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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 LopesDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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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 répréhensibleA 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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Courteaux-Enault, Huguette. "Une oeuvre retrouvée de Watteau : Commedia dell'arte ? ou la métamorphose d'un sol /." Paris : [H. Courteaux-Enault], 1989. http://catalogue.bnf.fr/ark:/12148/cb36208219f.
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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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Hunzicker, Frederick Magalhães 1973. "Do chapeu ao casamento : o processo criativo de um espetaculo de Commedia dell'arte." [s.n.], 2004. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284866.
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Orientador: Rubens Jose Souza BritoDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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Mestrado
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Holm, Bent. "Solkonge og Månekejser : ikonografiske studier i François Fossards Cabinet /." København : Gyldendal, 1991. http://catalogue.bnf.fr/ark:/12148/cb362082094.
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Santos, Ivanildo Lubarino Piccoli dos. "O dueto cômico : da Commédia dell'arte ao cavalo marinho /." São Paulo, 2015. http://hdl.handle.net/11449/190866.
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Orientador: Mário Fernando BolognesiCoorientador: Roberto Tessari
Banca: Elisabete Vitória Dorgam Martins
Banca: Marianna Francisca Martins Monteiro
Banca: Vilma Camposdos Santos Leite
Banca: Luciana de Fátima R. P. de Lyra
Resumo: Esta tese fundamenta-se na identificação e na análise comparativa das "duplas cômicas" presentes na Commedia dell'Arte italiana e na manifestação da cultura popular brasileira do Cavalo Marinho, bem como faz referência às duplas de palhaços do Circo. Existem muitos traços em comum nessas manifestações cênicas, tais como as características e as funções dos arquétipos cômicos populares nelas presentes. Inicialmente, é apresentado um entendimento sobre as origens, constituição e características dessas "duplas cômicas", baseado no contexto histórico e artístico do seu surgimento, nos elementos da sua estrutura, na sua função e na sua permanência ao longo do tempo, evidenciando -se alguns de seus principais representantes. A análise tem como ponto de partida o mito do trickster, cuja definição possibilita o entendimento das dualidades surgidas nas manifestações cênica s. Em seguida, é traçado um percurso histórico da Commedia dell'Arte, para chegar aos dois polos arquetípicos cômicos representados por Primeiro e Segundo Zanni, sendo Brighella e Arlecchino, respectivamente, seus representantes ícones. A parte final é dedicada a um estudo do Cavalo Marinho, objeto do mestrado do autor, focado especialmente na relação da dupla cômica de Mateus e Bastião
Abstract: This thesis is based on the identification and comparative analysis of "comedic double" present in the Commedia dell'Arte italian and the manifestation of brazilian popular culture Cavalo Marinho and refers to the pairs of circus clowns. There are many common traits in these scenic manifestations, such as the characteristics and functions of comic archetypes popular present in them. Initially, it presented an understanding of the origins, formation and characteristics of "comedic double" based on the historical and artistic context of its emergence, the elements of its structure, its function and its perma nence over time, demonstrating some of its main representatives.The analysis takes as its starting point the trickster myth, whose definition enables understanding of the dualities that arise in performing demonstrations. It is then traced a historical course of the Commedia dell'Arte, to get the two comedic archetypal poles represented by First and Second Zanni, Brighella and Arlecchino, respectively, their icons representatives. The final part is devoted to a study of the Cavalo Marinho, author of the master object, focused especially on the relationship of double comedic Mateus and Bastião
Astratto: Questa tesi si basa sull'identificazione e sull'analisi comparativa delle "coppie comiche" presenti nella Commedia dell'Arte italiana e nella manifestazione della cultura popolare brasiliana del Cavalo Marinho, così come fa riferimento alle coppie de pagliacci del Circo. Esistono molte tracce in comune in queste manifestazioni sceniche, come le caratteristiche e le funzione degli archetipi comici popolari in esse presenti. Inizialmente, viene presentata una visione delle origini, costituzioni e caratteristiche di que ste "coppie comiche", basata sul contesto storico ed artistico della loro nascita, sugli elementi della loro struttura, sulla loro funzione e sulla loro permanenza nel corso del tempo, evidenziando alcuni dei suoi principali rappresentanti. L'analisi ha come punto di partenza il mito del trickster, la cui definizione permette la comprensione delle dualità sorte nelle manifestazioni sceniche. In seguito, viene tracciato un percorso storico della Commedia dell'Arte, per giungere ai due poli archetipici comici rappresentati da Primo e Secondo Zanni, essendo Brighella e Arlecchino, rispettivamente, le loro icone più rappresentative. La parte conclusiva è dedicata a uno studio sul Cavalo Marinho, oggetto del master dell'autore, focalizzato soprattutto sulla relaz ione della coppia comica di Mateus e Bastião
Doutor
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Jaffe-Berg, Erith. "Towards a paradigm of the polylingual performance, linguistic and metalinguistic functioning in the Commedia dell'Arte." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape11/PQDD_0024/NQ50042.pdf.
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Kisieliūtė, Jurga. "Commedia dell'arte personažų raida vaizduojamojoje dailėje kaip būsimų teatro meno specialistų intereso dailei ugdymo prielaida." Master's thesis, Lithuanian Academic Libraries Network (LABT), 2005. http://vddb.library.lt/obj/LT-eLABa-0001:E.02~2005~D_20050525_172003-23429.
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This work analyzes the impact of cognizance of the evolution of dramatis personae of Commedia dell’arte in XVII – XX c Western European fine arts upon the sphere of interests of future theatre art specialists. The impact of such cognizance upon professional competence of would-be actors and theatre, cinema and music managers is being discussed as well. The first part deals with the importance of universal artistic training in order to broaden interest of artistic cognizance of would-be art specialists on the background of analysis of literature. The preconditions of formation of interest to acquire artistic cognizance are discussed in the first part. It is noted that positive esthetical attitude of mind would inspire the interest to cognize the depths of an art object which is essential to education of would-be art specialists. The second part analyzes educative and professional opportunities of artistic integration. The third part deals with particularities of education of would-be art specialists at a higher school. It is stressed that the academy must prepare not only specialists of narrow specialization but also of broad humanitarian background, who is able to orient in himself/herself diverse modern cultural life and who is distinguished for erudition supporting vivid imagination of an artist.
The second part is based upon the assumption that the cognizance of fine arts as a sister branch of art is one of the conditions of professional perfection. Analysis of the... [to full text]
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Katritzky, M. A. "A study in the commedia dell'arte, 1560-1620 : with special reference to the visual records." Thesis, University of Oxford, 1995. http://ora.ox.ac.uk/objects/uuid:e9e53854-2a31-4bbf-8ed1-ee414aa7f5a3.
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The research field addressed by this thesis is the commedia dell'arte and its iconography in the period preceding Callot's Balli di Sfessania engravings of c. 1621. Its main aim is to provide a broad overview of the surviving early pictures in order to contribute towards a more detailed understanding of the history of the commedia deH'arte in the opening decades of its existence, 1560-1620, by using late renaissance pictures as a documentary source. My research method has three main steps. These are firstly, the identification of relevant pictures, on the basis of a detailed understanding of the early history of the commedia dell'arte, and taking a deliberately inclusive approach; secondly, the classification of such pictures according to art-historical methods, in order to associate them with specific named artists so that they can be placed in the context of an oeuvre and place of production; thirdly, interpretation of their theatrical content. Integral to the thesis are the 340 plates. Many feature pictures which were anonymous or implausibly attributed, and unknown to theatre historians, before they appeared here or in my publications. My inclusive approach has contributed towards the marked rehabilitation of carnival pictures which is evident in the most recent scholarship in this area. My new discoveries, and attributions and re-attributions of some of the 340 plates, summarized in the plate list, have enabled me to identify significant bodies of commedia-related pictures by a number of named late renaissance artists not previously associated with theatre iconography, and provide a broad overview of the early stock types, their costumes and settings; contributions which are stimulating further research in this area. Section I summarises the rise and spread of professional acting in sixteenth century Italy, some forerunners of the commedia dell'arte, and its early stock types. It also presents new documentary material, discovered in the course of my archival researches, which is relevant to the earliest commedia performance for which a comprehensive description survives, staged in Munich in 1568. Section II presents art-historical analyses of three groups of prints in Stockholm, and six paintings which are the subject of an article published in 1943. It also presents an overview of a large group of Flemish pictures whose relation to two Italian prints demonstrates the progressive stereotyping of commedia-related motifs which was already occurring around 1600. Section III offers theatrical interpretations of the pictures, concentrating on scenery, set and stages; actresses; a selection of stock characters, including Harlequin, Zanni and Pantalone, and also some less wellknown figures such as tedescos and matachins; and multiple and serial images. The renaissance Italian comedians' multiple roots in amateur humanist comedy, professional entertainment and popular carnival ritual gave them their early creativity and wide appeal, and left their mark on the iconography which, by the seventeenth century, like the commedia dell'arte itself, was, for the most part, settling into a predictable routine based on precedents and conventions.
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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, pour l’écriture d’Andreini, acquerra une nouvelle importance et valeur, et inédits aspects de son travaille come homme de théâtre, comédien et dramaturge, verrai à la lumière. Enfin, une particulaire attention, serai réservé à les deux tournées françaises d’Andreini. La première en 1622-25, et la deuxième, en 1643-47. Ces deux voyages françaises sont très intéressant puisque dans la première tournée, Jean-Baptiste édita le plus musicale de tout ses pièces, La Ferinda, et pendant le deuxième tournée, qu’il fis peu auparavant de mourir, c’est possible, qu’il eut participé à les mises en scène de les deux opéra lyrique Orfeo et La Finta Pazza, les premières opéra en absolu représenté en FraceThis study, at the beginning, had as principal purpose to analyze the interconnections between dramatic works of the playwright and actor, Giovan Battista Andreini, and the different types of theatres for music of baroque age. But, when the research work is started, the original objective, soon, is change. In fact, it’s appear clear that the music dimension in Andreini’s plays was, in truth, a manifestation of his great desire of innovation. So, the music prospective has become the best way to put in the right light the dramatic experimentalism of this playwright, one of the most important for the history of Commedia dell’Arte and Italian literature, and to discovered many, unknown, aspects of his poetry and personal philosophy. The Andreini’s plays was investigated to contextualize them in the Italian and French spectacular societies of Seventeenth century, because Giovan Battista had spent long periods of his career, besides his own country, also in Paris, working at the court of Maria de’ Medici and his son, Luigi XIII
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Lewis, Hammond Susan 1972. ""Chi soffre speri" and the influence of the Commedia dell'arte on the development of Roman opera." Thesis, The University of Arizona, 1995. http://hdl.handle.net/10150/278501.
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Chi soffre speri (1637, 1639) was twice produced by the Barberini family as part of the festivities surrounding the yearly Roman Carnival. The opera's music resulted from a collaboration between two composers, Virgilio Mazzocchi and Marco Marazzoli. The librettist for the opera was Giulio Rospigliosi, and Gianlorenzo Bernini designed sets for the 1639 Act II intermedio, La Fiera di Farfa. The extensive influence of the Commedia dell'arte, most evident in the use of masked characters, distinguishes Chi soffre speri from its operatic predecessors. The Commedia borrowings affected the musical and textual style of Chi soffre speri, resulting in a merging of the dramatic traditions of opera and the Commedia dell'arte. The popularity of the Commedia dell'arte in Rome and the city's unique cultivation of a dramatic sub-genre known as the Commedia ridicolosa may help explain why this fusion of opera and the Commedia dell'arte occurred there in the late 1630s.
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Anderson, Darrell Frederick. "A scene design for Carlo Goldoni's The Liar." Connect to this title online, 1991. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu110797278.
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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 tradition, may be seen as early forms of musical comedy and musical theater. Arguments concerning the manner in which the works were performed have centered on a debate for and against the staging of them.Because madrigal comedies have been largely neglected as concert and theatrical literature, there is little published to assist a director in finding the repertoire or to offer a guide to performance. The research project on which this document is based, along with the associated lecture-recital, resulted in the compilation of means to a successful madrigal comedy production. This was done by advocating historically informed performance decisions that are given a practical spin. In this manner, a director may put together a madrigal comedy production that is accessible to professionals and non-professionals, as well as secondary- and higher-education communities.
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Grigolo, Deborah <1993>. "Il Bestiario dell' Inferno dantesco. I manoscritti italiani della Commedia illustrati in area toscana nel XIV secolo." Master's Degree Thesis, Università Ca' Foscari Venezia, 2018. http://hdl.handle.net/10579/12543.
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Nella presente tesi mi occupo di analizzare dieci manoscritti toscani redatti nel XIV secolo, i quali presentano tracce del bestiario ibrido e non della prima cantica della Divina Commedia di Dante Alighieri.
Le vignette che contengono il bestiario verranno classificate tra completamente illustrate e parzialmente illustrate, verranno descritte e commentate al fine di capire quali topoi iconografici usa Dante come fonte d’ispirazione per descrivere le fisionomie e gli atteggiamenti delle bestie infernali e quali modelli illustrativi animali invece vengono usati dai miniatori nel momento in cui si occupano della realizzazione delle vignette in ogni codice.
Lo scopo della mia analisi è capire se esiste sempre una corrispondenza tra il contenuto dei versi danteschi ed il contenuto delle illustrazioni bestiarie; qualora non ci fosse una corrispondenza è mio compito cercare di capire quali iconografie note sono state prese a modello dai miniatori dato che molto spesso essi non conoscevano il contenuto della Commedia quindi non riuscivano ad interpretare correttamente le allegorie morali ed il pensiero del sommo poeta Dante.
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Oliveira, Rosa Adelina Sampaio. "Commedia dell'arte no sertão da Bahia: uma experiência teatral com jovens do assentamento de reforma agrária Poço Longe." Escola de Teatro, 2012. http://repositorio.ufba.br/ri/handle/ri/27312.
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O presente trabalho se configura como uma pesquisa-ação realizada com os jovens do Assentamento de Reforma Agrária Poço Longe. Na referida pesquisa, são investigados aspectos da experimentação com elementos da Commedia dell´Arte com os jovens do assentamento, sendo os seguintes elementos escolhidos para orientar a investigação: a construção corporal dos tipos do gênero, a confecção de máscaras e a elaboração de roteiro. Após a aplicação da pesquisa-ação, foi verificado que tais elementos articulam-se e compõem, cada um com sua respectiva especificidade, o trabalho geral em torno das máscaras dell´Arte. A experimentação objetivou explicitar a apropriação e transformações realizadas pelos sujeitos participantes a partir de suas identificações culturais às máscaras trabalhadas. Para a aplicação da experimentação, foi realizada pesquisa teórica em torno de temas relacionados à Commedia dell´Arte, como o contexto histórico social e artístico de seu período, a cultura popular na Idade Média e no Renascimento, a perspectiva do grotesco nesses períodos e a função social do riso e de alguns de seus mecanismos de produção. Os resultados foram analisados pela perspectiva do pesquisador a partir das improvisações, do processo de trabalho, dos depoimentos e avaliações dos jovens e apontaram principalmente para a potencialidade de trabalho com a atualização de alguns elementos da Commedia dell´Arte a partir da imaginação e do contexto específico dos sujeitos participantes.
This study is an action-research accomplished with the young population of Agrarian Reform Settlement Poço Longe. In this research, aspects of experimentation are investigated with elements of Commedia dell'Arte with the young population of the settlement, the following aspects were chosen to guide the research: the corporal construction of genre types, mask making and creation of scripts. After the action-research was applied, it was verified that these elements articulate and make up themselves, each one with its specificity with the general work around the dell'Arte masks. The trial aimed to make explicit the appropriation and changes made by the subjects who participated from their cultural identifications to the masks worked with. In order to apply the experimentation, theoretical research was carried out on themes related to the Commedia dell'Arte such as the historical and social context of its social and artistic period, popular culture in the Middle Ages and in the Renaissance, the perspective of grotesque in those periods and the social function of laugh and some of its mechanisms of production. The results were analyzed through the perspective of the researcher from the improvisations, the work process, the statements and evaluations of the young population and particularly pointed to the potential of working with the update of some elements of Commedia dell'Arte from the imagination and specific context of the subjects who participated.
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Pellizzon, Martina <1994>. "La Commedia dell'Arte. Uno studio rivolto agli attori, alle rappresentazioni sceniche e al loro influsso sul mondo della danza." Master's Degree Thesis, Università Ca' Foscari Venezia, 2019. http://hdl.handle.net/10579/15700.
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Questo elaborato si pone l'obiettivo di analizzare la Commedia dell'Arte, le sue caratteristiche e peculiarità, attraverso la presentazione delle maschere e degli attori che hanno contribuito a renderle famose e a farle giungere ai giorni nostri.
Con un focus sulla presenza scenica degli attori durante le rappresentazioni, si studieranno le influenze che il teatro ha avuto sul mondo della danza e sul suo sviluppo.
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Pinkham, Bryce Allen. "A Fool's Journey: An Exploration of Physical Comedy in Theory and Practice." Thesis, Boston College, 2005. http://hdl.handle.net/2345/576.
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Thesis advisor: Scott T. CummingsMy Senior Honors Thesis may be understood as a two-part investigation that addresses both theoretical and practical concerns of physical comedy and the language of gesture. I will first present some of my more general findings about comedy in order to more accurately zero in on the figure of 'the Fool.' I will thereafter investigate the function of the Fool in society and report on two of his most definitive iterations: Arlecchino, of the Italian Commedia dell'Arte and Bill Irwin of the contemporary stage. These theoretical components will eventually serve as a foundation for the practical side of my project- the creation of my own physical performance piece. In the final part of this document I will outline the process of conceiving and developing a physical comedy performance all my own, referring to my research whenever possible. My hope is that this paper will serve as both an informational document about some of the most important historical influences on physical comedy and the language of gesture, as well as relate how those influences affected me in the process of imagination and creation that is the joy of theatre
Thesis (BA) — Boston College, 2005
Submitted to: Boston College. College of Arts and Sciences
Discipline: Theater
Discipline: College Honors Program
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Galanes, Georgios. "Le comique dans les comédies de la Renaissance crétoise et l'influence des comédies italiennes du XVIe siècle." Paris, INALCO, 1999. http://www.theses.fr/1999INAL0002.
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Les caractères, situations et expressions comiques que l'on trouve dans les trois comédies crétoises de la Renaissance sont confrontés à ceux des "comédies érudites" italiennes du seizième siècle, qui constituent une renaissance de la Comédie nouvelle (NEA). Les comédies crétoises suivent l'évolution des comédies italiennes sous l'influence de la Commedia dell'Arte, en se rapprochant de certains éléments du théâtre populaireThe comic characters, situations and expressions found in the three Cretan Renaissance comedies are compared to those of the sixteenth century Italian "commedie erudite", which are a revival of New comedy (NEA). Cretan comedies follow the evolution of Italian comedies under the influence of Commedia dell'Arte, by using some popular theatre elements
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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 nos questionnements. La présente thèse est structurée en trois parties allant de la pensée à la pratique et vice-versa. La première interroge la formation de la pensée de Poli autour de la Commedia dell'Arte afin de comprendre quelle était la démarche qui l'a conduit à concevoir son spectacle le plus célèbre La Commedia degli Zanni (1958). La deuxième est dédiée à sa pratique artistique, corrélée à la fois à la dramaturgie et aux mises en scène inspirées du phénomène historique, attachant une importance particulière à la technique du montage anthologique, l'une des caractéristiques principales de son écriture ‘postdramatique’. La dernière partie analyse les processus de transmission de cette réinvention, qui advient à travers son activité pédagogique et les ‘voyages’ au sens propre et au sens figuré entrepris avec sa néo-Commedia dell'Arte. Puisant à la fois dans la tradition théâtrale italienne et dans l’avant-garde, il réinvente un système référentiel, se révélant une cheville indispensable à la reconstruction du panorama européen et mondial de la néo-Commedia dell'ArteEurope of the XXth century sees the creation of companies and research centers which dedicate themselves to the rediscovery of the modules of Commedia dell'Arte, the real shape of western traditional theater, which declined after the 'reform' of Goldoni. Giovanni Poli represents the most significant example of this process of reinvention that we call, with a neologism, néo-Commedia dell'Arte. Having had access to his private archives and having transcribed and proposed them in appendix, we were able to enter all the meanders of his polymorphic activity and to see how they answered our questionings.This thesis is structured in three parts, moving from the thought to the practice and vice versa. The first one, questions the formation of Poli’s thought around Commedia dell'Arte to understand what was the approach which led him to conceive his most famous play La Commedia degli Zanni (1958). The second part is dedicated to his artistic practice correlated, at the same time, with dramatic art and with directions inspired by the historical phenomenon, setting a particular importance to the technique of anthological editing, one of the main features of his 'postdramatic' writing. The last part analyzes the processes of transmission of this reinvention, which happens through his educational activity and the 'journeys' literally and figuratively undertaken with his néo-Commedia dell'Arte. Drawing at the same time on Italian theatrical tradition and on the avant-garde, he reinvents a reference system, showing itself an essential core to the reconstruction of European and world panorama of néo-Commedia dell'Arte
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Ponchia, Chiara. "Frammenti dell'Aldilà. Immagini nella Divina Commedia nell'Italia settentrionale del Trecento." Doctoral thesis, Università degli studi di Padova, 2014. http://hdl.handle.net/11577/3423513.
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The scope of my thesis is to analyze the genesis and the development of the Divine Comedy illustration in Northern Italy during the XIV century.
In section 1 I present the most representative manuscripts, that I selected because of the great number of illuminations and because of the particular iconographic solutions they present. Section 2 is dedicated to the analysis of the different illuminated images created by the first Divine Comedy illuminators to represent the main characters of Dante’s poem and the landscapes of the three Realms. In my analysis, I pay particular attention to the sources, visual and textual, that inspired illuminators when they had to face the difficult challenge of illustrating a new text with no previous iconographic tradition.
In section 3 I analyze the relationship between text and images in the manuscripts chosen for my thesis. Also in this case, I pay great attention to the possible sources that may have inspired illuminators. Concerning this, medieval novel illumination turned out to be a very fruitful field of investigation, as the spread of illuminated novels in Northern Italy at the beginning of the XIV century seems to have been one of the main incitements for the development of a narrative pictorial style.Il mio lavoro ha come oggetto la genesi e lo sviluppo dell’illustrazione miniata della Divina Commedia nell’Italia nord-orientale nel XIV secolo. La tesi muove dall’individuazione di un corpus di manoscritti significativi per numero di immagini e tipologie illustrative impiegate. Ai manoscritti principali è dedicato un capitolo di approfondimento finalizzato soprattutto a rilevare le principali problematiche storico-artistiche ad essi correlate. Particolare attenzione è dedicata all’Egerton 943, per il quale si propone una nuova datazione. Il lavoro prosegue con un’attenta analisi delle soluzioni adottate dai miniatori della Divina Commedia per illustrare un testo nuovo e pertanto privo di una tradizione iconografica consolidata. Ampio spazio è dato allo studio delle fonti, visive e in alcuni casi testuali, cui si rivolsero i miniatori in cerca di ispirazione, partendo da alcuni affondi analitici sulle iconografie adottate per raffigurare i personaggi principali, quali ad esempio Caronte e Minosse, per poi passare allo studio dei modelli visivi scelti per ricreare le ambientazioni di inferno, purgatorio e paradiso. Allo studio della figurazione si aggiunge poi l’analisi delle principali forme di rapporto testo-immagine nei codici padani della Divina Commedia. Anche in questo caso vengono prese in esame le possibili fonti, attraverso un’approfondita ricognizione delle principali tipologie di racconto per immagine riscontrabili nell’Italia nord-orientale tra la fine del Duecento e l’inizio del secolo successivo. In particolare, si è rivelato proficuo lo studio dei codici cavallereschi, che paiono essere l’ambito privilegiato di elaborazione dei principali sistemi impaginativi che saranno poi impiegati nei più antichi testimoni settentrionali del poema.
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Vieira, Cristiane Paoli. "\"Movimento-imagem-ideia\" - o percurso de uma prática." Universidade de São Paulo, 2016. http://www.teses.usp.br/teses/disponiveis/27/27156/tde-05052017-120004/.
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Esta dissertação tem como objeto de estudo a elaboração do conceito, \"movimento-imagem-ideia\", desenvolvido no percurso de uma prática de improvisação. Iniciada no teatro, por meio dos aprendizados do jogo teatral, do jogo das máscaras, como a commedia dell\'arte e o palhaço, encontra a dança e as abordagens somáticas, ampliando-se e oferecendo estrutura à autonomia do intérprete improvisacional. As pesquisas cênicas que constituíram caminho e estabelecimento dessa conceituação, analisadas neste trabalho, têm por foco a improvisação e a máscara de A Troupe de Atmosfera Nômade; as improvisações em tempo real, diante do público, da Cia. Nova Dança 4; e a estrutura pré-fixada na dança, em Ladies, da inocência à crueldade, com possibilidades de rupturas improvisacionais.This dissertation investigates the elaboration of a concept, \"movementimage- idea\", developed during an improvisation practice. When this improvisation - which started in the theatre with the use of theatre games, mask games, such as commedia dell\'arte and clowns - meets dance and somatic approaches, it is amplified, now offering structure to the autonomy of the improvisational actor. Previous research on performing arts that have paved a path to the establishment of the concept analyzed here focus on A Troupe de Atmosfera Nômade\'s use of improvisation and masks; Cia Nova Dança 4\'s real time improvisation in front of an audience; and the structure prefixed on dancing, in Ladies, from innocence to cruelty, with possible improvisational ruptures.
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Velez, Cecilia. "Pedagogia com máscara neutra e máscara expressiva: uma abordagem corporal através da educação somática." Universidade Federal da Bahia, Escola de Teatro, 2016. http://repositorio.ufba.br/ri/handle/ri/21628.
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Fapesb – Fundação de Amparo à Pesquisa do Estado da Bahia
RESUMO A presente investigação de mestrado desenvolve um estudo teórico-prático com enfoque numa abordagem corporal através da educação somática para a pedagogia com máscara neutra e máscara expressiva. As referências centrais do uso da máscara são Lecoq (1997) e Contin (2003) que apresentam princípios pedagógicos e corporais específicos sobre este assunto. A partir da educação somática o estudo centraliza em fundamentos do método Feldenkrais (1977) e do Sistema Laban/Bartenieff (2006) que permitem um aprofundamento na compreensão corporal através da ênfase de princípios somáticos em comum. A experimentação prática deste estudo utiliza uma metodologia relacionada à Prática como Pesquisa (Practice as Research) através da Abordagem Somático-Performativa. Portanto, este estudo apresenta, de forma significativa, a realização da sua experimentação prática por meio de relatórios que expõem reflexões e descobertas processuais.
ABSTRACT The present master’s research develops a theoretical and practical study focused on bodywork and movement through somatic education pedagogy using neutral mask and expressive mask. The main references for the use of mask are Lecoq (1997) and Contin (2003), who provided specific pedagogical principles and body language on this subject. Following from somatic education, this study focuses on fundamentals of the Feldenkrais method (1977) and also Laban/Bartenieff Movement Analysis (2006) that allows a deeper understanding of body movement with emphasis on common somatic principles. The practical experimentation of the present study uses a methodology related to Practice as Research with a Somatic-Performative Approach. Therefore, this research shows, significantly, the achievement of practical experimentation via reports which expose reflections and procedural findings.
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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 leurs œuvres pour exprimer avec dérision leur vision de la décadence et du déclin de la République de Venise, en même temps que leur crainte d'un avenir incertain. Le masque revêt aussi un caractère de messager et son utilisation dépasse la simple reproduction de son existence dans la vie quotidienne et constitue une clef d'entrée, unifiant le regard et établissant une passerelle entre des domaines à priori indépendants. Parodiant ou caricaturant courageusement la situation sociale de leur époque, minutieusement observée, entre satire et contemplation souriante, avec un réalisme teinté de grotesque, ils font défiler à la manière d'un kalei͏̈doscope une véritable comédie humaine dans laquelle le masque représente en quelque sorte le moyen de démasquer une société en pleine mutation. Le masque peut être dans ce cas considéré comme l'articulation et l'outil d'interaction le plus significatif entre les œuvres de ces artistesIn the eighteenth century, Mask is always present in Venice. It appears like a very important sociological and cultural tool bearing witness to the interacting relation between theatre, paint and music there an then. Full of psychological and symbolic meanings object, it has been at all times, a social thing acting dominant part. Its etnosociological duty is inquestionable likewise its artistic dimension. The artists Goldoni, Longhi, Tiepolo and Galuppi understood that, and widely used the Mask in their works to express with laughingstock the way they saw the decadence and the wane of the venitian Republic; In the some time, they communicate their fear about years to come. Mask utilization is something else that common representation of it being in daily life. It's a kay to see into their art with a same look, and to put a bridge over every seeminghy independent range. With parody and caricature of the society of their age, they show us a real human comedy, in a smiling and satirical contemplation, and with a grotesque realism too. In that comedy, the mask is the mean to demask a mutant society, so the mask is the tool the most significant to show the interaction between these artist's works
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Marque, Nathalie-Gabrielle. "Étude et édition critique du theâtre de Fatouville (1681-1687)." Bordeaux 3, 2007. http://www.theses.fr/2007BOR30011.
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Anne Mauduit de Fatouville, Conseiller à la Cour des Aides de Rouen, écrit des scènes puis des pièces complètes pour les Comédiens Italiens à la fin du XVII° siècle à Paris. Premier fournisseur de scènes françaises pour la troupe du Grand Arlequin, il occupe à ce titre une place clé dans l’histoire de la Commedia dell’arte en France. L’introduction générale cherche à faire émerger les spécificités de ce théâtre et son évolution afin de mieux comprendre comment il charme le public de l’époque. S’attachant aux éléments de la représentation et à la langue, elle tente ainsi de faire revivre ce théâtre « fin de siècle » qui est le reflet d’un monde, un instantané du quotidien de l’époque avec ses singularités qui sont autant d’ingrédients propices au rire. Outre le travail propre à l’édition critique, chacune des comédies éditée est précédée d’une présentation qui met en valeur ses caractéristiques. Les pièces éditées constituent un ensemble étroit lié à l’interprétation d’Arlequin par Dominique Biancolleli. Elles concernent donc la période de 1680 à 1687. Les premières sont très lacunaires, nombre de scènes étant jouées en italien, mais fort emblématiques de ce que pouvait être un spectacle à l’Hôtel de Bourgogne. Arlequin Mercure galant (1681) fait appel au mythologique tandis que La Matrone d’Ephèse (1682) connut un grand succès en raison de sa satire du monde du droit. On apprécie la mise en scène d’Arlequin lingère du Palais (1682), le sel d’Arlequin Protée (1683), le monde imaginaire d’Arlequin Empereur dans la lune (1684), l’aspect parodique et les machineries d’Arlequin Jason ou la toison d’or comique (1684), le réalisme d’Arlequin Chevalier du Soleil (1685). Colombine avocat pour et contre (1685), la plus achevée, donne lieu au fameux lazzi d’épouvante de Scaramouche. Enfin, nous ne possédons que peu de scènes d’Isabelle Médecin (1685) qui témoigne de l’émergence de la figure féminine et de l’intérêt porté aux sentimentsAnne Mauduit de Fatouville, a Counsellor of the Cour des Aides de Rouen, first wrote scenes and then full plays for the Italian Comedy at the end of the seventeenth century in Paris. Since he was the very first to provide the Great Arlequin’s Company with scenes in French, he played a major part in the story of the Commedia dell’arte in France. The main introduction tries to make the specificities and the evolution of this theatre stand out in order to understand how it succeeded in charming the audience of that time better. While analysing the components of the performances and the language, it endeavours to bring this fin de siècle theatre back to life- a theatre which mirrors a world, a snapshot of daily life at that time with all its specificities which are so many ingredients fostering laughter. Not only has each published comedy got its critical edition, but it is also preceded by a presentation that brings its characteristics to light. The published plays make up a whole thanks to Dominique Biancolleli’s outstanding performance of Arlequin. Thus the plays deal with the period between 1680 and 1687. Despite the fact that the first plays are very much incomplete due to a great amount of scenes played in the Italian language, it nevertheless brings out how could be a performance at the Hotel de Bourgogne. Arlequin Mercure Galant (1681) resorts very much to mythology while La Matrone d’Ephese (1682) met with success thanks to its bitter satire of legal matters. We take delight in the production of Arlequin lingère du Palais (1682), in the satirical tone of Arlequin Protée (1683), in the wonderland of Arlequin Empereur dans la lune (1684), in the parodical style and the machinery of Arlequin Jason ou la toison d’or comique (1684), and in the realistic tone of Arlequin Chevalier du Soleil (1685). Colombine avocat pour et contre (1685), which is the most complete play, stages Scaramouche’s famous scaring lazzi. Finally, we have only but few scenes of Isabelle Médecin (1685) which testifies to the increasing importance of the feminine character and to the interest in feelings
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Begenat-Neuschäfer, Anne. "De l'improvisation au rite : la Comédie de notre temps au Théâtre du Soleil." Paris 8, 1998. http://www.theses.fr/1998PA081516.
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Bn 1990, le theatre du soleil, poursuivant sa quete de formes theatrales pures, se mit a l'ecole de la tragedie grecque. Son choix se fixa sur l'orestic d'eschylc qu'il fit preceder de l'iphigenie d'euripide. Avec le cycle des atrides, la multiplicite des aspirations theatrales et extratheatrales du theatre du soleil a trouve son ancrage, prefigure par le cycle precedent des shakespeare. La recherche des formes theatrales pures se joint desormais a celle du texte ouvert, obtenu a la fois par traduction litterale par ecriture sur scene, pour devoiler enfin son aboutissement theatral: creer une epopee sur scene qui refait le monde dans la dimension symbolique du spectacle et qui se nourrit de la participation de la salle et de la scene a la beaute premiere du monde. Grace a l'auteur, concu desormais comme instance coordonnatrice qui etablit la structure textuelle du spectacle, le theatre du soleil n'ecrit plus seulement "sur le sable" comme le disait encore antoine vitez a propos de la representation unique et ephemere, mais il fait emerger le nouveau genre dramatique dans sa pratique collective. Il ne s'agit plus alors des notions traditionnelles d'auteur, de texte et de genre. On pourrait plutot parler d'une performance d'ecriture ou le spectateur est convie a assister a l'ecriture sur scene, ou l'ecriture emerge devant luiSince its very beginning in 1964 and on the same line of jacques copeau, the theatre du soliel follows a project of theatrical reform. Initially inspired by the commedia dell'arte and afterwards by the oriental theater the ariane mnouchkine's company has created new characters intended to enlighten the spectator on the contemporary reality. These "types" will be ulteriorly endowed with a spiritual dimension and will tell the history of our times. The theatrical project leads to a new genre and also to a new writing which feeds itself on scene improvisations
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Tanguy, Camille. "Le Triomphe de la Folie sur la scène de l’Académie Royale de Musique, portrait d’une figure entre 1697 et 1718." Thesis, Paris 4, 2014. http://www.theses.fr/2014PA040006.
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Ce travail est consacré à l’étude du personnage allégorique de la Folie sur la scène de l’Académie Royale de Musique entre 1697 et 1718. Qu’il soit suggéré ou personnifié, ce caractère féminin est abondamment présent dans les spectacles de cette période. A la fin du règne de Louis XIV, la Folie fait peu à peu son entrée à l’Opéra. Entourée de Momus, du Carnaval, de Bacchus, de l’Amour et des personnages de la commedia dell’arte, la Folie « ramène les tendres Jeux », « chasse la Raison cruelle » et invite sans cesse à « goûter les charmes de la vie ». En accédant à l’Opéra, cette figure extravagante et enjouée signale une évolution de ton qui préfigure le changement de mœurs associé à la Régence. Mais au-delà de la philosophie hédoniste qu’elle dispense, quel est le sens caché des paroles de la Folie ? Faut-il voir dans la présence de ce personnage une remise en cause de l’ordre établi, de la politique sociale et de l’austérité marquant la fin du règne ? Son utilisation permet-elle, sous la couverture d’une « maladie de l’âme », de critiquer la politique et les mœurs de Louis XIV ? Qui se cachent derrière le discours subversif de la Folie ? Quel est le rôle de cette figure dans les débats esthétiques de l’époque ? Cette recherche explore le rôle, ainsi que le traitement musical, dramatique et scénique d’une telle figure à travers l’étude d’ouvrages créés à l’Opéra. Nous proposons ici un portrait physique, moral et social de la Folie, à la lumière de multiples documents musicaux, textuels et iconographiques de l’époque, et présentons différents traits de caractère du personnage et plusieurs thèmes qui lui sont liés afin de comprendre les raisons de sa présence à cette époqueThis work is devoted to the study of the allegorical figure of Folly on the stage of the Académie Royale de Musique between 1697 and 1718. Suggested or personified, this female character is abundantly present in the spectacles of this period. At the end of the reign of Louis XIV, Folly appears little by little at the Opera. Surrounded by Momus, Carnival, Bacchus, the god of love and the characters of the commedia dell'arte, Folly "brings back the soft Games", "banishes the cruel Reason" and continually invites to "taste the charms of life”. By accessing the Opera, this extravagant and playful figure indicates a change of tone that foreshadows the changing attitudes of the Regency. But beyond the hedonistic philosophy that she provides, what is the hidden meaning of Folly’s words? Should we see a calling into question of the established order, the social policy and the austerity marking the end of the reign? Does its use allow, under the cover of a “disease of the soul”, to criticize the policy and manners of Louis XIV? Who hides behind the subversive speech of Folly? What is the role of this figure in the aesthetic debates of the period? This research explores the role, as well as musical, dramatic and scenic treatments of such a figure through the study of works created at the Opera. We propose here a physical, moral and social portrait of Folly, in the light of multiple musical, textual and iconographic documents of the time, and present different character traits and several themes that are related to it in order to understand the reasons for its presence at this time
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Arreola, Dora A. "Staging Through Rituals: Directorial Exploration of The Imaginary Invalid." Amherst, Mass. : University of Massachusetts Amherst, 2009. http://scholarworks.umass.edu/theses/266/.
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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 s’est concentrée sur les phases préliminaires de la réflexion sur le théâtre de Carlo Gozzi: la Préface à la traduction de Fajel de Baculard d’Arnaud et le manifeste promotionnel de l’édition Colombani. Dans le choix des textes –des introductions convaincantes au Ragionamento ingenuo– l’idée de leur eclipse par rapport à la tradition textuelle a joué un rôle important ainsi que la conviction que dans ces textes l’animus de la pensée théorique de Gozzi va se dévoiler comme dans une enluminure d’une extraordinaire pureté. L’examen rigoureux de la documentation manuscrite et des témoignages imprimés ont permis de déterminer, en même temps que le processus génétique des textes, les “arrière-scènes” de l’élaboration théorique et de la mise en pages stylistique de Gozzi. Les textes ont été donc édités avec des critères motivés de philologie textuelle et ont été accompagnés d’un riche commentaire d’ordre linguistico-stylistique et historico-critique. La conclusion de l’ouvrage est dédiée à souligner les éléments portants de la pensée théorique de l’auteur et leur modernité insoupçonnéeIn the last decade there has been a proper “Gozzi Renaissance”. This study aims at giving a contribution to such “Renaissance” with a twofold purpose: to investigate an aspect of the author’s complex personality which the critics have ignored (or scornfully disdained) so far, and to offer a methodological contribution to the use of the imposing quantity of autograph writings which have been discovered recently and can be looked up in at the Biblioteca Nazionale Marciana in Venice. After a preliminary definition of the texts which can be considered strictly theoretical, the investigation focuses on the introductory chapters on Carlo Gozzi’s reflexion on theatre, that is to say the preface to the translation of Baculard D’Arnaud’s Fajel and the promotional manifesto of the Colombani edition. The choice of the texts, illuminating preambles to Ragionamento ingenuo, has been greatly influenced by the consideration of their eclipse from the text tradition and the strong belief that they reveal, like a brightly clear miniature, the animus of Gozzi’s theoretical thought. The rigorous scrutiny of the manuscripts (which has very often been entrusted to confused fragments) and of the printed witnesses has allowed to identify the genetic process of the texts and to know the “behind the scenes” of Gozzi’s theoretical elaboration and stylistic lay out. Therefore the texts have been edited with grounded critical criteria and richly annotated with a linguistic-stylistic and historical-critical commentary. The final chapter is aimed at highlighting the fundamental ideas of the author’s theoretical thought and their unexpected modernity
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Claeson, Karin. "Kroppens Kultur : Fysisk teater som begrepp, dess diskurs och status på teaterfältet." Thesis, Stockholms universitet, Avdelningen för teater- och dansvetenskap, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-73924.
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This master’s thesis discusses the term physical theatre from a discourse point of view. It also focuses on aspects of power from a field theory perspective. The main theory used is Pierre Bourdieu’s field theory, and I try to apply this onto critical discourse analysis, mainly taken from Michel Foucault. The forms of physical theatre I focus on are mainly commedia dell’arte, theatre forms inspiredby Grotowski and Artaud, as well as mime, performance and contemporary circus. These are all theatre forms that focus especially on the body. My aim is to explore the status and discourse of physical theatre in Sweden today. The thesis is divided into two main parts. First, I present research concerning empirical data, where I search for the term physical theatre, as well as other forms of describing these theatre forms, in magazines, theatre playlists, texts about theatre troups etc. The term physical theatre is not very common in these texts, it is often described as dance-theatre for example. It is also prominent that the view on what physical theatre is has changed, theatre forms which focus on the body and its expression have been incorporated into the major theatre field, and are no longer considered odd or different. Physical comedy, however, still stands out. Although it seems that it has become increasingly popular, it has somewhat moved away from the serious forms of physical theatre. The second part of the thesis approaches the subject from a more theorising point of view, where the discussion itself is the main focus. I start off by discussing the term physical theatre and its aesthetics – how its meaning has changed from being something avant-garde to something that is considered “normal”. Thereafter I discuss the status of the physical theatre forms, and apply them onto Bourdieu’s field theory. Physical comedy has not yet acquired the status of ”high culture”, whereas the serious, more “arty” forms of physical theatre are on different positions in the theatre field, and even on the physical theatre field. I also discuss how this can be transferred to theories about popular culture, and the interesting things that happens when the once very popular, low-status theatre form commedia dell’arte is situated in a high culture theatre house, Kungliga Dramatiska Teatern, in Sweden. I continue to discuss marginalised forms of theatre from a sub-culturalperspective, fighting both against and inside the dominant culture to gain status in the theatre field. After this, I discuss how the physical theatre’s new discourse has changed because of the newly found interest in contemporary circus, research projects in universities as well as higher education in physical art forms. The conclusion is that the term physical theatre still can be useful to describe different forms of theatre, although it is quite vague and has changed significally.
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Munari, Alessandra. "L'Ismenia, opera reale e pastorale di Giovan Battista Andreini, «lo sfortunato fabricatore di castelli in aria»: edizione critica e commentata." Doctoral thesis, Università degli studi di Padova, 2018. http://hdl.handle.net/11577/3423289.
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This thesis offers the critical edition, with commentary, of Ismenia, opera reale e pastorale (Bologna 1638-1639) by Giovan Battista Andreini (1576-1654), that is his last dramatic ‘creation’ published in print during his lifelong career as both a playwright and writer. The text of Ismenia has been studied critically as well as historically, with a careful collation of all the known witnesses of its (printed) tradition, after accurately mapping all the main Italian and European libraries and archives, which led to the rediscovery of manuscript materials by Giovan Battista Andreini (that can be found here in the appendix section). These manuscripts look very interesting, as they help to reconstruct those very years that incubated the creation of Ismenia, from the mid-30s till the early 40s of the seventeenth century – casting light on that very period that has always been considered the ‘blind spot’ of Andreini’s production and life, indeed the central part, the ‘heart’ of this century. Ismenia represents the ‘swansong’ of a Baroque author daring enough to (literally) put into play all his «extravagant» creative genius, bringing life to a dramatic ‘monstrum’ that bravely displays his whole arsenal of literary as well as dramatic resources, developed in the lifetime Andreini spent in and for the theatre: the bold contamination of genres, first of all, in the name of a tragicomic mode, and of various formal and linguistic registers, too (mixing the literary language of ‘noble’ charactersand the dialects of the figures drawn from theCommedia dell’Arte), the intricate web of sources and intertextual, even interdisciplinary connections, bringing Ismenia close to the rising drama in music as well as to the timeless chivalric romance, and maybe already looking at the English drama of Shakespeare – a premonition? –, namelyThe Tempest, which was actually already fueled by those very Commedia dell’Arte sources and experiments that Ismenia itself is built on . The intent or, rather, the hope of this study is to do justice, or at least bear witness to a text that, even in comparison to the usual measures of the Baroque century, cannot be defined but literally «extra-ordinary».La tesi propone l’edizione critica e commentata dell’ Ismenia, opera reale e pastorale (Bologna 1638-1639), ultima ‘creazione’ drammatica data alle stampe da GiovanBattista Andreini (1576-1654) nel corso della sua pluridecennale carriera di attore e autore principalmente , ma non solo, teatrale. Il testo è stato ricostruito sia criticamente sia storicamente, attraverso un’attenta collazione di tutti i testimoni noti della tradizione (a stampa) dell’opera, in seguito a un accurato censimento delle principali biblioteche e risorse archivistiche italiane ed estere che ha portato anche alla riscoperta di preziosi materiali manoscritti dell’autore (inseriti in appendice), utili a illuminare proprio il giro d’anni che interessa l’officina dell’Ismenia, a cavallo tra la metà degli anni Trenta e i primi anni Quaranta del Seicento– gettando così luce su quelle che sono sempre state considerate le principali ‘zone d’ombra’ dell’attività e biografia andreiniana, proprio al centro, anzi, nel cuore del secolo. L’Ismenia si presenta dunque come il canto del cigno di un autore barocco pronto a sfoderare tutto il proprio «stravagante» genio creativo, dando vita a un ‘monstrum’ drammatico capace di dispiegare il folto arsenale di risorse letterarie e drammatiche andreiniane, maturate nell’arco di una vita intera spesa nel e per il teatro: l’audace contaminazione non solo di generi, sotto il segno del tragicomico, ma anche di registri formali e linguistici (con l’alternanza tra l’idioma letterario dei personaggi ‘nobili’ e i dialetti delle figure riprese dalla commedia dell’arte), la brulicante rete di fonti e rapporti intertestuali, perfino interdisciplinari, che sanno avvicinare l’Ismenia tanto al mondo del nascente dramma in musica quanto agli intramontabili modelli romanzesco-cavallereschi,1allo stesso tempo forsegià guardando, con una sorta di premonizione, al teatro inglese shakespeariano, nominalmente La tempesta, questo stesso pure nutrito di quel fertile ‘sottobosco’ dell’improvvisa che emerge fra le righe di questa fabula regia. Si spera così di rendere, se non giustizia, almeno testimonianza al valore di un testo che perfino rispetto alle misure del secolo barocco si può solo che definire, insieme ad Andreini, «non ordinario».
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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. Interessante pure un gruppo di manoscritti che portano le segnature Mscr.Dresd.Ob.48.b, Ob.48.c, Ob.48.d, Ob.48.e, Ob.48.f, Ob.48.g, Ob.48.ga e Ob.48.h, prevalentemente libretti di opere liriche, con l’eccezione del Falcone, commedia la cui esecuzione va collocata a Vienna intorno al 1740. Di qualche interesse ne è la lingua, aperta sia a modi proverbiali, letterari o popolari, sia a sezioni in dialetto veneto e lombardo, che si possono paragonare a quelle della commedia dell’arte fino ai primi successi di Carlo Goldoni.
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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 exemplaire de pièces de Marivaux et de Delisle. Il ressort des analyses que les Comédiens-Italiens disposent d’un trésor de structures de jeu que les différents auteurs français s’approprient et qu’ils développent. Malgré tous les changements, l’étude permet de dégager deux constantes au sein du jeu : les structures dialogiques et le jeu avec l’identité. Selon les différentes périodes de la Comédie-Italienne, les fonctions du jeu varient entre le spectacle, la provocation joyeuse, la critique et la découverte d’une nouvelle conscience de soi-même. L’évolution du jeu met en évidence que la tradition, à savoir la culture comique populaire du Moyen Âge, est surmontée en faveur de la modernité et de la civilisation. Les analyses révèlent que la transformation des structures de jeu entre l’Ancienne et la Nouvelle Comédie-Italienne, qui mène du spectacle à la découverte de la vérité et de soi-même et qui revendique la responsabilité de l’individu, correspond à un changement profond de la société : l’apparition d’une nouvelle bourgeoisie et d’un nouveau publicThis thesis is part of the body of research on the Comédie-Italienne. It aims at exploring the structures and elements of play within the Ancienne and the Nouvelle Comédie-Italienne by a typological analysis and at investigating the functions of play in these two theatres. The study focuses on the period beginning at the foundation of the Italian Theatre in Paris 1662 until the year 1729. It is chronologically structured in three main sections along the study material: the Scenario of Biancolelli (1662-1680), the Recueil of Gherardi (1682-1697) and an exemplary choice of plays by Marivaux and Delisle. The analyses show that the Italian company of actors is in possession of a large number of play structures such as lazzi, improvisation, disguise and dissimulation that French authors adopt and refine. The evolution of play leads from spectacle to the discovery of truth and to the demand of individual responsibility. Despite these developments of the play, the study reveals two constants: dialogic structures and the play with identity. The functions of play vary within the different periods of the Comédie-Italienne from spectacle, hilarious provocation and criticism to the discovery of an increased self-awareness. The changes in structures and elements of play reveal that the traditional comic popular culture from the Middle Ages has been overcome by modernity and civilization. Thus, the transformation of play structures corresponds to a deep social change: the emergence of a new bourgeoisie and a new public
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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 reconstitution du répertoire de pièces italiennes d’acteur et l’étude de la dramaturgie de ce spectacle parisien durant la seconde moitié du XVIIIe siècle. À partir des années 1760, la pratique de la scène, les modalités créatives et représentatives de la commedia dell’arte migrent vers les dramaturgies adjacentes à l’intérieur d’un répertoire mixte, français et italien, en donnant lieu à des phénomènes d’« hybridation » permettant de pérenniser la dramaturgie italienne et la « pratique » scénique des comédiens italiens, à l’intérieur des comédies des dramaturges français qui écrivent pour ce théâtre : J.-F. Cailhava de l’Estandoux et de J.-P. Claris de Florian. Il sera donc question de relire la « suppression » du genre italien en 1779, en les termes d’une « réexistence », en étudiant la portée globale du répertoire et de la dramaturgie italienne du point de vue de leur évolution, durant la seconde moitié du XVIIIe siècle, au sein du contexte productif et de la palette représentative de la Comédie-ItalienneThe second half of the eighteenth century represents a period of research and experimentation in dramatics that manifest themselves, within the theater’s programs of the Comédie-Italienne. These experimentations materialize in approximately sixty unpublished Italian plots, directed by the actors-authors of the Italian company between 1760 and 1779, year of the “suppression” of the Italian genre. Sorting through periodical sources, that include summaries of the evening performances and performances’s telling, and theater’s registers, which give the access to the acting company, this thesis intends to recreate the company’s repertoire of Italian plays. The intention is also to study the dramatic art of this Parisian show during the second half of the eighteenth century. From the 1760s, the experience of the stage, the creative and representative modalities of the commedia dell’arte slide towards closed dramaturgies inside a mixed repertoire French and Italian. It generates “hybrid” phenomena that give the possibility to preserve the Italian dramatic art and the scenic “technique” of the Italian comic actors, within the plays of French playwrights who have written for this theater: J.-F. Cailhava de l’Estandoux et de J.-P. Claris de Florian. This thesis will provide a rereading of the “suppression” of the Italian genre in 1779, in terms of “rebirth”. Then it will analyze the complete impact of the Italian repertoire and the dramatic art inside the productive context and the representative range of the Comédie-Italienne from the outlook of their evolution during the second half of the eighteenth century
La seconda metà del XVIII secolo è un periodo di ricerca e sperimentazione drammatica che sfociano,nell’ambito della programmazione del teatro della Comédie-Italienne di Parigi, nella creazione di unasessantina di canovacci italiani inediti allestiti e rappresentati dagli attori-autori della compagnia italiana delteatro, tra il 1760 e il 1779, anno della « soppressione » del genere italiano. Attraverso lo spoglio delle fontiperiodiche, che contengono i riassunti degli spettacoli e i resoconti delle performance attoriali, le ricerched’archivio effettuate nei registri del teatro, che permettono di accedere agli effettivi delle troupes, la tesipropone la ricostituzione del repertorio italiano e lo studio della drammaturgia di questo teatro parigino dellaseconda metà del Settecento. A partire dal 1760 la pratica scenica, le modalità compositive e rappresentativedella commedia dell’arte migrano verso le forme drammaturgiche ad essa vicine all’interno di un repertoriobilingue, francese e italiano dando luogo a fenomeni di « ibridazione » che permettono la fissazione delladrammaturgia italiana e della pratica teatrale degli attori italiani, nella produzione francese degli autori checompogono per questo teatro : J.-F. Cailhava de l’Estandoux e J.-P. Claris de Florian. Lo studio dell’ampiezzadel repertorio e della drammaturgia italiana, considerati dal punto di vista dell’evoluzione che subiscono inseno al contesto produttivo e all’offerta rappresentativa della Comédie-Italienne, permette di rileggere la« soppressione » del genere italiano avvenuta nel 1779 come « riesistenza » e « perennizzazione » di questogenere
Die zweite Hälfte des 18. Jahrhunderts ist eine von dramaturgischer Forschung und Experimentierfreudigkeitgeprägte Periode, was sich in den Jahren 1760 bis 1779, Jahr der ‚Abschaffung’ des italienischen Genres,innerhalb des Programms des Pariser Theaters Comédie Italienne in der Konzeption von ungefähr 60unveröffentlichten neuen italienischen Kanevas, die von Schauspieler-Autoren der italienischen Truppe desTheaters inszeniert wurden, ausdrückt. Durch die Aufarbeitung publizistischer Quellen, die neben Kritikenund Inhalten dieser Abende auch Theaterregister beinhalten, und somit einen Zugang zum Personalbestandder Truppe eröffnen, wird in der vorliegenden Dissertation eine Rekonstruktion des Repertoires deritalienischen Schauspielerstücke sowie die Untersuchung der Dramaturgie dieser Pariser Vorstellungen derzweiten Hälfte des 18. Jahrhunderts vorgenommen. Ab den 1760er Jahren verlagern sich die Szenenpraxis,die kreativen und repräsentativen Modalitäten der commedia dell’arte hin zu benachbarten Dramaturgieneines gemischten, französisch und italienischen Repertoires hin und machen Platz für hybride Phänomene,was erlaubt, die italienische Dramaturgie und die Bühnenpraxis der italienischen Schauspieler innerhalb derKomödien französischer Dramaturgen, die für dieses Theater schreiben (J.-F. Cailhava de l’Estandoux und J.-P. Claris de Florian), zu einem festen Bestandteil zu machen. Es geht also darum, die „Abschaffung“ desitalienischen Genres 1779 hinsichtlich einer „Reexistenz“ noch einmal zu überdenken, indem man denglobalen Beitrag von „italienischem“ Repertoire und „italienischer“ Dramaturgie aus Sicht ihrer Entwicklungin der zweiten Hälfte des 18. Jahrhunderts im Kontext der Produktion und der Darstellungspalette derComédie Italienne untersucht
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Brondani, Joice Aglae. "Varda che baucco! trascursos fluviais de uma pesquisatriz: Buffão, commedia dell'art e manifestações espetaculares populares brasileiras." reponame:Repositório Institucional da UFBA, 2010. http://www.repositorio.ufba.br/ri/handle/ri/9611.
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A presente tese vem apresentar uma pesquisa que possui como ponto de partida as teorias sobre imagem e imaginário, em Bachelard, apoiando-se, também, na ideia bachelardiana de um Fundo Comum dos Sonhos que se perpetua e se renova através de um DNA imaginal que punge a realidade por meio dos impulsos criativos e atitudes lúdicas, agindo no corpo do pesquisator, através de um processo de imaginação e de, segundo Lecoq, um Fundo Poético Comum. Tais processos de pungências, na realidade objetiva, alastram-se rizomaticamente por toda a história da humanidade, não tendo limites de tempo, cultura, espaço e território. Advindo de uma esfera imaterial, mas sensível, o DNA imaginal conecta-se aos Bufões, às manifestações espetaculares populares brasileiras e às máscaras dell’arte e é, principalmente, através dele e da formação de circuitos musculares e energéticos, que é possível acessar as máscaras da commedia dell’arte, fazendo um transcurso pelas técnicas do Bufão, de translocação e transdução caleidoscópicas.
Salvador
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Négrel, Éric. "Théâtre et carnaval, 1680-1720 ˸ coutume, idéologie, dramaturgie." Thesis, Sorbonne Paris Cité, 2018. http://www.theses.fr/2018USPCA123.
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La rencontre du théâtre et du carnaval est aussi ancienne que le carnaval lui-même. D’une part, les cérémonies et les comportements collectifs possèdent, en propre, une dimension spectaculaire ; d’autre part, les jeux dramatiques font partie intégrante du rituel. Dans la France d’Ancien Régime, les réjouissances du carnaval sont un temps fort du calendrier, qui occupe toute la société pendant plusieurs semaines, des Rois au Carême. Les comédies créées pendant cette période, au Théâtre-Italien, à la Comédie-Française, à la Foire Saint-Germain, se rattachent explicitement à la coutume et s’insèrent dans son cycle cérémoniel. Plus largement, tirant parti de cette proximité calendaire, les dramaturges recourent au langage symbolique du carnaval, à celui du charivari, pour inventer un système de représentation du réel qui en offre un mode d’intelligibilité spécifique. Une langue pleine d’équivoques scabreuses et de saillies ordurières, des lazzis outrés et obscènes, un univers fantaisiste et bouffon, des personnages extravagants et burlesques : les modèles comiques qui se développent, de 1680 à 1720, sont à rattacher à la culture carnavalesque et à son imaginaire mythico-rituel. Les croyances et les pratiques symboliques innervent la création dramatique et participent à la construction de son sens, en lien étroit avec le contexte historique dans lequel s’inscrivent les œuvres. Il convient de restituer à ce théâtre la dimension anthropologique qui est la sienne, si l’on veut accéder à sa raison esthétique. La comédie de mœurs offre alors un nouveau visage : représentant la société contemporaine comme un monde à l’envers sur lequel règnent des souverains parodiques, elle revêt des enjeux idéologiques et possède une portée politique. Parallèlement, c’est aussi le concept critique de « carnavalesque » qui apparaît sous un jour inéditThe meeting of theatre and carnival is as old as carnival itself. On the one hand, ceremonies and collective behaviour have a spectacular dimension in themselves; on the other hand, dramatic performance is an integral part of the ritual. In the early modern France, celebrating carnival was a key moment of the year, and kept the whole society busy for several weeks from Epiphany (or Twelfth Night) to Lent. The comedies created during that period at the Théâtre-Italien, at the Comédie-Française or at the Saint-Germain Fair, are explicitly related to the custom and fit into its ceremonial cycle. More generally, playwrights took advantage of the calendar proximity and used the symbolic language of carnival, that of charivari, to invent a system of representation of reality that offers a specific mode of intelligibility. A language full of lewd ambiguities and bawdy sallies, offensive, obscene lazzi, a fanciful, farcical universe, extravagant and burlesque characters: the comic models that developed, from 1680 to 1720, are to be related to the carnivalesque culture and to its mythical and ritual imaginary world. Symbolic beliefs and practices pervade the dramatic creation of that time and partake in the construction of its meaning, in close connection with the historical context within which the works are framed. It is necessary to restore their anthropological dimension to these plays to grasp their aesthetic purpose. The comedy of morals after Molière then offers a new face: as the plays represent the contemporary society as a world that has been turned upside down and that is ruled by parodic monarchs, they tackle ideological issues and have a political significance. It is also the critical concept of "carnivalesque" that appears in a new light
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Derex, Anne Juliette Hélène. "Angelo Costantini (1654-1729), Mezzetin de la Comédie Italienne. : héritier d'une tradition ou précurseur d'un nouveau modèle de comédien ?" Thesis, Normandie, 2017. http://www.theses.fr/2017NORMC041/document.
Full textAbstract:
On connaît le personnage de Mezzetin grâce au portrait qu'en a fait Watteau. C'est sans doute le personnage le Commedia dell'arte le plus représenté dans l'iconographie des XVII et XVIIIe siècles. Ce fut Angelo Costantini qui le rendit célèbre. Or, que sait-on de ce comédien et de son personnage? Né à Vérone en 1654, fils d'un comédien-musicien italien, il débute le théâtre en Italie avant d'arriver en France dans la troupe royale en jouant Arlequin en alternance avec Biancolelli. Celui-ci ne lui laissant pas l'occasion de briller, Costantini songea à jouer des interventions fragmentées, imaginant un nouveau type de personnage, mi-aventurier, mi-serviteur, et surtout musicien: Mezzetino, diminutif de mezzetta, c'est-à-dire "demie-portion". Ce nouveau zanni, entre Scapin et Brighella le rendit populaire et le public, appréciant son visage agréable et son jeu expressif, le poussa à jouer sans masque, à visage découvert. Mais le personnage est-il véritablement de l'invention de Costantini? Cette recherche s'attache à déjouer les préjugés qui accompagnent traditionnellement les écrits sur l'acteur. On ne connaît de lui que son histoire parisienne, il a pourtant marqué son époque, ayant été appelé à jouer dans les grandes cours européennes comme celle de Varsovie, Dresde, Madrid ou encore Londres. Nous avons suivi ses traces dans une première partie pour étudier ensuite le personnage de Mezzetin et des particularités. L'un et l'autre furent-ils indissociables?.We know the character of Mezzetino thanks to Watteau. He is without doubt the character of the Commedia dell'arte the most painted in the 17th and 18th century iconography. It was Angelo Costantini who made him famous. But what do we know exactly about this comedian and his character? Born in Verona in 1654, son of an italian comedian and musician, he starts to play the theater in Italy before coming in France in the royal troupe. To emphasize, he invents a new type adventurer and servant, but mostly musician : Mezzetino, short for mezzetta, which means half portion. This new zanni between Scapino and Brighella made Costantini famous in Paris. The audience liked him very much and forced him to play without a mask because he was handsome. But the character is it really his invention? In this thesis, we attempt to thwart the prejudices which accompany traditionally the papers on the actor. Costantini marked his time, he was called to play in the biggest european courts (Varsovia, Dresden, Madrid or London). We followed his tracks in a first part to study then the character of Mezzetino and his peculiarities. Were both inseparable?
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Pennell, Nancy Kay. "Three theories of the origin of the commedia dell'arte." 1989. http://hdl.handle.net/2097/23843.
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Rioux, Pascal. "Une réponse contemporaine à la commedia dell'arte : la création d'un type." Thèse, 2009. http://constellation.uqac.ca/121/1/030124884.pdf.
Full textAbstract:
L'essai qui suit couvre les trois dernières années de ma pratique professionnelle et répond à mes préoccupations artistiques actuelles.
On y trouve d'abord une réflexion sur les aspects organisationnels, artistiques et financiers de la création d'un collectif devenu compagnie de théâtre, le Théâtre du Faux Coffre.
On y aborde, par la suite, le processus ayant mené à la création de mon clown noir, Piédestal, à partir de traits appartenant à mon caractère. II s'agit en fait d'une méthode conduisant ou à l'émergence de nouveaux types pouvant être repris par quiconque, ou à la création de nouveaux personnages. Ce nouvel acteur, en mesure de porter un texte dramatique, est appelé ici le clown comédien.
C'est ainsi que les clowns noirs de 2005 peuvent constituer une réponse contemporaine aux personnages de la commedia dell'arte, tels ceux de la Compagnie Fraternelle fondée en 1545.
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Gordejeva, Anna. "Náměty z commedie dell'arte ve výtvarném umění." Master's thesis, 2017. http://www.nusl.cz/ntk/nusl-358148.
Full textAbstract:
The aim of this thesis is to evaluate certain artistic pieces with motives of Italian Theatre of Renaissance. Further, this work discusses the literature dedicated to this topic in the framework of Czech and foreign history of art and theatre. In this regard, attention is drawn to analysis and the interpretation of particular pieces of an art from the formal and iconographic perspectives. The introduction is concerned with the key historical aspects and personalities of the Commedia dell'arte in connection with chosen pieces of art. Based on provided facts, this thesis comes to an acquired evaluation and comparisons of motives with the character of theatre performance.
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Scholtz, Pieter J. H. "Theatre for young audiences and the Commedia dell'arte : the living tradition of the Commedia dell'arte in theatre for young audiences, with specific reference to selected original texts and performances." Thesis, 1992. http://hdl.handle.net/10413/8694.
Full textAbstract:
The thesis affirms the relevance of "Theatre for Young Audiences" as a valid
and distinctive genre; a performance genre that should entertain, educate and
provide meaning in terms of its creative interaction with personal, social, artistic and
cultural issues. The practice of playwrighting is removed from the assumption that
it relies exclusively on inspiration, intuition and spontaneity; it is placed within a
creative, experiential and discursive mode in which dramatic, theatrical,
performance and structural issues can be researched, analysed and evaluated
culminating in the crafting, making and presentation of innovative and challenging
theatre.
The research component of the thesis attempts to identify the social and moral
responsibility of the playwright writing for young audiences. It is asserted that
knowledge about the maturation of young people is crucial in the creative processes
of writing plays and making theatre. The second chapter in Part One of the thesis,
asserts that knowledge about the physical, emotional and intellectual maturation of
the intended audience should clearly impact on the delineation of plot, action,
character, language, audience participation, ethics and morality. The thesis clearly
identifies the importance of this knowledge for the Arts Educator.
However, "Theatre for Young Audiences" does not function solely in the realm
of education. The thesis distinguishes this genre from those of "Theatre-in-Education"
and "Drama-in-Education". The thesis firmly supports this distinction
and affirms the status of "Theatre for Young Audiences" as a performing art. This
argument is given further credence by the creative interaction of original scripts with
the "living tradition" of the Commedia dell' Arte. The Commedia dell' Arte is
examined from an historical perspective; pertinent features are addressed, selected,
utilised and transformed into a dynamic theatrical experience for young audiences in
contemporary South Africa.
The Commedia dell' Arte serves as a theatrical model and becomes a creative
device for further and renewed innovation. The inclusion of three original plays in
Appendices 1, 2 and 3, plus numerous references to selected, original texts and
performances provide an illustration of the concept that playwrighting for young
people can effectively and imaginatively transpose theoretical inquiry into
imaginative and challenging theatre experience.
The thesis attempts to utilise a clear conceptual basis for the development of
argument - the educational and psychological perspectives provide a foundation for
ideas and critical writing. The theatre heritage becomes a catalyst for innovative and
pertinent theatre that affirms the status, purpose and nature of "Theatre for Young
Audiences" in contemporary South Africa.Thesis (Ph.D.)-University of Natal, Durban, 1992.
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Plocková, Tereza. "Angelo Beolco, řečený Ru(z)zante." Master's thesis, 2017. http://www.nusl.cz/ntk/nusl-267879.
Full textAbstract:
The subject of this degree paper is the comedies of Angelo Beolco. The introductory part is focused mainly at the life and work of Angelo Beolco. Following this there is an introduction to the comedy genre in 16th century in Italy and the characteristics of erudite comedy, its authors and the change from the erudite comedy to the comedy dell'arte. A further part is given over to an analysis of his comedies La Pastoral (Pastoral), Il Reduce (Returnee) - Primo dialogo: Parlamento de Ruzante che iera vegnú de campo (First dialogue: What said Ruzante when he came back from the battlefield) and Secondo dialogo: Bilora (Second dialogue: Bilora).