Relevant bibliographies by topics / Commedia dell'arte – Italie

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Academic literature on the topic 'Commedia dell'arte – Italie'

Author: Grafiati
Published: 4 June 2021
Last updated: 6 February 2022

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Journal articles on the topic "Commedia dell'arte – Italie"

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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 c
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Winet, Evan. "The Commedia dell'Arte in Naples: A Bilingual Edition of the 176 Casamarciano Scenarios. 2 vols. Edited and translated by Francesco Cotticelli, Anne Goodrich Heck, and Thomas F. Heck. Lanham, MD: Scarecrow Press, 2001; pp. 1,168. $99.50 cloth." Theatre Survey 45, no. 1 (2004): 145–47. http://dx.doi.org/10.1017/s0040557404350088.

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In 1896, Benedetto Croce donated to Naples's Biblioteca Nazionale two manuscript volumes from the late seventeenth century. These books had been prepared by Annibale Sersale, Count of Casamarciano, and contained 183 canovacci (scenarios) of the commedia dell'arte. Today, this Casamarciano zibaldone (collection) comprises the largest extant collection of commedia canovacci with nearly a quarter of the total surviving scenarios from any source. By contrast, Flaminio Scala's Il teatro delle favole rappresentative (first published in 1611, and translated into English by Henry F. Salerno in his inf
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Koman, Aleksandra. "Komedia dell'arte: między lokalnością a globalnością." Annales Universitatis Paedagogicae Cracoviensis | Studia Historicolitteraria 17 (October 12, 2018): 241–44. http://dx.doi.org/10.24917/20811853.17.21.

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Commedia dell’arte: between localism and globalismAbstractSubject to the present review is Lokalność i mobilność kulturowa teatru. Śladami Arlekinai Pulcinelli of Ewa Bal. The author analyzes Italian dialectical theatre from a doubleperspective: local and global mobility of culture. She observes how two principal masks ofcommedia dell’arte – Harlequin and Pulcinella – evolved over the years, by investigating theirrelation to political context that may result in domestication or foreignization.Keywords: Ewa Bal, commedia dell’arte, intercultural transfer, cultural mobility, localism andglobalis
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Henke, Robert. "The Italian Mountebank and the Commedia dell'Arte." Theatre Survey 38, no. 2 (1997): 1–29. http://dx.doi.org/10.1017/s0040557400002052.

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The Italian mountebank of the early modern period was a figure of great power and fascination, both to Italians themselves and to English audiences via Thomas Coryate's documentary account and Ben Jonson's fictional portrayal of Scoto of Mantua in Volpone. Italian and Spanish antitheatrical clerics, prompted by San Carlo Borromeo to extend Counter-Reformation cultural critiques to the increasingly successful commedia dell'arte, were quick to identify the mountebank—an itinerant doctor/pharmacist who typically enticed potential patrons with an array of musical and theatrical entertainments—with
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Royce, Anya Peterson. "The Venetian Commedia: Actors and Masques in the Development of the Commedia dell'Arte." Theatre Survey 27, no. 1-2 (1986): 69–87. http://dx.doi.org/10.1017/s0040557400008802.

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The commedia dell'arte, which spanned three centuries from the sixteenth to the beginning of the nineteenth and nationalities as diverse as Italian, French, Austrian, Polish, and English, went through a number of metamorphoses before it attained the form we now associate with it. Very briefly, that form is based on stock characters (Arlecchino, Pantalone, Il Dottore, Pedrolino or Pierrot, etc.), improvisation around standard plots, and the use of masks. In Italy, this kind of commedia was established by the end of the sixteenth century. In this paper, I would like to explore the developments t
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Henke, Robert. "REPRESENTATIONS OF POVERTY IN THE COMMEDIA DELL' ARTE." Theatre Survey 48, no. 2 (2007): 229–46. http://dx.doi.org/10.1017/s004055740700066x.

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This essay explores the socioeconomic resonance of Italian professional theatre in the early modern period by considering a few records of performance by indigent entertainers, and by exploring the persistent theatrical and textual presence of poverty and hunger in texts both central and adjacent to the professional actors. Whether or not a given troupe or actor directly experienced or even cared about poverty, famine, destitution, or other social issues, by the time of the commedia's “golden age” these themes had by dint of theatrical tradition and performance sedimentation become part of the
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Basini, Laura. "Masks, Minuets and Murder: Images of Italy in Leoncavallo's Pagliacci." Journal of the Royal Musical Association 133, no. 1 (2008): 32–68. http://dx.doi.org/10.1093/jrma/fkm012.

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This article interprets Leoncavallo's opera Pagliacci (1892) as a voicing of Italy's ‘Southern Question’ – the problem of the underdeveloped and socially troubled Italian South. Pagliacci juxtaposes cultural symbols that include a commedia dell'arte figure representative of the Italian South and antique genres perceived to be emblematic of ‘civilized’ northern culture. By interpreting the interaction of costumes and musical styles, I argue that the work incorporates images of southern Italy – that ‘violent’, ‘uncontrollable’, yet ‘picturesque’ region – into a broader, northern-dominated concep
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Im, Jeong Mi, and Hwang Oak Soh. "A Comparative Study on Costume design of Mask Play -Focusing on Korean Mask Play and Italian 'Commedia dell'arte'-." Journal of the Korean Society of Costume 64, no. 8 (2014): 124–37. http://dx.doi.org/10.7233/jksc.2014.64.8.124.

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Wilbourne, Emily. "Lo Schiavetto (1612): Travestied Sound, Ethnic Performance, and the Eloquence of the Body." Journal of the American Musicological Society 63, no. 1 (2010): 1–43. http://dx.doi.org/10.1525/jams.2010.63.1.1.

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This article examines at the relationship between epistemologies of sound, repertoires of popular music, and markers of ethnic difference in early seventeenth-century Italy. The analysis concentrates on two scenes from the 1612 commedia dell'arte play Lo Schiavetto (“The Little Slave”). In one, an Italian nobleman disguises himself as a mute Jew, in the other, a young Italian noblewoman sings while cross-dressed as a black, male slave. Questions of embodiment are considered, as are the specific historical circumstances of the work's original performers, Virginia Ramponi Andreini, detta Florind
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Speaight, George. "The Origin of Punch and Judy: A New Clue?" Theatre Research International 20, no. 3 (1995): 200–206. http://dx.doi.org/10.1017/s0307883300008658.

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The general opinion, voiced on instinct rather than conclusive evidence, has been that the Punch and Judy show came from Italy. The name Punch is clearly derived, via Punchinello (1667), Polichinello (1666), and Policinella (1664), from Pulcinella, the commedia dell'arte character who originated in Naples about 1600. Prints in abundance show a puppet performance, resembling Punch and Judy, in Naples, Rome and Venice in the eighteenth and the early years of the nineteenth century. And one of the earliest, and perhaps the earliest Punch performer on the streets of London was an Italian, Piccini
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Dissertations / Theses on the topic "Commedia dell'arte – Italie"

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Bragato, Alice. "La dramaturgie expérimentale de Gio. Battista Andreini : entre Commedia dell'Arte, poésie et théâtre en musique." Caen, 2013. http://www.theses.fr/2013CAEN1716.

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La suivant thèse se est fixé le but de enquêter, le plus à fond possible, le rapport entre le écriture dramaturgique de Jean-Baptiste Andreini et son grand amour pour les théâtres en musique. Aussi, on étudiera ainsi, le complexe rapport de Andreini avec sa femme, Virginia Ramponi, que fuit une de les plus important chanteuses de son siècle. En effet, à travers Virginia, Jean-Baptiste, connût plusieurs compositeurs, comme les frères Monteverdi, qui fumez fondamental pour la naissance de l’opéra lyrique. À travers l’analyse de tous ses pièces dans une perspective musicale, l’expérimentalisme, p
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Filacanapa, Giulia. "A la recherche d'un théâtre perdu : Giovanni Poli (1917-1979) et la néo-Commedia dell'Arte en Italie, entre tradition et expérimentation." Thesis, Paris 8, 2015. http://www.theses.fr/2015PA080014/document.

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L’Europe du XXe siècle voit la création de compagnies et centres de recherche qui se consacrent à la redécouverte des modules de la Commedia dell’Arte, véritable forme de théâtre traditionnel en Occident qui a décliné après la ‘réforme’ de Goldoni. Giovanni Poli représente l'exemple le plus significatif de ce processus de réinvention que nous appelons, avec un néologisme, néo-Commedia dell'Arte. Ayant eu accès à ses archives privées et après les avoir retranscrites et proposées en annexe, nous avons pu entrer dans tous les méandres de son activité polymorphe et voir comment elles répondaient à
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Maqua-Moretti, Céline. "La Sérénissime masquée au XVIIIe siècle : "Le masque en tant qu'élément unificateur du théâtre, de la peinture et de la musique"." Paris 4, 2003. http://www.theses.fr/2003PA040092.

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Omniprésent dans la société vénitienne du XVIIIe siècle, le masque apparaît comme un outil sociologique et culturel idéal pour témoigner de l'interaction du théâtre, de la peinture et de la musique à cette même époque et dans un même lieu. Riche de significations psychologiques et symboliques, il est depuis la nuit des temps, et dans toute société un objet social au rôle dominant. Si cette fonction ethnosociologique est incontestable, sa dimension artistique ne l'est pas moins, et des artistes comme Goldoni, Galuppi, Longhi et Tiepolo l'ont bien compris, puisqu'ils l'ont largement utilisé dans
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Scannapieco, Anna. "Contributo all'edizione critica e all'esegesi storica degli scritti di teoria teatrale di Carlo Gozzi." Paris 8, 2010. http://octaviana.fr/document/164373217#?c=0&m=0&s=0&cv=0.

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On a assisté dans cette dernière décennie à une véritable “Gozzi renaissance” à laquelle ce travail veut apporter une contribution à deux niveaux différents: en explorant des éléments de la personnalité de l’auteur que la critique a jusqu’à présent ignorés; en offrant un soutien méthodologique à l’exploitation de la moisson énorme de manuscrits autographes récemment découverts et consultables à la Biblioteca Nazionale Marciana de Venise. Après une première délimitation du domaine de la recherche dans le but de repérer les textes pouvant être qualifiés comme strictement théoriques, la recherche
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Poesio, Giannandrea. "The language of gesture in Italian dance from Commedia dell'arte to Blasis." Thesis, Boston Spa, U.K. : British Library Document Supply Centre, 1993. http://ethos.bl.uk/OrderDetails.do?did=1&uin=uk.bl.ethos.385204.

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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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Glass, Jr Wayne Allen. "The Renaissance Italian Madrigal Comedy: A Handbook for Performance." Diss., The University of Arizona, 2006. http://hdl.handle.net/10150/195880.

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The Italian madrigal comedy experienced a relatively short, but exceedingly popular life during the late Renaissance. The works that may be called madrigal comedies, numbering less than two dozen in total, represent a type of musical entertainment that delighted audiences at courts and within the cultural academies of Renaissance Italy. The small subset of works within the genre, designated in this research project as "theatrical" madrigal comedies, showed an increasing focus on dramatic representation of text with music. These works, the plots of which derive from the commedia dell'arte tr
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Spanu, Fremder Silvia. "Le répertoire et la dramaturgie de la Comédie-Italienne de Paris durant la seconde moitié du XVIIIe siècle." Thesis, Paris 4, 2010. http://www.theses.fr/2010PA040227.

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La seconde moitié du XVIIIe siècle est une période de recherche et d’expérimentation dramatiques qui se traduisent, au sein de la programmation du théâtre de la Comédie-Italienne de Paris, en la conception d’une soixantaine de canevas italiens inédits, mis en scène par les acteurs-auteurs de la troupe italienne du théâtre, entre 1760 et 1779, année de la « suppression » du genre italien. À travers le dépouillement des sources périodiques, contenant les résumés des soirées et les récits des performances, des registres du théâtre, ouvrant l’accès aux effectifs des troupes, cette thèse propose la
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Klees, Heike. "Das Spiel in der Comedie-italienne (1662-1729) : Strukturen und Funktionen im Wandel." Paris 3, 2007. http://www.theses.fr/2007PA030043.

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Notre travail de thèse s’inscrit dans la recherche sur la Comédie-Italienne. Elle se propose de mettre en évidence, par une analyse typologique, les structures et les éléments du jeu dans l’Ancienne et la Nouvelle Comédie-Italienne et de comprendre leur fonction dans ces deux périodes différentes. Les analyses mettent l’accent sur la période comprise entre la création de la Comédie-Italienne à Paris, en 1662, et l’année 1729. Les trois parties de la thèse suivent l’ordre chronologique des textes suivants : le Scenario de Biancolelli (1662-1680), le Recueil de Gherardi (1682-1697) et un choix e
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Marri, Fabio. "Un approccio alle raccolte poetiche-drammatiche tra Sei e Settecento." Sächsische Landesbibliothek - Staats- und Universitätsbibliothek Dresden, 2020. https://slub.qucosa.de/id/qucosa%3A70944.

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I manoscritti qui considerati vanno dal Seicento al primo Ottocento, e documentano una fase della letteratura italiana che continuava a interessare lettori e collezionisti. Un caso esemplare è il manoscritto Ob.37, raccolta calligrafica, che contiene soprattutto sonetti, canzoni e poesie musicali senza indicarne il nome dell’autore. La prima menzione di questo supporto è nel catalogo Scheureck del 1755, ma non sappiamo altro sulla sua acquisi-zione. Il lavoro erudito consiste nell’identificare gli autori delle poesie, e rintracciare i testi anche in codici simili della stessa epoca. Interessan
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Books on the topic "Commedia dell'arte – Italie"

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Luciano, Eleonora. The mask of comedy: The art of Italian commedia. JB Speed Art Museum, 1990.

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Barbina, Alfredo. Giangurgolo e la Commedia dell'arte. Rubbettino, 1989.

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Clavilier, Michèle. Commedia dell'arte: Le jeu masqué. Presses universitaires de Grenoble, 1994.

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Saint-Gelais, Mellin de. Œuvres poétiques françaises. Société des textes français modernes, 1993.

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L' arte del buffone: Maschere e spettacolo tra Italia e Baviera nel XVI secolo. Bulzoni, 2005.

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David, Griffiths. The Italian commedia: And, Please be gentle. Harwood Academic Publishers, 1998.

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Gallo, Valentina. La Selva di Placido Adriani: La commedia dell'arte nel Settecento. Bulzoni, 1998.

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Simone, Roberto De. Le guarattelle: Fra Pulcinella, Teresina e la morte. F. Di Mauro, 2003.

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Simone, Roberto De. Le guarattelle: Fra Pulcinella, Teresina e la morte. F. Di Mauro, 2003.

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Le maschere italiane. Il Mulino, 2001.

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Book chapters on the topic "Commedia dell'arte – Italie"

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Vescovo, Piermario. "«A quei tempi». Spagnolismo e teatro all’italiana. Miti e stereotipi." In Studi e saggi. Firenze University Press, 2020. http://dx.doi.org/10.36253/978-88-5518-150-1.25.

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The contribution concerns the relationship between Pietro Napoli Signorelli, his Storia critica de’ teatri antichi e moderni (Critical history of ancient and modern theaters), and the defense of Spanish literature by the Jesuit Francisco Saverio Lampillas, and the answer in Critical essay which Pietro Napoli Signorelli published in 1783. An Italian who spent a large period of his life in Spain and a Spaniard who lives and writes in Italy offer an observation point of extraordinary importance, almost a cross-reflection of the ideas and clichés of "Spanishism" and "Italianism” that had dominated the 18th Century. The critique of "Spanishism" and the long distance from the siglo de oro, from the triumph of metaphor and irregularity, in relation to the critique of what begins to be called the "commedia dell'arte", shows, at the turn of the century, just beyond the defense of the respective traditions and the positions of the two contenders, a change taking place of great depth that is announced on the European cultural scene, transforming the horizons of controversy into renewed myths.
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"Italian and English comedies." In Shakespeare and Commedia dell'Arte. Routledge, 2017. http://dx.doi.org/10.4324/9781315624907-2.

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"Italian influences on Shakespeare and his contemporaries." In Shakespeare and Commedia dell'Arte. Routledge, 2017. http://dx.doi.org/10.4324/9781315624907-1.

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Tosi, Arturo, and Lia Lapini. "Histrionic Transgressions: The Dario Fo—Commedia dell'Arte Relationship Revisited." In Orality and Literacy in Modern Italian Culture. Routledge, 2017. http://dx.doi.org/10.4324/9781351196031-3.

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"The Italian Job: The Poetics of Graced Performance in the Commedia dell'Arte and in Jonson's Humour Plays." In Shakespeare and his Contemporaries in Performance. Routledge, 2017. http://dx.doi.org/10.4324/9781315243368-25.

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