Venetian Commedia dell'Arte “Operas” in the Age of Vivaldi

1984 ◽  
Vol LXX (2) ◽  
pp. 195-217
Author(s):  
PIERO WEISS
Keyword(s):  
Commedia Dell'arte

Commedia dell'arte Actresses and the Performance of Lovesickness

2009 ◽  
Vol 10 (2) ◽  
pp. 26-37
Author(s):  
Clarissa Hanora Hurley
Keyword(s):  
Medical Condition ◽  
Commedia Dell'arte ◽  
Cultural Attitudes ◽  
Gender Based

In the late sixteenth and early seventeenth centuries there was a conjunction of interest in erotomania as a “real” medical condition and the representation of that condition in literature and on the popular stage. This period corresponds with the rise of the professional actress of the commedia dell’arte. This paper explores some instances of pazzia (madness) scenes in the scenarios of Flaminio Scala and contemporary accounts of commedia performances with a view to better understanding the role of the professional theatre and professional actress in shaping and reflecting cultural attitudes towards gender-based erotic “distraction”.

Commedia Dell'Arte Academica

2005 ◽  
Vol 53 (3) ◽  
pp. 115-119
Author(s):  
Laura A. Ewald
Keyword(s):  
Commedia Dell'arte

The Commedia dell'arte as the Quintessence of Comedy

2008 ◽  
Vol 16 (1) ◽  
pp. 9-22
Author(s):  
Stanley Vincent Longman
Keyword(s):  
Commedia Dell'arte

Actor-authors of the Commedia dell'arte: The Dramatic Writings of Flaminio Scala and Giambattista Andreini

1998 ◽  
Vol 23 (2) ◽  
pp. 142-151
Author(s):  
Cesare Molinari
Keyword(s):  
Commedia Dell'arte ◽  
Third Generation ◽  
Literary Production ◽  
Almost All

In 1880, the first modern editor to publish a collection of commedia dell'arte scenarios noted, not without surprise, that ‘the earliest professional actors were almost all writers as well’. ‘Almost all’ is perhaps an exaggeration. Yet the literary production of comic players, and particularly that of the second and third generation of actors, is impressive for its quantity as well as its variety. It ranges from Giovan Paolo Fabbri's Capitoli alla Carlona and Adriano Valerini's historically important essay on the beauties of Verona, to the Rime of Isabella Andreini, in which she established a dialectic connection between the art of writing and that of the theatre:If you will read one daymy neglected verses, don't be taken in bythese feigned ardoursI am used to playing in dramatic love sceneswith such insincere passionswith lying and mock expressions.I unfold the Muses' high furoressometimes weeping in false sorrowsometimes singing with false pleasure.

The Idea of Commedia in the Twentieth Century

1998 ◽  
Vol 23 (2) ◽  
pp. 167-173 ◽  
Author(s):  
Michael Anderson
Keyword(s):  
Twentieth Century ◽  
Commedia Dell'arte ◽  
Research Practice ◽  
History Of

The truth of Shaw's dictum that ‘those who can, do, and those who can't, teach’, is questioned by the history of commedia dell'arte in the twentieth century, in which research, practice and teaching are inextricably bound together. The significance of commedia's influence on the modern stage lies precisely in the fact that the nature of commedia cannot be defined objectively but is mediated through research and stage practice. We have to deal, therefore, not so much with commedia itself as with an ‘idea’ of commedia, a phrase I have borrowed from Kenneth Richards and Laura Richards.

scholarly journals "In questo", il teatro gli scenari della commedia dell'arte

2001 ◽  
Vol 24 (1) ◽  
pp. 121-141
Author(s):  
Roberto Cuppone
Keyword(s):  
Commedia Dell'arte

Il segreto della commedia dell'arte è stato nel paradosso di Maschera e Improvvisazione, Tipo Fisso e Testo Variabile, Conservazione e Innovazione. Per questo è stato nei secoli esaltata o denigrata: considerata reazionaria dalla Rivoluzione francese e esaltata come rivoluzionaria dai Romantici. Nel Novecento, Copeau, Mejerchol'd, Mnouchkine e Fo hanno dovuto fare i conti con questa ambivalenza. Dunque ciò che oggi si chiama commedia dell'arte è "reazionario" o "rivoluzionario"? "Popolare"o "populista"?

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