncertain at what point the characters donned the mask. However, the connection to Carnival (the period between Epiphany and Ash Wednesday ) would suggest that masking was a convention of Carnival and was applied at some point. The tradition in northern Italy

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2912-537: Is more probable that the comici used contemporary novella or traditional sources, and drew from current events and local news of the day. Not all scenarios were comic, there were some mixed forms and even tragedies. Shakespeare's The Tempest is drawn from a popular scenario in the Scala collection, his Polonius ( Hamlet ) is drawn from Pantalone, and his clowns bear homage to the Zanni. Comici performed written comedies at court. Song and dance were widely used, and

3003-616: Is represented in the 2007 musical The Glorious Ones , with book and music by Lynn Ahrens and Stephen Flaherty. The New York production was based on Francine Prose 's 1974 novel of the same name. During the musical's original Pittsburgh run, Flaminio Scala was played by Paul Schoeffler. For the New York run, the role was played by Marc Kudisch . In the Canadian premiere by the Toronto Civic-Light Opera Co., Scala

3094-554: Is thought to have played the role of the innamorato in the Compagnia dei Comici Gelosi (1568–1604), whose name was established after the company's creed: Virtù, fama ed honor ne fèr gelosi ( lit.   ' We are jealous of attaining virtue, fame, and honour ' ). However, c.  1610 , Scala became the company's resident stock character, Flavio. Much of the company had been made up of actors who were seeking work after separating themselves from Ganassa . Scala also held

3185-536: The Gelosi performing Tasso 's Aminta , for example, and much was done at court rather than in the street. By the mid-16th century, specific troupes of commedia performers began to coalesce, and by 1568 the Gelosi became a distinct company. In keeping with the tradition of the Italian Academies, the Gelosi adopted as their impress (or coat of arms) the two-faced Roman god Janus . Janus symbolized both

3276-484: The Isabella was created in her honor. She later died while traveling from Paris to Italy in 1604. Following his work with I Gelosi , Scala was associated as an actor and occasionally as an agent with the i Accesi (Stimulated Ones), i Desiosi , (Desired Ones), and i Uniti (United Ones) from 1579 through 1596. Scala"s writings called for a specific facility in order for his scenarios to be performed – they called for

3367-570: The Italian theatre during the Mannerist period, there has been a long-standing tradition of trying to establish historical antecedents in antiquity. While it is possible to detect formal similarities between the commedia dell'arte and earlier theatrical traditions, there is no way to establish certainty of origin. Some date the origins to the period of the Roman middle republic ( Plautine types ) or

3458-420: The "quack doctor" in their skits, has sold Pantalone a love elixir, but it hasn't worked—Columbina still doesn't love him. Their backstage dilemmas are mirrored onstage in a comic show-within-the show, "The Comedy of Love," in which Flaminio Scala always ends up with the female "love interest," after almost committing comic suicide with a rubber sword. The next day, Flaminio Scala discovers Francesco Andreini ,

3549-528: The 17th century, as commedia became popular in France, the characters of Pierrot, Columbine and Harlequin were refined and became essentially Parisian, according to Green. Each character in commedia dell'arte has a distinct costume that helps the audience understand who the character is. Harlequin originally wore a tight fitting long jacket with matching trousers that both had numerous odd shaped patches, usually green, yellow, red, and brown. Usually, there

3640-703: The French Parliament. The term vagabondi was used in reference to the comici , and remains a derogatory term to this day ( vagabond ). This was in reference to the nomadic nature of the troupes, often instigated by persecution from the Church, civil authorities, and rival theatre organisations that forced the companies to move from place to place. A troupe often consisted of ten performers of familiar masked and unmasked types, and included women. The companies would employ carpenters, props masters, servants, nurses, and prompters, all of whom would travel with

3731-471: The Golden Age (1580–1605): Gelosi, Confidenti, Accessi. These names which signified daring and enterprise were appropriated from the names of the academies—in a sense, to lend legitimacy. However, each troupe had its impresse (like a coat of arms) which symbolized its nature. The Gelosi, for example, used the two-headed face of the Roman god Janus , to signify its comings and goings and relationship to

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3822-414: The Italian stage. The Italian scholar Ferdinando Taviani has collated a number of church documents opposing the advent of the actress as a type of courtesan, whose scanty attire and promiscuous lifestyle corrupted young men, or at least infused them with carnal desires. Taviani's term negativa poetica describes this and other practices offensive to the church, while giving us an idea of the phenomenon of

3913-581: The blood is real and that Flaminio is indeed dead. As the actors grieve, mystified by his terrible act, Flaminio rises and looks back on his life, and the beauty of doing something of worth. ("I Was Here"). Armanda arrives at the monastery where Flaminio was raised, bringing with her "Armanda's Sack." One by one, all the Glorious Ones light up, remembering their glory days in the theater with Flaminio Scala. At last, they arrive in Heaven, where Flaminio awaits them, and we are back to our opening image—stars, clouds,

4004-400: The character. In other words, the characteristics of the character and the characteristics of the mask are the same. In time however, the word maschere came to refer to all of the characters of the commedia dell'arte whether masked or not. Female characters (including female servants) are most often not masked (female amorose are never masked). The female character in the masters group

4095-415: The comings and goings of this travelling troupe and the dual nature of the actor who impersonates the "other". The Gelosi performed in northern Italy and France, where they received protection and patronage from the King of France. Despite fluctuations, the Gelosi maintained stability for performances with the "usual ten": "two vecchi , four innamorati (two male and two female lovers), two Zanni ,

4186-493: The commedia dell'arte performance. By the early 17th century, the Zanni comedies were moving from pure improvisational street performances to specified and clearly delineated acts and characters. Three books written during the 17th century— Cecchini's  [ it ] Fruti della moderne commedia (1628), Niccolò Barbieri 's La supplica (1634) and Perrucci's Dell'arte rapresentativa (1699)—"made firm recommendations concerning performing practice". Katritzky argues that, as

4277-472: The company. They would travel in large carts laden with supplies necessary for their nomadic style of performance, enabling them to move from place to place without having to worry about the difficulties of relocation. This nomadic nature, although influenced by persecution, was also largely due in part to the troupes requiring new (and paying) audiences. They would take advantage of public fairs and celebrations, most often in wealthier towns where financial success

4368-748: The composer's inner world. Movements of the piece reflect the names of many characters of the commedia , including Pierrot , Harlequin, Pantalone , and Columbine. Stock characters and situations also appear in ballet. Igor Stravinsky 's Petrushka and Pulcinella allude directly to the tradition. Commedia dell'arte is performed seasonally in Denmark on the Peacock Stage of Tivoli Gardens in Copenhagen, and north of Copenhagen at Dyrehavsbakken . Tivoli has regular performances, while Bakken has daily performances for children by Pierrot and

4459-503: The curtains part, seven actors appear in commedia dell'arte costumes, on a little stage, moving in a dreamlike recreation of their old roles. Flaminio Scala , the leader of the troupe, begins the story, transporting us back to a beautiful spring day in Venice. Suddenly, we are on a piazza, as the Glorious Ones, set up a stage and introduce us to their bawdy style of comedy. ("The Glorious Ones"). They tell us that much of their comic routines were improvised, and Flaminio Scala illustrates with

4550-548: The diamond shaped lozenges took shape. The jacket became shorter and his hat changed from a soft cap to a double pointed hat. Il Dottore's costume was a play on the academic dress of the Bolognese scholars. Il Dottore is almost always clothed entirely in black. He wore a long black gown or jacket that went below the knees. Over the gown, he would have a long black robe that went down to his heels, and he would have on black shoes, stockings, and breeches. In 1653, his costume

4641-423: The dispatch of the Italian comedians from France in 1697, the form transmogrified in the 18th century as genres such as comédie larmoyante gained in attraction in France, particularly through the plays of Marivaux . Marivaux softened the commedia considerably by bringing in true emotion to the stage. Harlequin achieved more prominence during this period. It is possible that this type of improvised acting

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4732-421: The early republic ( Atellan Farces ). The Atellan Farces of the early Roman republic featured crude "types" wearing masks with grossly exaggerated features and an improvised plot. Some historians argue that Atellan stock characters, Pappus, Maccus+Buccus, and Manducus, are the primitive versions of the commedia characters Pantalone , Pulcinella , and il Capitano . More recent accounts establish links to

4823-476: The fifty scenarios, only one is considered a tragedy, nine are considered elaborate fantasies and the remaining forty are comedies. Scala's approach to creating was unique. His scenarios did not require dialogue. The scenarios only provide in detail the action to be done by the actor. It is unknown as to why Scala chose to format his work like this. Evidence suggests that the Scala collection may have been written to cater to both actors and recreational readers. Between

4914-742: The first of the great Harlequins, and was honoured by the Medici and the Queen of France. Performers made use of well-rehearsed jokes and stock physical gags, known as lazzi and concetti , as well as on-the-spot improvised and interpolated episodes and routines, called burle ( sg. : burla , Italian for 'joke'), usually involving a practical joke. Since the productions were improvised, dialogue and action could easily be changed to satirize local scandals, current events, or regional tastes, while still using old jokes and punchlines. Characters were identified by costumes, masks, and props , such as

5005-439: The first primadonnas and the first well-documented actresses in Italy (and Europe). In the 1570s, English theatre critics generally denigrated the troupes with their female actors (some decades later, Ben Jonson referred to one female performer of the commedia as a "tumbling whore"). By the end of the 1570s, Italian prelates attempted to ban female performers; however, by the end of the 16th century, actresses were standard on

5096-534: The form to its liking. For example, pantomime , which flourished in the 18th century, owes its genesis to the character types of the commedia , particularly Harlequin . The Punch and Judy puppet shows, popular to this day in England, owe their basis to the Pulcinella mask that emerged in Neapolitan versions of the form. In Italy, commedia masks and plots found their way into the opera buffa , and

5187-454: The full face, or the mask would need to be used in such a way to really accentuate the facial features and movements of the character's head. Thus, the importance of gesturing in the face and with the body is needed for fully portraying Scala's work. Scala was born in Rome , Italy, on 27 September 1552. Little is known about his early life and his aristocratic family, except that his father's name

5278-575: The little dwarf, all the men, and a series of double-entendres!. But instead of glory and fame, the response of the religious court is to throw them out of France. Flaminio is angry and humiliated before his troupe, but rallies them to his side once again with his artistic vision. ("Improvisation.") The only one not convinced is Francesco. Lights come up on a beautiful young noblewoman named Isabella. We learn that she writes stories against her parents' wishes. ("The World She Writes.") Francesco notices her and gets her to come down from her balcony. She shows him

5369-914: The lodgers in Steven Berkoff 's adaptation of Franz Kafka 's The Metamorphosis . Through their association with spoken theatre and playwrights commedia figures have provided opera with many of its stock characters. Mozart 's Don Giovanni sets a puppet show story and comic servants such as Leporello and Figaro have commedia precedents. Soubrette characters such as Susanna in Le nozze di Figaro , Zerlina in Don Giovanni and Despina in Così fan tutte recall Columbine and related characters. The comic operas of Gaetano Donizetti , such as L'elisir d'amore , draw readily upon commedia stock types. Leoncavallo 's tragic melodrama Pagliacci depicts

5460-409: The lovers to ask one or more Zanni (eccentric servants) for help. Typically the story ends happily, with the marriage of the innamorati and forgiveness for any wrongdoings. While generally personally unscripted, the performances often were based on scenarios that gave some semblance of a plot to the largely improvised format. The Flaminio Scala scenarios, published in the early 17th century, are

5551-637: The masked types), and excessive borrowing as opposed to originality was typical of all the arts in the late Italian Renaissance . Theatre historian Martin Green points to the extravagance of emotion during the period of commedia 's emergence as the reason for representational moods, or characters, that define the art. In commedia , each character embodies a mood: mockery, sadness, gaiety, confusion, and so forth. According to 18th-century London theatre critic Baretti , commedia dell'arte incorporates specific roles and characters that were "originally intended as

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5642-552: The medieval jongleurs, and prototypes from medieval moralities, such as Hellequin (as the source of Harlequin, for example). The first recorded commedia dell'arte performances came from Rome as early as 1551. Commedia dell'arte was performed outdoors in temporary venues by professional actors who were costumed and masked, as opposed to commedia erudita ( lit.   ' learned comedy ' ), which were written comedies, presented indoors by untrained and unmasked actors. This view may be somewhat romanticized since records describe

5733-512: The most influential painters, Lodewyk Toeput, for example, became Ludovico Pozzoserrato and was a celebrated painter in the Veneto region of Italy. The pittore vago can be attributed with establishing commedia dell'arte as a genre of painting that would persist for centuries. While the iconography gives evidence of the performance style (see Fossard collection), many of the images and engravings were not depictions from real life, but concocted in

5824-408: The most widely known collection and representative of its most esteemed compagnia , I Gelosi . The iconography of the commedia dell'arte represents an entire field of study that has been examined by commedia scholars such as Erenstein, Castagno, Katritzky, Molinari, and others. In the early period, representative works by painters at Fontainebleau were notable for their erotic depictions of

5915-804: The musical opened Off-Broadway in October 2007. The musical premiered April 27, 2007, at the Pittsburgh Public Theater and closed on May 20, 2007. It then opened Off-Broadway at the Mitzi E. Newhouse Theater , as a production of the Lincoln Center Theater on October 11, 2007 and ran through January 6, 2008. Directed and choreographed by Graciela Daniele , the New York cast featured Marc Kudisch , Erin Davie , Natalie Venetia Belcon , and David Patrick Kelly. The musical

6006-545: The name Confidenti, which also ended up being successful. Confidenti made a home for itself in France in the year 1571. While the company had established a positive reputation for itself, much of its members were shareholders. This stock character made up the male half of the pair of young lovers that were central to the plots of scenarios in Italian commedia dell'arte . Typically, the innamorati were as much in love with one another as they were with themselves and frequently kept apart by circumstances outside their control. Scala

6097-460: The period the Capitano is from. Pantalone has one of the most iconic costumes of commedia dell'arte. Typically, he would wear a tight-fitting jacket with a matching pair of trousers. He usually pairs these two with a big black coat called a zimarra . Women, who usually played servants or lovers, wore less stylized costumes than the men in commedia . The innamorati would wear what

6188-478: The plots and masks in creating an indigenous treatment. Indeed, Molière shared the stage with the Comédie-Italienne at Petit-Bourbon , and some of his forms, e.g. the tirade , are derivative from the commedia ( tirata ). Commedia dell'arte moved outside the city limits to the théâtre de la foire , or fair theatres, in the early 17th century as it evolved toward a more pantomimed style. With

6279-522: The plots of Rossini , Verdi , and Puccini . During the Napoleonic occupation of Italy, instigators of reform and critics of French Imperial rule (such as Giacomo Casanova ) used the Carnival masks to hide their identities while fueling political agendas, challenging social rule and hurling blatant insults and criticisms at the regime. In 1797, in order to destroy the impromptu style of Carnival as

6370-464: The position as director with the Ganassa Company from 1571 up until practicing under Francesco Andreini in 1577. Members of the company included Vittoria Piisimi, Isabella Arreini, Lodovico da Bologna, Giulio Pasquati, Simone da Bologna, Gabriele Panzanini, Orazio Nobili and a host of other notable playmakers. Records also show that Scala also invested his time into another theatre company under

6461-471: The profession ' ) was an early form of professional theatre , originating from Italian theatre , that was popular throughout Europe between the 16th and 18th centuries. It was formerly called Italian comedy in English and is also known as commedia alla maschera , commedia improvviso , and commedia dell'arte all'improvviso . Characterized by masked "types", commedia was responsible for

6552-413: The rise of actresses such as Isabella Andreini and improvised performances based on sketches or scenarios. A commedia , such as The Tooth Puller , contains both scripted and improvised portions; key plot points and characters' entrances and exits are scripted, but the actors may otherwise be expected to improvise new gags on stage. A special characteristic of commedia is the lazzo ,

6643-599: The season of Carnival , which took place in January. Janus also signified the duality of the actor, who is playing a character or mask, while still remaining oneself. Magistrates and clergy were not always receptive to the travelling compagnie, particularly during periods of plague, and because of their itinerant nature. Actors, both male and female, were known to strip nearly naked, and storylines typically descended into crude situations with overt sexuality, considered to teach nothing but "lewdness and adultery...of both sexes" by

6734-467: The seventeenth and eighteenth century's collections, documentation proves that 750 canovacci have survived over time. The collection has been translated into English by Henry F. Salerno in 1967 as Scenarios of the Commedia dell'Arte . A new Italian edition edited by Ferruccio Marotti was published in 1976. A new partial translation (30 scenarios out of 50) by Richard Andrews was published in 2008. Scala

6825-429: The song, Flaminio tells her she is now too old to play that role, that he is giving it to the fresh-faced Isabella. Columbina must settle for the role of the comic maid. The Glorious Ones perform the second play-within-a play. It is still "The Comedy of Love," Flaminio is still the leading man who nearly kills himself, but now Isabella is the leading lady . During the performance, Isabella and her husband Francesco play

6916-410: The staging of some stock characters that Scala uses in his work; physical skills such as sword handling, dancing, singing, and the use of musical instruments might need to be known and used. Another important aspect that Scala emphasized is the use of facial expressions, with or without a mask on the actor. Masks were worn for some stock characters, such as Burattino, but sometimes the mask would not cover

7007-503: The stereotypes they play every night. Flaminio is drunk and enraged by this challenge to his authority. But the troupe votes to try the new play. In his drunken state Flaminio sees the troupe mocking him and deriding his "Rise and Fall." But in the end, he goes along with it, agreeing to play the grotesque, comic character of Captain Spavento. Before the performance of "The Moon Woman," Columbina and Flaminio prepare to go onstage. Flaminio

7098-585: The studio. The Callot etchings of the Balli di Sfessania (1611) are most widely considered capricci rather than actual depictions of a commedia dance form, or typical masks. While these are often reproduced in large formats, the actual prints measured about 2×3 inches. In the 18th century, Watteau 's painting of commedia figures intermingling with the aristocracy were often set in sumptuous garden or pastoral settings and were representative of that genre. Pablo Picasso 's 1921 painting Three Musicians

7189-528: The symmetry of the various types in duet: two Zanni, vecchi , innamorate and innamorati , etc. In commedia dell'arte, female roles were played by women, documented as early as the 1560s, making them the first known professional actresses in Europe since antiquity. Lucrezia Di Siena , whose name is on a contract of actors from 10 October 1564, has been referred to as the first Italian actress known by name, with Vincenza Armani and Barbara Flaminia as

7280-482: The thinly veiled innamorata , or the bare-breasted courtesan/actress. The Flemish influence is widely documented as commedia figures entered the world of the vanitas genre, depicting the dangers of lust, drinking, and the hedonistic lifestyle. Castagno describes the Flemish pittore vago ('wandering painter') who assimilated themselves within Italian workshops and even assumed Italian surnames: one of

7371-437: The troupe ever return. Prices were dependent on the troupe's decision, which could vary depending on the wealth of the location, the length of stay, and the regulations governments had in place for dramatic performances. Generally, the actors playing were diverse in background in terms of class and religion, and performed anywhere they could. Castagno posits that the aesthetic of exaggeration, distortion, anti-humanism (as in

7462-406: Was Giacomo. Scala is thought to have one recorded child, a daughter named, Orsola. Orsola is documented to be an active actress, normally playing the role of Flaminia, a play on femininity of Scala's first name. In 1611 Scala published the first collection of Scenarios of the Commedia dell'Arte plays, under the title Il Teatro delle Favole Rappresentative, also called the Scala collection. Out of

7553-401: Was a bat and a wallet that would hang from his belt. His hat, which was a soft cap, was modeled after Charles IX or after Henri II, and almost always had a tail of a rabbit, hare or a fox with the occasional tuft of feathers. During the 17th century, the patches turned into blue, red, and green triangles arranged in a symmetrical pattern. The 18th century is when the iconic Harlequin look with

7644-457: Was believed to make performances more natural, as well as strengthening the bonds within the troupe, who emphasized complete unity between every member. Additionally, each character has a singular costume and mask that is representative of the character's role. Commedia dell'arte has four stock character groups: Masked characters are often referred to as "masks" (Italian: maschere ), which, according to John Rudlin, cannot be separated from

7735-457: Was changed by Augustin Lolli who was a very popular il Dottore actor. He added an enormous black hat, changed the robe to a jacket cut similarly to Louis XIV, and added a flat ruff to the neck. Il Capitano's costume is similar to il Dottore's in the fact that it is also a satire on military wear of the time. This costume would therefore change depending on where the Capitano character is from, and

7826-565: Was considered part of the innamorati function to be able to sing and have the popular repertoire under their belt. Accounts of the early commedia , as far back as Calmo in the 1570s and the buffoni of Venice, note the ability of comici to sing madrigali precisely and beautifully. The danzatrice probably accompanied the troupes and may have been in addition to the general cast of characters. For examples of strange instruments of various grotesque formations, see articles by Tom Heck, who has documented this area. The works of

7917-414: Was considered to be the fashion of the time period. They would normally not wear masks but would be heavily makeuped. Conventional plot lines were written on themes of sex , jealousy , love , and old age . Many of the basic plot elements can be traced back to the Roman comedies of Plautus and Terence , some of which were themselves translations of lost Greek comedies of the 4th century BC. However, it

8008-538: Was more probable. Companies would also find themselves summoned by high-ranking officials, who would offer patronage in return for performing in their land for a certain amount of time. Companies in fact preferred to not stay in any one place too long, mostly out of a fear of the act becoming "stale". They would move on to the next location while their popularity was still active, ensuring the towns and people were sad to see them leave, and would be more probably to either invite them back or pay to watch performances again should

8099-534: Was passed down the Italian generations until the 17th century, when it was revived as a professional theatrical technique. However, as currently used, the term commedia dell'arte was coined in the mid-18th century. Commedia dell'arte was equally if not more popular in France, where it continued its popularity throughout the 17th century (until 1697), and it was in France that commedia developed its established repertoire. Commedia evolved into various configurations across Europe, and each country acculturated

8190-833: Was played by the company's artistic director, Joe Cascone. Flaminio Scala worked with commedia dell'arte in the sixteenth and early seventeenth century in Europe. At this time, audiences were seeking out ways to cope with stress and dissociate from lives in which they felt trapped by "widespread dissimulation" (Schmitt, 2015). Scala related much of his work to the topic of dissimulation which had become so prevalent and this connection can be seen in multiple ways throughout his work (Schmitt, 2015). Commedia dell%27arte Commedia dell'arte ( / k ɒ ˈ m eɪ d i ə d ɛ l ˈ ɑːr t eɪ , k ə -, - ˈ m ɛ d i ə , - ˈ ɑːr t iː / kom- AY -dee-ə del- AR -tay, kəm-, -⁠ ED -ee-ə, -⁠ AR -tee , Italian: [komˈmɛːdja delˈlarte] ; lit.   ' comedy of

8281-639: Was presented at the Landor Theatre, London, from 6 March to 7 April 2012, with direction by Robert McWhir. The Canadian premiere of The Glorious Ones took place in May 2014, presented by the Toronto Civic Light Opera Company, starring Joe Cascone (Flaminio), Joanne Kennedy (Columbina), David Haines (Dottore), Eric Botosan (Pantalone), Elizabeth Rose Morriss (Isabella), Jordan Quinn (Francesco) and Susan Sanders (Armanda). As

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