Isabella Andreini (bornIsabella Canali; 1562 – 10 June 1604),[1] also known asIsabella Da Padova, was an Italian actress and writer.[2] Andreini was a member of theCompagnia dei Comici Gelosi, atouring theatre company that performed in Italy and France. Therole of Isabella of thecommedia dell'arte was named after her.[3]
Isabella Canali was born inPadua toVenetian parents.[5] Although her family was poor, Andreini received a complete classical education. She was very interested in literary culture and became fluent in several languages[6] which she put to use in herLa Pazzia d'Isabella (The Divine Madness of Isabella).[7]
In 1576, at age fourteen, Andreini was hired by the troupe ofFlaminio Scala, theCompagnia dei Comici Gelosi. The Gelosi was a well-established theatre company that performedcommedia dell'arte.[6] The Gelosi were patronised by the aristocracy of northern Italy, usually performing for the gentry of Italy and France.Henry III of France was fond of the troupe, and Andreini performed for him in those very early years.[8]
From the beginning, Andreini particularly performed the role of the enamoured woman, theprima donna innamorata, and she improvised to create a character that was less dull and more perceptive.[9] She began toimprovise and eventually shaped the art form into one of comedic bits and spontaneity.[7] She was one of the women who introduced, developed, and excelled at improvisation.[10] She was daring for the time, sometimes taking off or tearing her clothes onstage. Additionally, Andreini was recognised for her acting flexibility, an important skill for allcommedia dell'arte characters, regardless of sex. Andreini played the power dynamics for comedy in her characters; she recognised the importance of her status as the leading actress in a new profession.[11] Andreini worked with the Gelosi until her death.[12]
In 1578, Andreini met and marriedFrancesco Andreini, non-traditionally taking his last name,[11] who would become the director of the Gelosi (1589). Andreini became both the leading lady and an important voice within the Gelosi company. Together with her husband, she managed the troupe's activities and negotiated with potential patrons.[13]
Andreini bore seven children, three boys and four girls, while touring in the Gelosi, and was a dedicated mother.[14] While her firstborn son, Giambattista, continued the theatrical tradition, her other male children were raised by the aristocracy ofMantua, one to become clergy in Italianmonasteries, and the other son to become a guard of aduke. She was committed in her duties to motherhood and as wife to Francesco Andreini.[15]
In 1589, Andreini performed her comic workLa Pazzia d'Isabella (Isabella's madness) for theFlorentine court during the wedding ofFerdinando I de' Medici andChristina of Lorraine, and the details of the mostly improvised play have survived to modern times. Fluent in several languages, she was renowned for her intellectual presentation and refined presence.[15] In this play, she creates madness by using several languages and then imitating the dialects of the other characters.[16] She was versatile in her craft and even referred to herself as being capable of playing any male role.[7] She created the role of Fabrizio, a character used in many ofFlaminio Scala's scenarios, where she plays a cross-dressing pageboy.[11] Andreini was noted as having played three different characters in one scenario, showcasing her improvisation skills and her talent.[11]
In 1599, Andreini performed beforeHenry IV, King of France, and his wifeMarie de' Medici.[15] By this point, Andreini was well known enough to be addressed as the "star" performer of the troupe, referred to by Maria de Medici in a letter as "the actress Isabella and her company".[9]
Andreini performed at least once for two other troupes: theConfidenti of the Duke of Mantua in 1589, and theUniti in 1601.[5]
In 1602, Andreini toured northern Italy, and in 1603 performed again for Henry IV, Marie de' Medici and a local audience atFontainebleau and Paris. This would be her last tour, because early in 1604 she died nearLyon, on her way back to Italy, when she miscarried her eighth child at age 42. After her state funeral, memorial coins were made in her honour, with one side representing her as a powerful Roman ruler and the other side featuring the Roman goddessFame and the wordsaeternafama.[11]
Although Francesco Andreini dissolved the Gelosi after her death, their sonGiambattista Andreini, who was an actor and a playwright, started his own company, theFedeli, with the original troupe of the Gelosi.[8][17]
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Besides performing on stage, Isabella Andreini was a recognised intellectual who dedicated much of her time to literature. The themes of her plays were shaded with some notions questioning the situation of the woman in the society of that epoch; she wrote with a masculine voice in her creations that showed her virtue.[15] She is considered one of the more successful female playwrights of her time, which is attributed to her time on stage as an actress. In one of her most notable works,La Mirtilla (1588), Andreini was able to address controversial and taboo topics regarding women and queerness. Through this play, she addresses the power, self-awareness, and independence of women as well as deep and supportive female relationships. Further, she explores the idea of lesbianism through the character of Ardelia. She was able to intertwine proto-feminist ideas of gender and sexuality while meeting the complicated theatrical elements of pastoral dramas. Other female playwrights also started to introduce these ideas; however, Andreini's golden reputation and growing popularity allowed her to address these topics without the repercussions. Thus, she was able to use her large platform to bring light to the matter.[18]
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Indeed, after publishingMirtilla, she began corresponding with contemporary intellectuals, attending their forums, and – an uncommon achievement for a woman in her era – in 1601 she was integrated into theliterary society of theAccademia degli Intenti ofPavia, for which she adopted the nickname ofAccesa. In a poetry contest held by the CardinalGiorgio Cinthio Aldobrandini of Rome, Isabella Andreini attained second place, only behind theRenaissance poetTorquato Tasso. Like Tasso, bothGabriello Chiabrera andGiambattista Marino have praised her.[5]
Some may argue that Andreini's writings were just as impressive, if not far more impressive, than her theatrical performances on the stage. Andreini highlighted subjects in her literary works that were not only extremely taboo but often severely underexplored. Andreini highlighted self-expression, erotic nature, gender identity, and sexuality in several of her pieces; the most famous piece beingRime D'Isabella Andreini Padouana Comica Gelosa, which highlights the eroticization of madness through a focus on sexuality and the body.[7]
Apart from writing plays, Isabella also wrote poetry and corresponded with a great variety of people.[16] She commemorated fellow poetLaura Guidiccioni after her death.[19]
Poets and a number of composers and musicians left tributes in her honour.[20] Gherardo Borgogni, a poet and literary editor, began writing verses honouring Andreini at the start of her literary career, and the two of them would end up exchanging verses for nearly twenty years. These verses for Andreini became the source of lyrics for future musical tributes. The earliest known musical tribute for Andreini was composed by Leone Leoni, and he used the Borgogni verses titledTu pur ti parti,o Filli, andDimmi Filli gradita. Other notable composers include Serafino Cantone, who was a Benedictine monk, and Peter Philips, who was an English composer.[3] Andreini inspired many French poets, notablyIsaac du Ryer (d. c. 1631).[21]
Andreini was known and infamous because of her intimacy onstage. She connected with people and used complex characteristics to make her characters realistic and relatable.[22]
Andreini and Inglis (a well-known French actress at the time) demonstrate that early modern women who were neither aristocratic or particularly wealthy could labour and think transnationally and be appreciated for it. Both travelled widely and on a regular basis, though Andreini's theatrical job allowed her to do so more frequently. Both became well known among Europe's cultural elite.[23]
Thecommedia dell'arte "lover"stock character,Isabella, was named from Andreini's most famous character and used by subsequentcommedia dell'arte troupes.[6] In particular, this school of theatre has studied the posthumous works of Andreini,Rime, Parte seconda andFragmenti de alcune scritture.[7]
Many women in earlycommedia dell'arte troupes are credited with advancing much of the improvisational tools used by the art form; Andreini is included in this legacy as a performer in the Gelosi troupe.[9]
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