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Journal articles on the topic 'Commedia dell'arte'

Author: Grafiati

Published: 4 June 2021

Last updated: 28 July 2024

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1

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

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Análise da commedia dell'arte a partir de uma perspectiva histórico-crítica, enfatizando-se as várias maneiras de sua apropriação no século XX. Partindo de elementos da commedia dell'arte, serão ressaltados os temas da migração do teatro de praça para o teatro fechado e a ampliação do modelo da commedia dell'arte para outras formas artísticas do século XX, como o cinema mudo, o circo e o carnaval.

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2

Ewald, Laura A. "Commedia Dell'Arte Academica." College Teaching 53, no. 3 (July 2005): 115–19. http://dx.doi.org/10.3200/ctch.53.3.115-119.

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3

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

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4

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

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5

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

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Early modern mountebanks, also known as charlatans or quacksalvers, were commercial travelling showmen associated with the sale of quack medicines and other products. They achieved wide recognition as a significant influence on the rise of professional acting, through their employment of performers to attract customers for their wares, and are frequently discussed in the context of early professional popular entertainment. Many depictions of mountebanks include commedia dell'aite costumes, but it has remained an open question whether some of their shows (as well as some of their costumes) fall within the sphere of the commedia dell'arte. Inconclusive evidence is presented by the relatively few studies which incline towards accepting a significant overlap between mountebank activity and the commedia dell'arte and clear-cut distinctions are routinely made between the repertoire of street performers, and that of the comici d'arte. Richards and Richards concede that ‘mountebank stages … may well have been the breeding grounds of many of the first regular actors’, but repeatedly emphasize the distinction ‘between performers of the trestle and those of the stage’, and are careful to dismiss mountebank stage routines as at the most ‘short playlets’. If the presently perceived lack of detailed documentation concerning mountebank entertainment is justified, then so is the cautious approach typified by Richards and Richards. On the evidence presented to date, it would appear that mountebank performances are at most distantly related to the commedia dell'arte.

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6

Anderson, Michael. "The Idea of Commedia in the Twentieth Century." Theatre Research International 23, no. 2 (1998): 167–73. http://dx.doi.org/10.1017/s0307883300018514.

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The truth of Shaw's dictum that ‘those who can, do, and those who can't, teach’, is questioned by the history of commedia dell'arte in the twentieth century, in which research, practice and teaching are inextricably bound together. The significance of commedia's influence on the modern stage lies precisely in the fact that the nature of commedia cannot be defined objectively but is mediated through research and stage practice. We have to deal, therefore, not so much with commedia itself as with an ‘idea’ of commedia, a phrase I have borrowed from Kenneth Richards and Laura Richards.

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7

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

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Among the abundant iconographical records of the commedia dell' arte are a handful of engravings depicting vivaciously capering single characters, of which three have been reproduced by Allardyce Nicoll, where they are identified merely as ‘seventeenth-century engravings’. The same subjects were apparently copied by Adrian de Winter (1615–?) in a set of six groups of commedia characters entitled Titulus Stultorum, where they appear in reverse with the addition of half a dozen characters copied from Callot's Balli di Sfessania.

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8

Katritzky, M. A. "The Commedia dell'arte: An Introduction." Theatre Research International 23, no. 2 (1998): 99–103. http://dx.doi.org/10.1017/s0307883300018447.

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Although more has been written on the commedia dell'arte than on any other type of theatre, many fundamental questions remain unanswered, and opinions concerning its origins, early history, and definition are surprisingly divergent. It is evident that the term ‘commedia dell'arte’ would become virtually meaningless if it were stretched to include, without qualification, all manifestations of theatrical entertainment which feature characters representing, or deriving from, its stock types; or the full range of theatrical practises offered by the very versatile early comici d'arte, although all are of concern to commedia studies. The commedia dell'arte itself may be broadly defined as a type of professional dramatic performance associated with distinctive stock characters, that arose in mid-sixteenth-century Italy, whose evolving cultural derivatives have spread throughout Europe. Its stock types drew on a wide variety of sources, including mystery and mummers’ plays, carnival masks, street theatre and court entertainment; popular farces and erudite comedy; and have transcended the theatre to play key roles in music, dance, art and literature. The extreme complexity of its continuing interchanges with other cultural phenomena makes precise definition of the commedia dell'arte elusive, and the term itself also resists easy definition because it was coined only in mid-eighteenth-century Paris, two centuries after the type of theatre with which it is associated first came into being.

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9

Katritzky, M. A. "How did the Commedia dell'arte cross the Alps to Bavaria?" Theatre Research International 16, no. 3 (1991): 201–15. http://dx.doi.org/10.1017/s030788330001498x.

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The commedia dell'arte is a type of improvised acting based around the masked stock characters of the merchant, lawyer and servant, whose earliest names were Magnifico, il Dottore and Zanni (Plate I). From 1571 onwards, it was spread throughout Europe by visiting troupes of professional Italian actors, whose members, activities and travels are, for the most part, well-documented. The way in which it reached Bavaria is less clear. Records, including three festival books, suggest that already as early as February 1568, when crown Prince Wilhelm married Princess Renée of Lorraine in Munich, the commedia dell'arte was an established and popular feature of Bavarian court festivities, to which it contributed in three contexts. Some of its costumes were used in masquerades; the Venetian Magnifico, or merchant, and his servant Zanni (the servant-master pair who became the central comic focus of the commedia dell'arte) appeared as masked clowns on several occasions, and on 8 March 1568 there was a full-length play whose description in Massimo Troiano's festival book is generally acknowledged as the earliest known comprehensive description of a complete commedia dell'arte performance.

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10

Cuppone, Roberto. ""In questo", il teatro gli scenari della commedia dell'arte." Trans/Form/Ação 24, no. 1 (2001): 121–41. http://dx.doi.org/10.1590/s0101-31732001000100009.

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Il segreto della commedia dell'arte è stato nel paradosso di Maschera e Improvvisazione, Tipo Fisso e Testo Variabile, Conservazione e Innovazione. Per questo è stato nei secoli esaltata o denigrata: considerata reazionaria dalla Rivoluzione francese e esaltata come rivoluzionaria dai Romantici. Nel Novecento, Copeau, Mejerchol'd, Mnouchkine e Fo hanno dovuto fare i conti con questa ambivalenza. Dunque ciò che oggi si chiama commedia dell'arte è "reazionario" o "rivoluzionario"? "Popolare"o "populista"?

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11

Royce, Anya Peterson. "Who was Argentina? Player and Role in Late Seventeenth Century Commedia dell'Arte." Theatre Survey 30, no. 1-2 (May 1989): 45–57. http://dx.doi.org/10.1017/s0040557400000764.

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The Museo Correr Codex 1040 is a collection of fifty-one three act scenari for the commedia dell'arte. As such, it is an important source for anyone concerned with the history and development of that form of popular entertainment. It assumes greater significance than simply being another collection of texts because two of the most crucial features of the Venetianstyle commedia dell'arte appear fully formed in these scenari, namely the devices of maschera and lazzi (cf. Royce 1986).

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12

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

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In 1896, Benedetto Croce donated to Naples's Biblioteca Nazionale two manuscript volumes from the late seventeenth century. These books had been prepared by Annibale Sersale, Count of Casamarciano, and contained 183 canovacci (scenarios) of the commedia dell'arte. Today, this Casamarciano zibaldone (collection) comprises the largest extant collection of commedia canovacci with nearly a quarter of the total surviving scenarios from any source. By contrast, Flaminio Scala's Il teatro delle favole rappresentative (first published in 1611, and translated into English by Henry F. Salerno in his influential 1967 edition) contains only 50. The Casamarciano scenarios have never been published in English translation, or even, astonishingly, in any complete Italian version, before now. For this reason alone, The Commedia dell'Arte in Naples is a publication of enormous significance for the dramaturgical study of commedia.

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13

Andraus, Mariana Baruco. "Editorial: Comicidade e Commedia dell'Arte." Conceição/Conception 6, no. 1 (July 21, 2017): 1. http://dx.doi.org/10.20396/conce.v6i1.8649910.

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O presente número da Conceição/Conception (vol. 6, n. 1) foi organizado em parceria com a Profa. Dra. Vilma Campos dos Santos Leite, da Universidade Federal de Uberlândia, tendo como temática o estudo da comicidade e Commedia dell’Arte.

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14

Czarniawska-Joerges, Barbara, and Bengt Jacobsson. "Political Organizations and Commedia Dell'Arte." Organization Studies 16, no. 3 (May 1995): 375–94. http://dx.doi.org/10.1177/017084069501600301.

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15

Schmitt, Natalie Crohn. "The Style of Commedia dell'Arte Acting: Observations Drawn from the Scenarios of Flaminio Scala." New Theatre Quarterly 28, no. 4 (November 2012): 325–33. http://dx.doi.org/10.1017/s0266464x12000620.

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The only collection of commedia dell'arte scenarios to have been published in the sixteenth and seventeenth centuries is that of the actor-manager Flaminio Scala, in 1611. This can serve, among other things, as a primary source of information about the style of acting in commedia dell'arte performance in its golden age, from 1570 to 1630. While English drama of the same period provides us, in the main, with only the words the actors were to have spoken, the Scala collection rarely provides us with these, but rather, with a wealth of descriptions of actions and emotions. These descriptions enable us to make inferences about the style in which they were acted – that is, about the particular way in which the stories the actors presented were said, performed, or expressed. Natalie Crohn Schmitt is Professor of Theatre, Emerita, University of Illinois at Chicago. She has published on commedia dell'arte in Viator, Renaissance Drama, and Text and Performance Quarterly, and previously in New Theatre Quarterly on Stanislavsky (NTQ 8), on theatre in its historic moment (NTQ 23), and on John Cage (NTQ 41).

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16

Koman, Aleksandra. "Komedia dell'arte: między lokalnością a globalnością." Annales Universitatis Paedagogicae Cracoviensis | Studia Historicolitteraria 17 (October 12, 2018): 241–44. http://dx.doi.org/10.24917/20811853.17.21.

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Commedia dell’arte: between localism and globalismAbstractSubject to the present review is Lokalność i mobilność kulturowa teatru. Śladami Arlekinai Pulcinelli of Ewa Bal. The author analyzes Italian dialectical theatre from a doubleperspective: local and global mobility of culture. She observes how two principal masks ofcommedia dell’arte – Harlequin and Pulcinella – evolved over the years, by investigating theirrelation to political context that may result in domestication or foreignization.Keywords: Ewa Bal, commedia dell’arte, intercultural transfer, cultural mobility, localism andglobalism of the theatre, Harlequin, evolution of masks, dialectical theatre, drama in politicalcontext

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17

Aufderheide, Pat. "Review: Se Permuta by Juan Carlos Tabío." Film Quarterly 39, no. 3 (1986): 59–60. http://dx.doi.org/10.2307/1212381.

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18

Royce, Anya Peterson. "The Venetian Commedia: Actors and Masques in the Development of the Commedia dell'Arte." Theatre Survey 27, no. 1-2 (November 1986): 69–87. http://dx.doi.org/10.1017/s0040557400008802.

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The commedia dell'arte, which spanned three centuries from the sixteenth to the beginning of the nineteenth and nationalities as diverse as Italian, French, Austrian, Polish, and English, went through a number of metamorphoses before it attained the form we now associate with it. Very briefly, that form is based on stock characters (Arlecchino, Pantalone, Il Dottore, Pedrolino or Pierrot, etc.), improvisation around standard plots, and the use of masks. In Italy, this kind of commedia was established by the end of the sixteenth century. In this paper, I would like to explore the developments that led to this form, concentrating especially on the convention of maschere (stock characters) as it appeared early in sixteenth century Venice and the Veneto. I concentrate on Venice because it is there that these maschere first developed and were then elaborated into the kind of characterization that becomes the defining feature of the commedia dell'arte.

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19

Katritzky, M. A. "Comic Stage Routines in Guarinonius' Medical Treatise of 1610." Theatre Research International 25, no. 3 (2000): 217–32. http://dx.doi.org/10.1017/s0307883300019684.

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The theatrical descriptions of Hippolytus Guarinonius are among the most substantial of several significant discoveries of visual and textual documentation relating to the commedia dell'arte in recent decades. Not noted in the standard bibliography of the commedia dell'arte, they have made far less impact on theatre historians than their early date and richness of theatrical detail warrant. Here, selected descriptions are examined in the context of related textual and visual records, in order to highlight aspects of the new information they offer on the staging of comic routines, and to draw attention to some limitations of using material of this type as historical evidence for stage practice.

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20

Schmitt, Natalie Crohn. "Commedia dell'Arte: characters, scenarios, and rhetoric." Text and Performance Quarterly 24, no. 1 (January 2004): 55–73. http://dx.doi.org/10.1080/1046293042000239438.

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21

Fido, Franco. "Dario Fo e la Commedia dell'Arte." Italica 72, no. 3 (1995): 298. http://dx.doi.org/10.2307/479720.

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22

Katritzky, M. A. "Commedia dell'arte: a Theatre-iconographical Perspective." Maske und Kothurn 50, no. 3 (September 2004): 19–44. http://dx.doi.org/10.7767/muk.2004.50.3.19.

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23

CİNİSLİ, Selim. "COMMEDİA DELL'ARTE TİYATROSUNDA TİP VE KOSTÜM." Journal of Academic Social Sciences 12, no. 12 (January 1, 2015): 314. http://dx.doi.org/10.16992/asos.623.

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24

Monteiro Rabelo, Carlos Afonso. "A dramaturgia da commedia dell’arte na busca de um teatro contemporâneo." Arte da Cena (Art on Stage) 2, no. 3 (December 29, 2016): 103. http://dx.doi.org/10.5216/ac.v2i3.43427.

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Resumo: Este artigo apresenta uma proposta de criação em teatro contemporâneo, tendo por base a dramaturgia da commedia dell'arte, representados por dois autores italianos, Flaminio Scala, Carlo Goldoni e um brasileiro, Ariano Suassuna, que empregaram alguns procedimentos criativos que aqui serão discutidos, tendo por foco, respectivamente, as peças Il finto marito (O marido fingido) de 1619, O servidor de dois patrões de 1746, e O casamento suspeitoso de 1961. Ao basear suas peças na cultura popular, e no fruto do trabalho da improvisação teatral realizada por grupos de atores, esses dramaturgos indicam caminhos para a criação de nova dramaturgia, que não se limitam apenas à gênese de texto via texto, incluindo também o trânsito entre cena e novo texto. Palavras-chave: commedia dell'arte; dramaturgia; improvisação.

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25

O’Neill, John. "Improvisation in La entretenida: Tracing the Influence of Plautus and the Commedia dell’arte on Cervantes." Cervantes 36, no. 1 (March 2016): 11–37. http://dx.doi.org/10.3138/cervantes.36.1.011.

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El espíritu de improvisación está presente en muchas de la obras de Cervantes, sobre todo en sus comedias y entremeses. La entretenida demuestra la influencia de Plauto y de la commedia dell'arte, la cual Cervantes tenía la oportunidad de ver tanto en Italia como en España. Él adopta no sólo elementos importantes de su argumento de Plauto sino también algunas técnicas drámaticas, introduciendo en La entretenida guionistas rivales que subvierten la acción y al mismo tiempo casi consiguen subvertir el orden social. La influencia de la commedia dell'arte se siente particularmente en el lazzo que termina el entremés del tercer acto. Cervantes crea la impresión de que sus personajes están improvisando, y de que ellos, no el autor, están controlando la acción.

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26

Hurley, Clarissa Hanora. "Commedia dell'arte Actresses and the Performance of Lovesickness." Brock Review 10, no. 2 (July 13, 2009): 26–37. http://dx.doi.org/10.26522/br.v10i2.85.

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In the late sixteenth and early seventeenth centuries there was a conjunction of interest in erotomania as a “real” medical condition and the representation of that condition in literature and on the popular stage. This period corresponds with the rise of the professional actress of the commedia dell’arte. This paper explores some instances of pazzia (madness) scenes in the scenarios of Flaminio Scala and contemporary accounts of commedia performances with a view to better understanding the role of the professional theatre and professional actress in shaping and reflecting cultural attitudes towards gender-based erotic “distraction”.

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27

Beale, Geoff, and Howard Gayton. "The Drive to Communicate—The Use of Language in Commedia dell'arte." Theatre Research International 23, no. 2 (1998): 174–78. http://dx.doi.org/10.1017/s0307883300018526.

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Ophaboom Theatre was formed in 1991 with the aim of developing, researching and performing a contemporary version of commedia dell'aite to provide humour and resonance for a modern audience. By returning to the roots of commedia, on the streets, Ophaboom's performances, we hoped, might recapture its popular appeal, and be accessible to as wide an audience as possible. In doing this we have questioned many of the traditional ideas associated with this form, and also its contemporary relevance. Our approaches to each mask or character type, such as the Zanni (servant), the innamorata (lover), and Pantalone (old man), are tested in live performance in turn, and only when satisfied with it do we move on to the next mask. This return to the roots is aimed at invigorating the form methodically through an evolution possibly analogous to that of the original commedia. Our belief is that the eighteenth-century manifestation, which is often the only perception and thus representation of commedia today, does not appeal to a wide public. At its height, commedia owed its vitality to its wideranging appeal, and by rediscovering its spirit we hope to revitalize this popularity.

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28

Moseley, R. "MOZART'S HARLEQUINADE: Musical Improvisation alla commedia dell'arte." Common Knowledge 17, no. 2 (April 1, 2011): 335–47. http://dx.doi.org/10.1215/0961754x-1188013.

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29

Bauer, Snejanka, and Maria Kokkori. "COMMEDIA DELL'ARTE: WHEN CHAGALL WENT TO FRANKFURT." Studies in Conservation 51, sup2 (January 2006): 56–61. http://dx.doi.org/10.1179/sic.2006.51.supplement-2.56.

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30

Henke, Robert. "The Italian Mountebank and the Commedia dell'Arte." Theatre Survey 38, no. 2 (November 1997): 1–29. http://dx.doi.org/10.1017/s0040557400002052.

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The Italian mountebank of the early modern period was a figure of great power and fascination, both to Italians themselves and to English audiences via Thomas Coryate's documentary account and Ben Jonson's fictional portrayal of Scoto of Mantua in Volpone. Italian and Spanish antitheatrical clerics, prompted by San Carlo Borromeo to extend Counter-Reformation cultural critiques to the increasingly successful commedia dell'arte, were quick to identify the mountebank—an itinerant doctor/pharmacist who typically enticed potential patrons with an array of musical and theatrical entertainments—with the professional actor, who also performed for money in Italian piazzas. Without the moral animus of the post-Tridentine critics, late twentieth-century theatre historians have reassociated the mountebank and the actor, seeing in the former's capacity to sell theatrical entertainment anywhere and anytime (independent of the religious or civic festival) a harbinger of the professional commedia dell'arte, which had to develop means of economic self-support that were independent of traditional courtly patronage. Arte actors seem to have been aware of their perceived kinship with itinerant quacks; at the turn of the century, Giovanni Gabrielli performed a routine involving trunks and vases of the kind used by mountebanks, his own sons turning out to be the “vases.” But culturally ambitious actor-writers, who in the early seventeenth century began to counter antitheatrical attacks with apologies for the moral integrity and the technical sophistication of the new theatre, sharply differentiated themselves from the charlatans. If the conventionality of their moral defenses often hindered them from saying what comedy was, they could at least say what it was not, and it was not quackery.

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31

Macneil, Anne. "The Divine Madness of Isabella Andreini." Journal of the Royal Musical Association 120, no. 2 (1995): 195–215. http://dx.doi.org/10.1093/jrma/120.2.195.

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Nel giorno, che sublime in bassi mantiIsabella imitava alto furore;Estolta con angelici sembiantiEbbe del senno altrui gloria maggiore;Alhor saggia tra 'I suon, saggia tra i cantiNon mosse piè, che non sorgesse Amore,Né voce aprì, che non creasse amanti,Né riso fè, che non beasse un core.Chi fu quel giorno a rimirar feliceDi tutt'altro quaggiù cesse il desio,Che sua vita per sempre ebbe serena.O di Scena dolcissima Sirena,O de' Teatri Italici Fenice,O tra Coturni insuperabil Clio.Gabriello ChiabreraIn the spring of 1589, the commedia dell'arte company known as the Gelosi travelled to Florence in order to perform for the wedding of Grand Duke Ferdinando de' Medici and Christine of Lorraine. The Gelosi were among the very best commedia dell'arte players of the time, their fame heralded throughout the noble and royal households of western Europe.

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32

Pietropaolo, Domenico. "Commedia dell'arte Elements in Gozzi's Turandot." Quaderni d'italianistica 21, no. 1 (January 1, 2000): 7–16. http://dx.doi.org/10.33137/q.i..v21i1.9415.

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33

Jaffe-Berg, Erith. "Performance and Literature in the Commedia Dell'Arte (review)." Theatre Journal 56, no. 3 (2004): 539–40. http://dx.doi.org/10.1353/tj.2004.0103.

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34

Wolgast, Karin. "Die Commedia dell'arte im Wiener Drama der Jahrhundertwende." Orbis Litterarum 44, no. 2 (September 1989): 283–311. http://dx.doi.org/10.1111/j.1600-0730.1989.tb00904.x.

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35

Longman, Stanley Vincent. "The Commedia dell'arte as the Quintessence of Comedy." Theatre Symposium 16, no. 1 (2008): 9–22. http://dx.doi.org/10.1353/tsy.2008.0006.

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36

Esau, Erika. "Tiepolo and Punchinello: Venice, Magic and Commedia Dell'arte." Australian Journal of Art 9, no. 1 (January 1991): 40–57. http://dx.doi.org/10.1080/03146464.1991.11432913.

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37

Heller, W. "Review: Women of the commedia dell'arte: Anne MacNeil, Music and women of the commedia dell'arte in the late sixteenth century." Early Music 32, no. 4 (November 1, 2004): 608–11. http://dx.doi.org/10.1093/em/32.4.608.

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38

Emery, Ted A., and Salvatore Cappelletti. "Luigi Riccoboni e la riforma del teatro: Dalla commedia dell'arte alla commedia borghese." Italica 65, no. 3 (1988): 265. http://dx.doi.org/10.2307/478577.

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39

Henke, Robert. "Performing Commedia dell'Arte, 1570-1630 by Natalie Crohn Schmitt." Comparative Drama 55, no. 4 (2021): 531–34. http://dx.doi.org/10.1353/cdr.2021.0037.

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40

Turri, Maria Grazia. "Performing Commedia dell'Arte, 1570â1630 by Natalie Crohn Schmitt." Modern Language Review 116, no. 3 (2021): 507–9. http://dx.doi.org/10.1353/mlr.2021.0063.

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41

Farahat, Martha. "Villanescas of the Virtuosi: Lasso and the Commedia dell'arte." Performance Practice Review 3, no. 2 (1990): 121–37. http://dx.doi.org/10.5642/perfpr.199003.02.3.

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42

Schrickx, Willem. "R.I. erenstein, de geschiedenis van Commedia dell'Arte, Amsterdam 1985." Documenta 7, no. 3 (May 3, 2019): 168–71. http://dx.doi.org/10.21825/doc.v7i3.11039.

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43

Katritzky, M. A., and Kathleen Marguerite Lea. "Lodewyk Toeput: some pictures related to the commedia dell'arte." Renaissance Studies 1, no. 1 (March 1987): 71–125. http://dx.doi.org/10.1111/j.1477-4658.1987.tb00123.x.

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Stampino, Maria Galli, and Paul C. Castagno. "The Early Commedia dell'Arte 1550-1621: The Mannerist Context." Italica 72, no. 3 (1995): 395. http://dx.doi.org/10.2307/479734.

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주성희. "Considerations on the Application of Commedia dell'Arte to Schumann's." Music and Culture ll, no. 29 (September 2013): 91–118. http://dx.doi.org/10.17091/kswm.2013..29.91.

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Simone, Teresa. "Performing Commedia dell'Arte, 1570–1630 by Natalie Crohn Schmitt." Theatre History Studies 41, no. 1 (2022): 198–200. http://dx.doi.org/10.1353/ths.2022.0020.

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Bruegge, Andrew Vorder. ":Performance and Literature in the Commedia dell'Arte." Sixteenth Century Journal 36, no. 1 (March 1, 2005): 204–5. http://dx.doi.org/10.1086/scj20477282.

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Henke, Robert. "REPRESENTATIONS OF POVERTY IN THE COMMEDIA DELL' ARTE." Theatre Survey 48, no. 2 (October 22, 2007): 229–46. http://dx.doi.org/10.1017/s004055740700066x.

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Abstract:

This essay explores the socioeconomic resonance of Italian professional theatre in the early modern period by considering a few records of performance by indigent entertainers, and by exploring the persistent theatrical and textual presence of poverty and hunger in texts both central and adjacent to the professional actors. Whether or not a given troupe or actor directly experienced or even cared about poverty, famine, destitution, or other social issues, by the time of the commedia's “golden age” these themes had by dint of theatrical tradition and performance sedimentation become part of the actors' repertoire, much more central to their performance tradition than they were in English and Spanish early modern theatres. Partly because of the medieval legacy of the itinerant mendicant orders in Italy, the commedia dell'arte inherited a culture in which poverty, begging, itinerancy, and a certain disposition to perform degradation were in the air, and this was absorbed into the grammar of their performance. Not only were tropes and gags of hunger and destitution continually deployed in the commedia, but some of the actors assumed, for their own rhetorical purposes, the histrionic pose of destitution. In other words, whatever their professional fortunes, they “played” poverty both onstage and in their offstage personae.

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Castro Soares, Maria Luísa de, Alexandre Araújo, and Natália Amarante. "COMMEDIA DELL'ARTE E SUAS PERSONAGENS: influências na obra de Molière." ERAS | European Review of Artistic Studies 13, no. 3 (September 30, 2022): 28–42. http://dx.doi.org/10.37334/eras.v14i3.256.

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Abstract:

Neste estudo visa analisar-se, em primeiro lugar, a commedia dell’ arte, teatro popular e de improviso surgido no início do século XVI. Seguidamente, o estudo centra-se na abordagem dos caracteres ou personagens, com evidenciação dos figurinos que são elementos cruciais para a sua caracterização física e de posicionamento social. Por fim, dá-se relevo à questão da influência que estes caracteres e esta tipologia teatral exerceram no teatro francês do século XVII, mormente, na obra de Molière.

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Lee, Namgeum. "Elements of the Commedia dell'arte appeared on L'incoronazione di Poppea." Korean Society of Music Education Technology, no. 37 (October 16, 2018): 57–78. http://dx.doi.org/10.30832/jmes.2018.37.57.

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