Commedia dell'arte[a] was an early form of professionaltheatre, originating fromItalian theatre, that was popular throughout Europe between the 16th and 18th centuries.[4][5] It was formerly calledItalian comedy in English and is also known ascommedia alla maschera,commedia improvviso, andcommedia dell'arte all'improvviso.[6]Commedia is characterized bymasked "types" which are standardised archetypical characters shared across all productions and identified via their names, costumes, and functions in the comedy.
Commedia was responsible for the rise of actresses such asIsabella Andreini[7] andimprovised performances based onsketches or scenarios.[8][9] Acommedia, such asThe Tooth Puller, contains both scripted and improvised portions;[8][10] 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 ofcommedia is thelazzo, a joke or "something foolish or witty", usually well known to the performers and to some extent a scripted routine.[10][11] Another characteristic ofcommedia ispantomime, which is mostly used by the characterArlecchino, now better known as Harlequin.[12]
The characters of thecommedia usually represent fixed social types andstock characters, such as foolish old men, devious servants, or military officers full of falsebravado.[8][13] The characters are exaggerated "real characters", such as a know-it-all doctor calledil Dottore, a greedy old man calledPantalone, or a perfect relationship like theinnamorati.[7] Many troupes were formed to performcommedia, includingI Gelosi (which had actors such as Isabella Andreini and her husbandFrancesco Andreini),[14] Confidenti Troupe, Desioi Troupe, and Fedeli Troupe.[7][8]Commedia was often performed outside on platforms or in popular areas such as a piazza (town square).[6][8] The form of theatre originated in Italy, but travelled throughout Europe—sometimes to as far away as Moscow.[15]
The genesis ofcommedia may be related toCarnival inVenice, where the author and actorAndrea Calmo had created the character Il Magnifico, the precursor to thevecchio (meaning 'old one' or simply 'old') Pantalone, by 1570. In theFlaminio Scala scenario, for example, Il Magnifico persists and is interchangeable with Pantalone into the 17th century. While Calmo's characters (which also included a Capitano type 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 betweenEpiphany andAsh Wednesday) would suggest that masking was a convention of Carnival and was applied at some point. The tradition in northern Italy is centred inFlorence,Mantua, and Venice, where the major companies came under the protection of the variousdukes. Concomitantly, a Neapolitan tradition emerged in the south and featured the prominent stage figurePulcinella, which has been long associated with Naples and derived into various types elsewhere—most famously as the puppet character Punch (of the eponymousPunch and Judy shows) in England.
Although commedia dell'arte flourished in theItalian theatre during theMannerist 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.[16] Some date the origins to the period of the Roman middle republic (Plautine types) or 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.[17] Some historians argue that Atellan stock characters, Pappus, Maccus (combined with Buccus), and Manducus, are the primitive versions of thecommedia charactersPantalone,Pulcinella, andil Capitano.[18][19][20] More recent accounts establish links to the medieval jongleurs, and prototypes from medieval moralities, such as Hellequin (as the source of Harlequin, for example).[21]
The first recorded commedia dell'arte performances came from Rome as early as 1551.[22] Commedia dell'arte was performed outdoors in temporary venues by professional actors who were costumed and masked, as opposed tocommedia erudita (lit. 'learned comedy'[23]), which were written comedies, presented indoors by untrained and unmasked actors.[24] This view may be somewhat romanticized since records describe theGelosi performingTasso'sAminta, for example, and much was done at court rather than in the street. By the mid-16th century, specific troupes ofcommedia 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 godJanus. Janus symbolized both 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": "twovecchi, fourinnamorati (two male and two female lovers), twoZanni, a captain and aservetta (serving maid)".[25]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 the symmetry of the various types in duet: two Zanni,vecchi,innamorate andinnamorati, 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, withVincenza Armani andBarbara Flaminia as the first primadonnas and the first well-documented actresses in Italy (and Europe).[26] 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 thecommedia 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 the Italian stage.[27] 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 termnegativa poetica describes this and other practices offensive to the church, while giving us an idea of the phenomenon of 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'sLa supplica (1634) and Perrucci'sDell'arte rapresentativa (1699)—"made firm recommendations concerning performing practice". Katritzky argues that, as a result,commedia was reduced to formulaic and stylized acting; as far as possible from the purity of the improvisational genesis a century earlier.[28] In France, during the reign ofLouis XIV, theComédie-Italienne created a repertoire and delineated new masks and characters, while deleting some of the Italian precursors, such as Pantalone. French playwrights, particularlyMolière, gleaned from the plots and masks in creating an indigenous treatment. Indeed, Molière shared the stage with the Comédie-Italienne atPetit-Bourbon, and some of his forms, e.g. thetirade, are derivative from thecommedia (tirata).
Commedia dell'arte moved outside the city limits to thethéâtre de la foire, or fair theatres, in the early 17th century as it evolved toward a more pantomimed style. With the dispatch of the Italian comedians from France in 1697, the form transmogrified in the 18th century as genres such ascomédie larmoyante gained in attraction in France, particularly through the plays ofMarivaux. Marivaux softened thecommedia 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 was passed down the Italian generations until the 17th century, when it was revived as a professional theatrical technique. However, as currently used, the termcommedia dell'arte was coined in the mid-18th century.[29]
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 thatcommedia developed its established repertoire.Commedia evolved into various configurations across Europe, and each country acculturated the form to its liking. For example,pantomime, which flourished in the 18th century, owes its genesis to the character types of thecommedia, particularlyHarlequin. ThePunch and Judy puppet shows, popular to this day in England, owe their basis to thePulcinella mask that emerged inNeapolitan versions of the form. In Italy,commedia masks and plots found their way into theopera buffa, and the plots ofRossini,Verdi, andPuccini.
During the Napoleonic occupation of Italy, instigators of reform and critics of French Imperial rule 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 a partisan platform, Napoleon outlawed the commedia dell'arte. It was not reborn in Venice until 1979 because of this.[30]
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 a single patron or performing in the same general location.[31] Members would also splinter off to form their own troupes, such was the case with theGanassa and the Gelosi. These compagnie travelled throughout Europe from the early period, beginning with the Soldati, then, the Ganassa, who travelled to Spain,[32] and were famous for playing the guitar and singing—never to be heard from again—and the famous troupes of 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 itsimpresse (like a coat of arms) which symbolized its nature. The Gelosi, for example, used the two-headed face of the Roman godJanus, to signify its comings and goings and relationship to the season ofCarnival, 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 the French Parliament.[33] The termvagabondi was used in reference to thecomici, 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.[25] The companies would employ carpenters, props masters, servants, nurses, and prompters, all of whom would travel with 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 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 the troupe ever return.[34] 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 theaesthetic of exaggeration, distortion,anti-humanism (as in the masked types), and excessive borrowing as opposed to originality was typical of all the arts in the lateItalian Renaissance.[37] Theatre historian Martin Green points to the extravagance of emotion during the period ofcommedia's emergence as the reason for representational moods, or characters, that define the art. Incommedia, each character embodies a mood: mockery, sadness, gaiety, confusion, and so forth.[38]
According to 18th-century London theatre criticBaretti, commedia dell'arte incorporates specific roles and characters that were "originally intended as a type of characteristic representative of some particular Italian district or town" (archetypes).[29][39] 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 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 singularcostume and mask that is representative of the character's role.[29]
Commedia dell'arte has four stock character groups:[13]
Masked characters are often referred to as "masks" (Italian:maschere), which, according to John Rudlin, cannot be separated from the character. In other words, the characteristics of the character and the characteristics of the mask are the same.[41] In time however, the wordmaschere 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 (femaleamorose are never masked). The female character in the masters group 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. Theamorosi 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 a high-class courtesan. Female characters in the masters group, while younger than their male counterparts, are nevertheless older than theamorosi. Some of the better known commedia dell'arte characters arePierrot and Pierrette,Pantalone,Gianduja,il Dottore,Brighella,il Capitano,Colombina, theinnamorati,Pedrolino,Pulcinella,Arlecchino,Sandrone,Scaramuccia (also known as Scaramouche),la Signora, andTartaglia.
| Character(s) | Masks | Status | Costume |
|---|---|---|---|
| Beltrame | Yes | Villager who pretends to be rich | Tunic and cape |
| Brighella | Yes | Smart and vindictive servant/middle class character | White smock and pants with green trim |
| Colombina | No | Perky maid / servant | Can be colorful on par with Harlequin or black and white |
| Gianduja | No | Honest peasant who loves wine and food | Brown suit and horn hat |
| Harlequin | Yes | Servant (sometimes to two masters) | Colorful tight-fitting jacket and trousers |
| Il Capitano | Yes | Indigent loner | Military uniform |
| Il Dottore | Yes | Head of the household | Black scholarly robe |
| Innamorati | No | High-class hopeless lovers | Nicely dressed on par with the time |
| Pantalone | Yes | Older wealthy man | Dark capes and red trousers |
| Pierrot | No (but heavy makeup) | Servant (Sad clown) | White, flowy costume with large buttons |
| Pulcinella | Yes | Servant or master | Baggy, white outfit |
| Sandrone | No | Cunning peasant | Corduroy jacket and pants, red and white cross-striped socks |
| Scaramouche | Yes, later removed | Braggart with villainous traits | Black Spanish dress |
| Tartaglia | Yes | Stuttering statesman | Large felt hat and enormous cloak |
In the 17th century, ascommedia became popular in France, the characters of Pierrot, Columbine and Harlequin were refined and became essentially Parisian, according to Green.[43]
Each character in commedia dell'arte has a distinct costume that helps the audience understand who the character is.
Harlequin originally wore a long, tight-fitting jacket with matching trousers that both had numerous odd-shaped patches, usually green, yellow, red, and brown.[44][45] Usually, a bat and a wallet would hang from his belt.[45] 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 fox with the occasional tuft of feathers.[45][44] During the 17th century, the patches turned into blue, red, and green triangles arranged in a symmetrical pattern.[45] In the 18th century, the iconic Harlequin look with diamond-shaped lozenges took shape. The jacket became shorter, and the hat changed from a soft cap to a double-pointed hat.[45]
Il Dottore's costume was a play on the academic dress of the Bolognese scholars.[45][44] Il Dottore is almost always clothed entirely in black.[45] He wore a long, black gown or jacket that went below the knees.[45][44] Over the gown, a long, black robe went down to his heels, and he wore black shoes, stockings, and breeches.[45][44] In 1653, his costume 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.[45]
Il Capitano's costume is similar to il Dottore's in that it is also a satire—in this case, on the military wear of the time.[44] This costume would therefore change, depending on the time period and locale of the Capitano character.[44][45]
Pantalone has one of the most iconic costumes of commedia dell'arte. Typically, he wears a tight-fitting jacket with matching trousers. He usually pairs these garments with a big, black coat called azimarra.[45][44]
Women, who usually played servants or lovers, wore less stylized costumes than the men incommedia. Theinnamorati would wear what was considered to be the fashion of the time period. They would normally not wear masks but would be heavily made up.
Conventional plot lines were written on themes ofsex,jealousy,love, andold age. Many of the basic plot elements can be traced back to the Roman comedies ofPlautus andTerence, some of which were themselves translations of lost Greek comedies of the 4th century BC. However, it is more probable that thecomici 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'sThe 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 a number ofinnamorati were skilledmadrigalists, a song form that uses chromatics and closeharmonies. Audiences came to see the performers, with plotlines becoming secondary to the performance. Among the greatinnamorate,Isabella Andreini was perhaps the most widely known, and a medallion dedicated to her reads "eternal fame".Tristano Martinelli achieved international fame as the first of the great Harlequins, and was honoured by theMedici and the Queen of France. Performers made use of well-rehearsed jokes and stock physical gags, known aslazzi andconcetti, as well as on-the-spot improvised andinterpolated episodes and routines, calledburle (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, andprops, such as a type of baton known as aslapstick. These characters included the forebears of the modernclown, namely Harlequin and the Zanni. Harlequin, in particular, was allowed to comment on current events in his entertainment.[46]
The classic, traditional plot is that theinnamorati are in love and wish to be married, but one elder (vecchio) or several elders (vecchi) are preventing this from happening, leading the lovers to ask one or more Zanni (eccentric servants) for help. Typically the story ends happily, with the marriage of theinnamorati 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. TheFlaminio Scala scenarios, published in the early 17th century, are the most widely known collection and representative of its most esteemedcompagnia,I Gelosi.
The iconography of the commedia dell'arte represents an entire field of study that has been examined bycommedia scholars such as Erenstein, Castagno, Katritzky, Molinari, and others. In the early period, representative works by painters atFontainebleau were notable for their erotic depictions of the thinly veiledinnamorata, or the bare-breasted courtesan/actress.
The Flemish influence is widely documented ascommedia figures entered the world of thevanitas genre, depicting the dangers of lust, drinking, and the hedonistic lifestyle. Castagno describes the Flemishpittore vago ('wandering painter') who assimilated themselves within Italian workshops and even assumed Italian surnames: one of the most influential painters, Lodewyk Toeput, for example, became Ludovico Pozzoserrato and was a celebrated painter in the Veneto region of Italy. Thepittore 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 the studio. TheCallot etchings of the Balli di Sfessania (1611) are most widely consideredcapricci rather than actual depictions of acommedia 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 ofcommedia figures intermingling with the aristocracy were often set in sumptuous garden or pastoral settings and were representative of that genre.
Pablo Picasso's 1921 paintingThree Musicians is a colorful representation ofcommedia-inspired characters.[47] Picasso also designed the original costumes forStravinsky'sPulcinella (1920), a ballet depictingcommedia characters and situations.Commedia iconography is evident in porcelain figurines many selling for thousands of dollars at auction.
The expressive theatre influencedMolière's comedy and subsequentlyballet d'action, thus lending a fresh range of expression and choreographic means. An example of a commedia dell'arte character in literature is thePied Piper of Hamelin who is dressed asHarlequin.
Music and dance were central to commedia dell'arte performance, and most performances had both instrumental and vocal music in them.[48] Brighella was often depicted with a guitar, and many images of thecommedia feature singinginnamorati or dancing figures. In fact, it was considered part of theinnamorati function to be able to sing and have the popular repertoire under their belt. Accounts of the earlycommedia, as far back as Calmo in the 1570s and thebuffoni of Venice, note the ability ofcomici to singmadrigali precisely and beautifully. Thedanzatrice 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.[citation needed]
The works of a number of playwrights have featured characters influenced by the commedia dell'arte and sometimes directly drawn from it. Prominent examples includeThe Tempest byWilliam Shakespeare,Les Fourberies de Scapin byMolière,The Servant of Two Masters (1743) byCarlo Goldoni, the Figaro plays ofPierre Beaumarchais, and especiallyThe Love for Three Oranges,Turandot and otherfiabe byCarlo Gozzi. Influences appear in the lodgers inSteven Berkoff's adaptation ofFranz Kafka'sThe Metamorphosis.
Through their association with spoken theatre and playwrightscommedia figures have provided opera with many of its stock characters.Mozart'sDon Giovanni sets a puppet show story and comic servants such as Leporello and Figaro havecommedia precedents. Soubrette characters such as Susanna inLe nozze di Figaro, Zerlina inDon Giovanni and Despina inCosì fan tutte recallColumbine and related characters. The comic operas ofGaetano Donizetti, such asL'elisir d'amore, draw readily uponcommedia stock types.Leoncavallo's tragic melodramaPagliacci depicts a commedia dell'arte company in which the performers find their life situations reflecting events they depict on stage.Commedia characters also figure inRichard Strauss's operaAriadne auf Naxos.
The piano pieceCarnaval byRobert Schumann was conceived as a type of masked ball that combined characters from commedia dell'arte with real world characters, such asChopin,Paganini, andClara Schumann, as well as characters from the composer's inner world.[49][50] Movements of the piece reflect the names of many characters of thecommedia, includingPierrot, Harlequin,Pantalone, and Columbine.
Stock characters and situations also appear in ballet.Igor Stravinsky'sPetrushka andPulcinella allude directly to the tradition.
Commedia dell'arte is performed seasonally in Denmark on thePeacock Stage ofTivoli Gardens in Copenhagen, and north of Copenhagen atDyrehavsbakken.[51] Tivoli has regular performances, while Bakken has daily performances for children by Pierrot and a puppet version of Pulcinella resemblingPunch and Judy.[52][53]
The characters created and portrayed by English comedianSacha Baron Cohen (most famouslyAli G,Borat, andBruno) have been discussed in relation to their potential origins incommedia, as Baron Cohen was trained by French master clownPhilippe Gaulier, whose other students have gone on to become teachers and performers ofcommedia.[54]
Pulcinella was always dressed in white like Maccus, the mimus albus, or white mime.
Next there is the ogre Manducus, the Miles Glorious in the plays of Plautus, who is later metamorphosed into the swaggering Captain, of Captain.
...Bucco and the sensual Maccus, whose lean figure and cowardly nature reappear in Pulcinella.
{{cite book}}: CS1 maint: location missing publisher (link)john rudlin commedia dell'arte.
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