Relevant bibliographies by topics / Commedia dell'arte

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Commedia dell'arte'

Author: Grafiati
Published: 4 June 2021
Last updated: 28 July 2024

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Journal articles on the topic "Commedia dell'arte"

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Vendramini, José Eduardo. "A commedia dell'arte e sua reoperacionalização." Trans/Form/Ação 24, no. 1 (2001): 57–83. http://dx.doi.org/10.1590/s0101-31732001000100004.

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Análise da commedia dell'arte a partir de uma perspectiva histórico-crítica, enfatizando-se as várias maneiras de sua apropriação no século XX. Partindo de elementos da commedia dell'arte, serão ressaltados os temas da migração do teatro de praça para o teatro fechado e a ampliação do modelo da commedia dell'arte para outras formas artísticas do século XX, como o cinema mudo, o circo e o carnaval.
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Ewald, Laura A. "Commedia Dell'Arte Academica." College Teaching 53, no. 3 (July 2005): 115–19. http://dx.doi.org/10.3200/ctch.53.3.115-119.

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Finelli, Patrick M. "Commedia Dell'Arte (review)." Theatre Journal 51, no. 4 (1999): 480. http://dx.doi.org/10.1353/tj.1999.0088.

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Ferrone, Siro. "La Commedia dell'arte." Quaderns d’Italià 2 (November 2, 1997): 9. http://dx.doi.org/10.5565/rev/qdi.443.

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Katritzky, M. A. "Was Commedia dell'arte Performed by Mountebanks? Album amicorum Illustrations and Thomas Platter's Description of 1598." Theatre Research International 23, no. 2 (1998): 104–26. http://dx.doi.org/10.1017/s0307883300018459.

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Early modern mountebanks, also known as charlatans or quacksalvers, were commercial travelling showmen associated with the sale of quack medicines and other products. They achieved wide recognition as a significant influence on the rise of professional acting, through their employment of performers to attract customers for their wares, and are frequently discussed in the context of early professional popular entertainment. Many depictions of mountebanks include commedia dell'aite costumes, but it has remained an open question whether some of their shows (as well as some of their costumes) fall within the sphere of the commedia dell'arte. Inconclusive evidence is presented by the relatively few studies which incline towards accepting a significant overlap between mountebank activity and the commedia dell'arte and clear-cut distinctions are routinely made between the repertoire of street performers, and that of the comici d'arte. Richards and Richards concede that ‘mountebank stages … may well have been the breeding grounds of many of the first regular actors’, but repeatedly emphasize the distinction ‘between performers of the trestle and those of the stage’, and are careful to dismiss mountebank stage routines as at the most ‘short playlets’. If the presently perceived lack of detailed documentation concerning mountebank entertainment is justified, then so is the cautious approach typified by Richards and Richards. On the evidence presented to date, it would appear that mountebank performances are at most distantly related to the commedia dell'arte.
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Anderson, Michael. "The Idea of Commedia in the Twentieth Century." Theatre Research International 23, no. 2 (1998): 167–73. http://dx.doi.org/10.1017/s0307883300018514.

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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.
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Speaight, George. "A Commedia dell'arte Lazzo." Theatre Research International 18, no. 1 (1993): 1–3. http://dx.doi.org/10.1017/s0307883300017521.

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Among the abundant iconographical records of the commedia dell' arte are a handful of engravings depicting vivaciously capering single characters, of which three have been reproduced by Allardyce Nicoll, where they are identified merely as ‘seventeenth-century engravings’. The same subjects were apparently copied by Adrian de Winter (1615–?) in a set of six groups of commedia characters entitled Titulus Stultorum, where they appear in reverse with the addition of half a dozen characters copied from Callot's Balli di Sfessania.
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Katritzky, M. A. "The Commedia dell'arte: An Introduction." Theatre Research International 23, no. 2 (1998): 99–103. http://dx.doi.org/10.1017/s0307883300018447.

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Although more has been written on the commedia dell'arte than on any other type of theatre, many fundamental questions remain unanswered, and opinions concerning its origins, early history, and definition are surprisingly divergent. It is evident that the term ‘commedia dell'arte’ would become virtually meaningless if it were stretched to include, without qualification, all manifestations of theatrical entertainment which feature characters representing, or deriving from, its stock types; or the full range of theatrical practises offered by the very versatile early comici d'arte, although all are of concern to commedia studies. The commedia dell'arte itself may be broadly defined as a type of professional dramatic performance associated with distinctive stock characters, that arose in mid-sixteenth-century Italy, whose evolving cultural derivatives have spread throughout Europe. Its stock types drew on a wide variety of sources, including mystery and mummers’ plays, carnival masks, street theatre and court entertainment; popular farces and erudite comedy; and have transcended the theatre to play key roles in music, dance, art and literature. The extreme complexity of its continuing interchanges with other cultural phenomena makes precise definition of the commedia dell'arte elusive, and the term itself also resists easy definition because it was coined only in mid-eighteenth-century Paris, two centuries after the type of theatre with which it is associated first came into being.
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Katritzky, M. A. "How did the Commedia dell'arte cross the Alps to Bavaria?" Theatre Research International 16, no. 3 (1991): 201–15. http://dx.doi.org/10.1017/s030788330001498x.

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The commedia dell'arte is a type of improvised acting based around the masked stock characters of the merchant, lawyer and servant, whose earliest names were Magnifico, il Dottore and Zanni (Plate I). From 1571 onwards, it was spread throughout Europe by visiting troupes of professional Italian actors, whose members, activities and travels are, for the most part, well-documented. The way in which it reached Bavaria is less clear. Records, including three festival books, suggest that already as early as February 1568, when crown Prince Wilhelm married Princess Renée of Lorraine in Munich, the commedia dell'arte was an established and popular feature of Bavarian court festivities, to which it contributed in three contexts. Some of its costumes were used in masquerades; the Venetian Magnifico, or merchant, and his servant Zanni (the servant-master pair who became the central comic focus of the commedia dell'arte) appeared as masked clowns on several occasions, and on 8 March 1568 there was a full-length play whose description in Massimo Troiano's festival book is generally acknowledged as the earliest known comprehensive description of a complete commedia dell'arte performance.
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Cuppone, Roberto. ""In questo", il teatro gli scenari della commedia dell'arte." Trans/Form/Ação 24, no. 1 (2001): 121–41. http://dx.doi.org/10.1590/s0101-31732001000100009.

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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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Dissertations / Theses on the topic "Commedia dell'arte"

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Hart, Jennifer. "Il Pazzia D'Innamorati: A Commedia Dell'Arte." Master's thesis, University of Central Florida, 2004. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/4438.

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My thesis proposal is to research, workshop, develop, script, direct and produce my own commedia dell'arte. This proposal stems from my desire to explore improvisational comedy theoretically and practically. The genre of commedia dell'arte is not only timeless, but continues to further our ability to create characters and scenario for future projects as the root of improvisation. By coupling research on commedia components (character, lazzi and scenario) with the creation of an improvisational troupe, a commedia piece will be developed, documented and performed. The first part of my thesis will consist of research on the history of improvisational comedy. The earliest traces of improvisational comedy are seen in 800 B.C., when Susarion and his troupe of comedians of Icaria wandered throughout Greece. Many other comedic performance troupes were later formed, some expressing their comedies through acrobatics, like the schoenobates of Greece and funambuli of Rome. During the sixteenth century, improvisational comedy became a flourishing art form, known as the commedia dell'arte. It is the sixteenth-century commedia dell'arte form that will be my primary focus of research. A bibliography and outline will serve as the preliminary guidelines. The research should be in a coherent enough form to share with a cast by mid-January. The second part of my thesis will involve practical application of this research. By mid-January, I will have selected a troupe with which to workshop the commedia. The workshop will consist of adopting commedia stock characters for each troupe member and creating lazzi and scenario around these characters. Improvisational satire continues to be the most difficult theatrical form to master. Pierre Louis Duchartre in his book The Italian Comedy states: The success of the commedia dell'arte depended almost entirely on the acting rather than the scenarios. In the opinion of Gherardi and Riccoboni it was easier to train ten actors for the regular theatre than one for the extemporaneous stage. Moreover, a good improvisator had to practise a kind of self-abnegation and refrain from indulging in his own conceit or overplaying his part to the detriment of other roles. (Duchartre 30) The art of listening and sharing the stage as a performer is the basis of modern performance techniques and the primary skill of a great actor. The purpose for this workshop is not only to develop the commedia piece, but also to further the troupe's understanding of the commedia tradition as we continue our exploration. This will be a three- to four-week process. The end results of this workshop will be a scripted commedia that will be used for production and documentation of the process itself. By mid-March, the research, process of the workshop, and script will be documented in clear and concise terms for the purpose of this thesis. April will focus on production elements based on approval from the department on venue and budget details. The performance will take place in April or May. The final conclusions will be completed at the same time. This commedia will serve as a comprehensive experience in theatrical studies, culminating my academic and production work at University of Central Florida Conservatory Theatre. It will be an educational and collaborative effort for all involved, as well as enjoyable and entertaining for those who see it.
M.A.
Department of Theatre
Arts and Sciences
Theatre
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Carpenter, Ian. "Comic violence, from Commedia dell'arte to contemporary cinema." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2001. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp05/NQ63638.pdf.

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Sobeck, Janine Michelle. "Arlecchino's Journey: Crossing Boundaries Through La Commedia Dell'arte." Diss., CLICK HERE for online access, 2007. http://contentdm.lib.byu.edu/ETD/image/etd2075.pdf.

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Lopes, Mellissa dos Santos. "Ver alem da mascara." [s.n.], 2006. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284110.

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Orientadores: Veronica Fabrini Machado de Almeida, Sara Pereira Lopes
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-08-09T04:01:13Z (GMT). No. of bitstreams: 1 Lopes_MellissadosSantos_M.pdf: 4038421 bytes, checksum: fa045aac10721fcd44750d7c8ad1dac1 (MD5) Previous issue date: 2006
Resumo: A presente dissertação busca rastrear um processo de criação em Artes Cênicas que tem como ponto de partida a conjugação entre ação comunitária e criação cênica. Baseia-se na análise do personagem peão boiadeiro, criado por meio da prática em mímesis corpórea, a partir da observação de moradores de rua da cidade de Campinas/SP e da personagem Nina, criada a partir da observação de mulheres em assentamentos rurais. Neste sentido, essa investigação prática/teórica tem como foco o estudo dos limites entre personagem e tipo, apoiando-se na Commedia dell' Arte e na Mímesis Corpórea. Já como proposta, essa dissertação procura apontar a importante colaboração entre teatro e ação comunitária, tanto do ponto de vista da investigação da linguagem cênica, quanto da atuação do artista cênico junto à sociedade
Abstract: This work seaks to trace a creation process in the Scenic Arts which has as leaving point the interaction between comunity action and scenic creation. The study was based in the analysis of the character peão boiadero, created through the practice in mímesis corpórea, observin homeless of the city of Campinas as well as observing Nina, a character created based on the behaviour of women landless which have been settled in rural areas. Therefore, this practicle/theoretical investigation focuses the study of the limits between character and type, basing itself in the Commedia dell'Arte and in the Mímesis Corpórea. Already as a proposal, this work searches to point out the important colaboration obtained by the interaction of theater and community action may it be in the point of view of the scenic language, may it be result of the scenic artist's action on the society
Mestrado
Mestre em Artes
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Castagno, Paul Christopher. "The early commedia dell'arte (1550-1621) : the mannerist context /." The Ohio State University, 1989. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487671108307409.

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Saha, Anita Jean. "Modernist Meanings in the European Renovation of Commedia dell'Arte Drama." The Ohio State University, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=osu1397487798.

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Klass, Nicole. "MOLIERE AND COMMEDIA DELL'ARTE:PAST, PRESENT, AND FUTURE." Master's thesis, University of Central Florida, 2006. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/4005.

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This thesis will explore the application of comemdia dell'arte technique to a contemporary performance. UCF's spring 2005 production of Molière's The Trickeries of Scapin will serve as a resource in both commedia dell'arte's ability to resonate with a modern audience as well as an analysis of the actor's process in fusing elements of commedia dell'arte and contemporary acting techniques. This document will include a thorough description of the history and origins of commedia dell'arte in order to decipher existing elements today. Also included, will be major influences on commedia dell'arte including Greek and Roman Comedy. It is important to discuss Roman comedic playwrights Plautus and Terence as two major influences on both the style of commedia dell'arte as well as major influences on Molière and his writing. A description of both playwrights previously mentioned will be given as means to explore the similarities between the two playwrights and Molière, specifically the similarities of Terence's Phormio and Molière's The Trickeries of Scapin. In addition to exploring the history behind commedia dell'arte and Molière, this thesis will include the rehearsal process of creating a contemporary version of Molière's Zerbinette. The application of the previous two years of graduate work including studies of Laban, Linklater, and Cicely Berry will be used in creating Zerbinette's vocal and physical life in a contemporary fashion, while maintaining certain elements of the commedia dell'arte style. In concluding this thesis, the evolution of commedia dell'arte will be discussed, and how it is in existence today. Just as commedia dell'arte evolved in the seventeenth century from previous art forms, it has never stopped evolving, constantly being influenced by every generation. From Greek Comedy playwrights' such as MeNander, to Roman comedic playwrights such as Plautus and Terence, to farcical and satirist Molière, commedia dell'arte does exist today, and will be examined throughout this thesis project.
M.F.A.
Department of Theatre
Arts and Humanities
Theatre
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Leoni, Monica. "The gracioso in Golden Age theatre and the Commedia dell'Arte tradition." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape11/PQDD_0018/NQ45818.pdf.

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Bühler, Thomas. "Luzerner Harlekin-Pantomimen Beschreibung und Bewertung einer Theaterform zwischen 1740-1840 : Studie, Materialteil, Musikalienteil, inklusive Tonbeispiele /." Bern : [s.n.], 2002. http://www.stub.unibe.ch/html/haupt/datenbanken/diss/bestell.html.

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Courteaux-Enault, Huguette. "Une oeuvre retrouvée de Watteau : "Commedia dell'arte" ? ou la métamorphose d'un sol." Paris 1, 1990. http://www.theses.fr/1990PA010501.

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Une œuvre de Watteau retrouvée par un particulier. Le récit de la découverte d'une peinture, et le long cheminement de son attribution : expertises scientifiques et analyses comparatives avec deux autres tableaux du maitre "l'enseigne de Gersaint" et "la danse". L'estampe "pour garder l'honneur d'une belle" de Cochin reproduit le tableau, mais d'évidentes différences entre les deux images témoignent des modifications qu'eut à subir l'œuvre peinte : réduction du format initial et suppression d'un des personnages. Ces changements paraissent avoir été effectués par l'artiste lui-même sur la recommandation pressante d'une autorité supérieure. La composition représente une scène de commedia dell'arte ou se mêlent des comédiens du théâtre de foire avec deux des plus célèbres acteurs de la Comédie-Française, tandis que Watteau parait en pierrot. L'œuvre avait un pendant. Par ses deux tableaux, exposes un seul jour, le 22 juillet 1713 au cours de la comédie foraine de Dominique "arlequin fille malgré lui", le peintre suggérait la réconciliation des quatre théâtres parisiens l'année de la paix des nations (Utrecht). Cependant Louis XIV vit encore : la comédie-italienne poursuit son exil depuis 1697, et l'idée même d'un rapprochement entre théâtres officiels et théâtres forains demeure répréhensible
A work of art by watteau rediscovered by a private individual. The account of the discovery and attribution of a painting : scientific appraisal and comparative analyses with two other paintings by a master "l'enseigne de Gersaint" and "La danse". The painting is reproduced in Cochin's engraving "pour garder l'honneur d'une belle", but obvious differences between the two works show that the painting has undergone a number of modifications : reduction in the initial size and elimination of one of the figures. These changes appear to have been carried out by the artist himself on the insistence of some higher authority. The composition represents a scene from the commedia dell'arte where actors from the theatre de foire mingle with two famous actors from the comedie francaise, while Watteau appears as a Pierrot. The work had a matching piece. With these two paintings, both exhibited on july 22, 1713 during the "comédie foraine" - "Arlequin fille malgre lui" by dominique, the artist is suggesting the reconciliation of the four parisian theatres in the year of the peace of nations (Utrecht). However Louis XIV is still alive : the comédie italienne has been in exile since 1697 and the very idea of a reconciliation between the official theatre and theatre de foire is still unthinkable
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Books on the topic "Commedia dell'arte"

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Rudlin, John. Commedia Dell'Arte. London: Taylor & Francis Inc, 2004.

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Rudlin, John. Commedia Dell'Arte. London: Taylor & Francis Group Plc, 2004.

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Rudlin, John. Commedia Dell'Arte. London: Taylor & Francis Group Plc, 2004.

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Rudlin, John. Commedia Dell'Arte. London: Taylor & Francis Inc, 2002.

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Costola, Sergio, and Olly Crick. Commedia dell'Arte Scenarios. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003100676.

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Giorgio, De Chirico. Commedia dell'arte moderna. Milano: Abscondita, 2002.

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Molinari, Cesare. La commedia dell'arte. Rome: Istituto Poligrafico e Zecca dello Stato, 1999.

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1935-, Molinari Cesare, ed. La commedia dell'arte. Roma: Istituto poligrafico e Zecca dello Stato, 1999.

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Preeshl, Artemis. Shakespeare and Commedia dell'Arte. Abingdon, Oxon ; New York : Routledge, 2017.: Routledge, 2017. http://dx.doi.org/10.4324/9781315624907.

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Darius, Adam. The commedia dell'arte: An introduction. Helsinki: Kolesnik, 1996.

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Book chapters on the topic "Commedia dell'arte"

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Costola, Sergio, and Olly Crick. "Raccolta di Scenari Più Scelti D'histrioni Divisi in due Volumi. Codices 651 and 652, Manuscripts 45.G5 and 45.G6 (Rome, Biblioteca dell'Accademia Nazionale dei Lincei e Corsiniana)." In Commedia dell'Arte Scenarios, 153–70. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003100676-6.

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Costola, Sergio, and Olly Crick. "Basilio Locatelli, Della Scena de Soggetti Comici et Tragici di B. L. R. Manuscripts 1211 and 1212 (Rome, Biblioteca Casanatense)." In Commedia dell'Arte Scenarios, 171–203. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003100676-7.

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Costola, Sergio, and Olly Crick. "Anonymous Manuscript Correr. Manuscript 1040 (Venice, Museo Correr)." In Commedia dell'Arte Scenarios, 218–35. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003100676-9.

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Costola, Sergio, and Olly Crick. "Ciro Monarca, Dell'opere Regie. Manuscript 4186 (Rome, Biblioteca Casanatense)." In Commedia dell'Arte Scenarios, 204–17. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003100676-8.

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Costola, Sergio, and Olly Crick. "Flaminio Scala, Il Teatro Delle Favole Rappresentative (Venice, 1611)." In Commedia dell'Arte Scenarios, 96–152. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003100676-5.

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Costola, Sergio. "Introduction." In Commedia dell'Arte Scenarios, 3–75. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003100676-2.

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Costola, Sergio, and Olly Crick. "Abagaro Frescobaldi, Codex II-1586 (Madrid, Real Biblioteca)." In Commedia dell'Arte Scenarios, 79–95. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003100676-4.

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Costola, Sergio, and Olly Crick. "Gibaldone […] Manuscripts XI.AA.40 and 41. (Naples, Biblioteca Nazionale)." In Commedia dell'Arte Scenarios, 236–59. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003100676-10.

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Crick, Olly, and Sergio Costola. "Commedia archetypes." In The Dramaturgy of Commedia dell'Arte, 58–63. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003102373-3.

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Doshi, Kathryn, and Manyuu Doshi. "Indianizing Commedia." In Commedia dell'Arte for the 21st Century, 162–75. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003142843-16.

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