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"The mask - as object, symbol, character, theatrical practice, even spectacle - is the central metaphor around which Fava builds his discussion of structure, themes, characters, and methods. His book combines historical fact, personal experience, philosophical speculation, and passionate opinion. Including period drawings, prints, and color photographs of leather masks made by Fava himself, The Comic Mask in the Commedia dell'Arte is a rich work of singular insight into one of the world's most venerable forms of theater." --Book Jacket.
A history of Italian theatre from its origins to the the time of this book's publication in 2006. The text discusses the impact of all the elements and figures integral to the collaborative process of theatre-making. The distinctive nature of Italian theatre is expressed in the individual chapters by highly regarded international scholars.
From Commedia dell’Arte came archetypal characters that are still with us today, such as Harlequin and Pantalone, and the rediscovered craft of writing comic dramas and masked theatre. From it came the forces that helped create and influence Opera, Ballet, Pantomime, Shakespeare, Moliere, Lopes de Vega, Goldoni, Meyerhold, and even the glove puppet, Mr Punch. The Routledge Companion to Commedia dell’Arte is a wide-ranging volume written by over 50 experts, that traces the history, characteristics, and development of this fascinating yet elusive theatre form. In synthesizing the elements of Commedia, this book introduces the history of the Sartori mask studio; presents a comparison between Gozzi and Goldoni’s complicated and adversarial approaches to theatre; invites discussions on Commedia’s relevance to Shakespeare, and illuminates re-interpretations of Commedia in modern times. The authors are drawn from actors, mask-makers, pedagogues, directors, trainers and academics, all of whom add unique insights into this most delightful of theatre styles. Notable contributions include: • Donato Sartori on the 20th century Sartori mask • Rob Henke on form and freedom • Anna Cottis on Carlo Boso • Didi Hopkins on One Man, Two Guv’nors • Kenneth Richards on acting companies • Antonio Fava on Pulcinella • Joan Schirle on Carlo Mazzone-Clementi and women in Commedia • and M.A. Katritzky on images Olly Crick is a performer, trainer and director, having trained in Commedia under Barry Grantham and Carlo Boso. He is founder of The Fabulous Old Spot Theatre Company. Judith Chaffee is Associate Professor of Theatre at Boston University, and Head of Movement Training for Actors. She trained in Commedia with Antonio Fava, Julie Goell, Stanley Allen Sherman, and Carlos Garcia Estevez.
"An important addition to the literature on Italian Commedia dell'Arte."--Choice This best-selling PAJ volume presents over 250 comedy routines used by commedia performers in Europe from 1550 to 1750. Includes an introduction, two complete commedia scenarios, and a glossary of commedia characters.
While comedy writers are responsible for creating clever scripts, comedic animators have a much more complicated problem to solve: What makes a physical character funny? Comedy for Animators breaks down the answer by exploring the techniques of those who have used their bodies to make others laugh. Drawing from traditions such as commedia dell’arte, pantomime, Vaudeville, the circus, and silent and modern film, animators will learn not only to create funny characters, but also how to execute gags, create a comic climate, and use environment as a character. Whether you’re creating a comic villain or a bumbling sidekick, this is the one and only guide you need to get your audience laughing! Explanation of comedic archetypes and devices will both inspire and inform your creative choices Exploration of various modes of storytelling allows you to give the right context for your story and characters Tips for creating worlds, scenarios, and casts for your characters to flourish in Companion website includes example videos and further resources to expand your skillset--check it out at www.comedyforanimators.com! Jonathan Lyons delivers simple, fun, illustrated lessons that teach readers to apply the principles of history’s greatest physical comedians to their animated characters. This isn’t stand-up comedy—it’s the falling down and jumping around sort!
Illustrated history of the beginnings, growth and influence of the commedia dell’ arte. Describes improvisations, staging, marks, scenarios, acting troupes, and origins.
Drawing on published collections and also manuscripts from Mantuan archives, Commedia dell' arte and the Mediterranean locates commedia dell' arte as a performance form reflective of its cultural crucible in the Mediterranean. The study provides a broad perspective on commedia dell’ arte as an expression of the various cultural, gender and language communities in Italy during the early-modern period, and explores the ways in which the art form offers a platform for reflection on power and cultural exchange. While highlighting the prevalence of Mediterranean crossings in the scenarios of commedia dell' arte, this book examines the way in which actors embodied characters from across the wider Mediterranean region. The presence of Mediterranean minority groups such as Arabs, Armenians, Jews and Turks within commedia dell' arte is marked on stage and 'backstage' where they were collaborators in the creative process. In addition, gendered performances by the first female actors participated in 'staging' the Mediterranean by using the female body as a canvas for cartographical imaginings. By focusing attention on the various communities involved in the making of theatre, a central preoccupation of the book is to question the dynamics of 'exchange' as it materialized within a spectrum inclusive of both cultural collaboration but also of taxation and coercion.
Music and the Commedia dell'Arte narrates the story of the most famous commedia dell'arte troupe of the late Renaissance, focusing in particular on the representation of women on stage and on the role of music-making in their craft. In its thorough integration of the fields of music history,theatre history, performance studies, women's studies and Classics, this is the first comprehensive analysis of the leading actresses of the Compagnia dei Gelosi and their contributions to the Renaissance stage. Including an extensive survey of documents concerning comedians, their patrons,colleagues and audiences, Music and the Commedia dell'Arte provides a rich context for the study of musical-theatrical performance before the advent of opera and re-defines our perceptions of women, music and theatre in the Renaissance.
This book explores the commedia dell'arte: the Italian professional theatre in Shakespeare's time. The actors of this theatre usually did not perform from scripted drama but instead improvised their performances from a shared plot and thorough knowledge of individual character roles. Robert Henke closely analyzes hitherto unexamined commedia dell'arte texts in order to demonstrate how the spoken word and written literature were fruitfully combined in performance. Henke examines a number of primary sources including performance accounts, actors' contracts, and letters, among other documents.