Social Responsibility In Greek Theatre

Social Responsibility In Greek Theatre
Throughout the different eras of theatre, the Greek, Roman, Medieval, Commedia, and
Shakespearean performers all contributed to the culture of the societies of they were in. However,
the level of "social responsibility" that was prevalent in these eras was dependent on whether or not
government promoted theatre as a means of enlightening the general public. As a result, the manner
in which theatre was presented contributed to the evolution of the particular society either positively
or negatively. During the era of Greek theatre, which lasted from 550 B.C. to 220 B.C., government,
art, education, science, and medicine were all viewed as equally important. Akropolis, which was
the center of government and thought, espoused the ideals of empowerment and making one's self
and society better. Plays that were performed made people ask questions in order to push society
forward, and the government created theatre in this era so that it can be critiqued. The Festival of
Dionysus, which was a weeks–long festival, featured various artists from different fields showcasing
their talents, including theatre performances that ran all day. At the same time, love–making and
drinking was encouraged (Dionysus is the god of wine and fertility) as a means of opening up one's
state of mind. At the performances of these plays, actors wore masks, which indicated the type of
character they were, and the masks had attachments so that people could hear what they were
saying, but there was also a
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Commedia Dell Arte Research Paper
What is commedia dell'arte and why should I care? Firstly, commedia dell'arte is a "form of comic
theatre, originating in Italy in the sixteenth century, in which dialogue was improvised around a
loose scenario involving a set of stock characters, each with a distinctive costume and traditional
name" (Wilson and Goldfarb 510). Examples of commedia are found in one of my favorite sitcoms,
That 70s Show. If you haven't heard of it, Erik Adams explains it to be, "... a sitcom set in malaise
years whose true purpose was never lampooning disco cheese or outdated technology–though it did
that, too. That '70s Show is about the smaller stuff, the truly memorable moments of adolescence
unseen in the history books" (Adams). What Adams means is that this ... Show more content on
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Kelso jumps up and proceeds to quickly tackle Hyde to the ground (That '70s Show TV, 2016). They
fight and we laugh since they look pathetic fighting over the tickets. This differs from the verbal
lazzo the takes place between Hyde and Fez in season 2 episode 9 when they go on a double blind
date (ibid). There are two pretty ladies coming to see them but they both want the blonde, Hyde tells
Fez that it is "American custom" for Hyde to get the blonde and Fez goes with it since he doesn't
know better. It turns out that the blonde is Hyde's complete opposite so he tells Fez to switch with
him (ibid). After the switch, Hyde finds that he has so much in common with the blonde's friend
until she decides to leave to go study while the blonde decides to take Fez to her parents' hot tub to
fool around. In the end Hyde lucked out even though he tried to trick Fez (ibid). Although this scene
was amusing to watch, was it because of Fez's lack of understanding "American customs" that made
it funny? Is it also funny since he may not be

The Influence of Commedia dell’arte on Much Ado About...
The Influence of Commedia dell'arte on Much Ado About Nothing by William Shakespeare
Commedia dell'arte had great influence of Shakespeare's comedy "Much Ado About Nothing". This
form of theatre shows many comparisons to the Shakespearian comedy. Commedia dell'arte created
elements within a comedy that became standards across comedic literature. Love, deception, matters
of out witting one another and jealousy are components that make up the back bone to a comedy.
"Shakespeare made use of many typical elements found in commedia scenarios" (McQuinn, Anne),
creating plots that parallel those of the Italian ... Show more content on Helpwriting.net ...
"Art always reflects the cultural sentiments within the society from which it stems" (McQuinn,
Anne), the art of commedia allowed for Shakespeare to create stories which reflected societal views
of the aristocrats. It was "entertainment by the people and for the people; and it is this very close
relationship with humanity which gives this highly theatrical form its life" (McQuinn, Anne).
Commedia dell'arte offered Shakespeare rich and thoughtful stock storylines that created the base of
a universal plot. "Commedia found the depth within its performances to cover both the genres of
comedy and tragedy" (McQuinn, Anne) as did Shakespeare in "Much Ado About Nothing". A
"comedy, beginning in turmoil but ending in harmony, celebrates life; but tragedy's course from
prosperity to calamity expresses rejection of life" (Snyder, Susan– session 2). "Much Ado About
Nothing" could of end up as a potential tragedy with the unjust and false accusations of Hero. But
instead of having a tragic ending, hero will "die to live" (Shakespeare 72), as for her innocence will
be proven and a true comedy will prevail with its happy ending. The familiar "courtship is the staple
activity in the comic drama" (Snyder, Susan–session 4). With this' comes deception, jealously, and
the play on wits

How Do Masks Affect The Use Of Mask
In this essay, I will argue that the use of masks is vital in creating a believable and consistent
character for performance. The techniques I have used in masks not only help define a character but
have improved my improvisation skills.
Jacques Lecoq wanted to "explore the hidden gestures, emotions and underlying states of a
character, which we express through mimages" [2002: P.109]. I incorporated both the mimages and
Seven States of Tension to help me to determine how my mask; Draco, would react in different
situations.
As John Martin states, "every part says something" [2004: p.68]. This is something I tried to
captivate in my development of Draco. However, before I could look at how Draco would react with
masks, I needed to understand ... Show more content on Helpwriting.net ...
Copying the arched eyebrow on the mask I found a smarmy, nasally voice, I enjoyed doing this as it
helped me to achieve the temperament of Draco; Choleric. I had to make sure I did not differentiate
from his features. As Rudlin states: "You a prisoner of the mask" [1994: P.35], thus meaning I was
bound by Draco's expressions.
Clocking was essential for Draco as he needed to constantly hold the audience's attention. It also
helped to pinpoint key moments; looking at the dirty rag, clock the audience, placing the rag
elsewhere. This moment also tied in with the characteristics of the Arlecchino.
Toby Wilsher states that countermask is "one of the simplest but most effective tools" [2007: p.30].
As the countermask would help me achieve any emotion despite Draco's features I could flip him
from trickster to turmoil. It also affected my centre, taking me from a centre of my chest to my
knees centre, bringing Draco to the floor as his ever–present sneer faded into a frown and a wail.
All the techniques I used to develop Draco helped me in creating a character. Each exercise helped
me to pin point Draco further and explore him in ways that non–mask theatre would not. I prefer to
act with a mask however, it is easy to slip out of character, therefore the face of the mask must
always be pulled. I found if my facial expression slipped, the entire character began to

How Did Commedia Dell Arte Influence Modern Theatre
Commedia Dell'Arte Commedia Dell'Arte was a new form of theatre created in mid–16th century
Italy. The style of comedy they developed centered on people and their specific world. The styles
and techniques of Commedia Dell' Arte has impacted artists ever since then from Shakespeare to
modern day television. When present–day acting methods don't offer all the solutions, actors may
look back and gather inspiration from the past.The multiple concepts about the acting practices,
designs, teachings and comical personas of these past performers, provides a clearer perception of
Italian comedy and its Winifred states in Commedia Dell'Arte that audiences were struck by the
"fundamental perplexities connected"(Smith 18), because instead of creating a new successful form
of entertainment out of thin air they made a combination of many practices upon the multiples
stages in different impact in modern theatre, film and television. A "kind of general property–box,
tricks of the trade demanding not so much great as ... Show more content on Helpwriting.net ...
"But princely encouragement brought the quick–witted men and young women among the strollers
into contact with the interests of the intellectual world and forced them to modify their programs in
accordance with academic theory"(Smith 67). After the publication of Aristotle's Poetics of 1498
gave them an "enormous impetus to critical theorizing and a great stimulus to dramatic activity", an
endeavor to witness quantity in plot development by holding the laws of unity devised by Aristotle
(Smith 67). During this time in Italian Renaissance, performance spaces were issued depending of
the status of the performers and their genre of theatre. Commedia Dell'Arte troupes usually
performed their modern plays in smaller private halls which expressed the interest of the

Metastasio Opera Buffa
Eighteenth century Europe was a time of great intellectual change. The "old" scholastic thought
began to be changed out with the "new" Descartian "cogito ergo sum." This shift of intellectual
thought did not just restrict itself to the philosophers––it permeated all of western culture. During
the beginning of the eighteenth century, European opera began to shift into a new soundscape.
A split occurred in opera between Opera Seria and Opera Buffa mainly as a result of the Arcadian
Academy. This literary movement sought to return Italian poetry to its former glory, and by former
glory they meant the ancient Greek's former glory. This movement focused prominently on opera
libretti. One such librettist was Piertro Metastasio. Metastasio ... Show more content on
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The "Enlightenment" was a time where western intellectual thought shifted from the world towards
the human person. This shift was sparked by Descartes philosophy which can be summarised by his
words, "cogito ergo sum" or "I think therefore I am." With this shift "man [became] the measure of
all things." This lead to the development of Secular Humanism. When Secular Humanism is applied
to opera there is less of an emphasis on the music––which is something that points beyond
humans––and there becomes an emphasis on the plot. Opera Seria is the product of this
"Enlightenment" thinking. Opera Seria is distinguished by its incredible emphasis on the plot over
the music. This new style of opera sought to rid opera of extraneous plot points into order to make
the plot extremely concise. This was all a result of the "Enlightenment" focus on the human person
as opposed to the

William Shakespeare 's A Midsummer Night 's Dream
William Shakespeare's A Midsummer Night's Dream weaves stories of social ranks in the commedia
dell'arte and some of its easily recognized stock characters. Shakespeare uses commedia dell'arte
characters in A Midsummer Night's Dream to capture our imagination and amuse us. Commedia
dell'arte includes three classes of characters in its performances. These characters are the vecchi,
innamorati, and the zanni (McCarter.org). The vecchi are usually the nobility or masters. The vecchi
in A Midsummer Night's Dream are represented by the Athenian upper class: Duke Theseus,
Hippolyta, and Egeus. In the play, the innamorati are portrayed by Hermia, Lysander, Demetrius,
and Helena. Innamorati are primarily in love with themselves and being in love with their beloved.
The zanni in Shakespeare's play consist of the fairies and the mechanicals: Bottom, Quince, Flute,
Straveling, Snout, and Snug. The mechanicals provide common humor in the play, such as comic
vision of Bottom's head turned into the head of an ass, to the mechanicals' performing for the vecchi
at the beginning of Act V, which is laughable because their performance is so atrocious. Bottom is a
hilarious example of an actor that believes he is talented. Nick Bottom is a notable character that
evokes laughter and he personifies Il Dottore of commedia dell' arte (Shane–arts.com). Bottom
deludes himself and thinks that he is a talented performer, however he is the victim of much of the
mischief in the comedy. Bottom

Fantastic Workshop at Homunculus Theatre Group Essay
After opening ten years ago Homunculus Theatre Group has been focused in providing workshops
and shows for todays youth. Assisi Catholic College's drama class got to experience their Commedia
dell'Arte workshop they also performed "spirit of the mask", which was a modernized version of the
classic Commedia Theater.
During the performance Clint Bolster and Ben Cornfoot showed us many different examples and
elements of the Commedia characters, which both engaged and entertained the audience. All of
which was enhanced with elements from the physical theater genre. This was shown during the
scene when there were two Capitano characters, because Capitano is someone who always boasts
about his greatness but in reality a giant coward. Enhanced ... Show more content on
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The way that they transitioned to different characters looked completely natural, every time they
would put on a new mask and costume they were becoming that character which really set the
mood, a prime example of this was when the doctor (Dottore) who is a smart yet confused old man
noticed that the students in the other room was looking at him, and in turn he began to talk to them
and describing how they appear to be in a fishbowl.
Even though Commedia dell'Arte is a rather old style of theatre Clint and Ben were able to
modernise it by adding multiple elements which can be considered normal within teenage life.
Things like using words like "lol", "yolo" and talking about general things like Justin Bieber and
Miley Cyrus. Which made the performance relatable for the audience which inturn was hilarious.
Like with all dramatic performances most pf the time there is a backdrop of some sort. What Ben
and Clint used was a basic yet classic backdrop that featured portraits of the two masters. Which
gave the set a classy feel to it. In comparison the props that was used was also of the basic
functionality which in this style of theatre worked quite well due to the other elements being so
refined a key example of this was when they used a basic wig for the lovers scene, even though the
wig fell off a couple of times Ben and Clint continued to make the scene believable through voice
and movement.
When all i said it is safe

Commedia dell Arte was Improvised Comedy Developed in Italy
History Commedia dell arte was developed in 16th and 17th century. It was a form of comedy that
started around Italy. The actors improvised text based scenarios so they didn't have to write down
scripts. It came from people first starting performing in the streets and markets of the Italian
Renaissance, but it can be traced all the way back to Ancient Greek. The actors wore masks and
colourful clothes to draw attention to them and their acrobatic skills increased that chance. They
soon teamed up in troupes with more actors and moveable stages to establish it as a genre of its own.
These performances were open to all classes from the rich to the pore. They didn't care about
language barriers because they used mime, stereotyped stock characters, signature stunts, gags,
pranks, masks, physical gestures, clowning and improvised dialogue so they would know what was
happening. Later the tradition spread all over Europe. It then gave the idea to the French which
turned most of the ideas into commedia style shows. The Stock Characters The Stock Characters are
the characters that they use as a base for their show. They are Arplechinno, Capitano, Columbina,
Comico, Dottore, Flavio, Isabella, Lelio, Pantalone, Pedrolino, Pulcinella, Vittoria, Zanni.
Arlechinno is got a status of being a servant. It is mainly a servant to Pantalone but sometimes to the
others. His costume was a tight multi–coloured patches sowed on to one main top and pants. His
mask looked just like a person's

Essay About Pantalone
Truffles accepts a new position from Pantalone to become his servant. They introduce themselves to
each other. Truffles speaks grandly, rambling on about his prestigious servant genealogy and made–
up references. Pantalone, a very rich Venetian merchant, is always flaunting how wealthy and
prestigious he is.
"I have the grandest wine cellar in all the land! Well, Truffles do go well with wine. I also have the
grandest piano ... etc."
Truffles convinces his new master that all great men have their portrait painted and hung on the
walls of their estates. Pantalone loves the idea of his grand face hanging above his grand hall. He
asks Truffles to find the most renowned artist in all the land to paint his portrait. He gives Truffles a
large bag of money to hire the artist. Truffles asks if ... Show more content on Helpwriting.net ...
Woman love to listen, you should do all the talking."
Pantalone keeps practicing with the crazy walk, sounds and conversations about himself. The more
ridiculous this becomes, the more confident Pantalone is feeling.
The scene changes and Olympia and Bette are in the Marketplace, Olympia is still wailing.
Pantalone approaches Olympia walking like a bird, coo, coo sounds, and wearing the outfit. He uses
the advice of Truffles, and tries to win her affection. Pantalone talks about himself and parades
around with the ridiculous walk.
Olympia's sad cries slowly turn to hilarious laughter at the craziness of Pantalone's walk, talk and
manner. Pantalone gets on one knee and proposes to Olympia. Bette quickly tries to accept on her
behalf, but Olympia is not too sure. At first, she is offended by Pantalone's unusual behavior, but at
the same time finds this 'act' very endearing and finally agrees to marry Pantalone, with some
encouragement from Bette. She tells Pantalone to make the arrangements with the Priest for the next
afternoon and exits with

Commedia Dell Art
Acting is very interesting, especially acting with masks. Masks have been used in acting for
centuries. During mask performances, actors are not allowed to speak, so they have to exaggerate
their movements to show how they feel.
An example of acting with masks is Commedia dell'Arte. Commedia dell'Arte has been performed
from the 16th century to the 18th century. Its translation is Comedy of Art or Comedy of the
Profession. It is the act of improvisation based on different scenarios. It originated in Italy and they
were usually performed in temporary stages, like on streets, or even court venues. Some very well–
known Commedia dell'arte performers actually performed in palaces and became even more famous
once they started travelling abroad. Most of the time, actors played as stereotypical people from evil
maids to kidnapped children. Commedia dell'arte was not just any amateur acting, only
professionals were allowed to perform on stage so you would need years of proper training before
being allowed to perform. ... Show more content on Helpwriting.net ...
Physicality is the physical attributes of a person. What if you watch a movie or a play where a
superhero is slow, overweight, and does not give justice in the right way, you would not expect a
person like that to save the day. Physicality is important because when you act, your physical
attributes play a major role in showing what kind of a person you are, especially in mask work
where you cannot speak for yourself. This paragraph shows that not just talking or moving is
important, but physicality is just as important. Physicality helps when you are wearing masks, since
you don't talk, physicality is the only other way besides exaggeration to show how you feel or what
you are doing without a facial expression. The way your mask looks has to match with every
scenario, it needs to look angry, sad, happy,

Commedia dell’arte is a performance style that originated...
Commedia dell'arte is a performance style that originated in Italy emphasizing pantomime,
improvisation, and ensemble acting, using over the top movements to accentuate emotions on a bare
stage. Although shows presented by commedia dell'arte troupes were improvisations they were
heavily influenced using an array of stock situations along with very well–developed masks
(characters). Commedia dell'arte masks have molded the creation of characters from William
Shakespeare's "Merchant of Venice" to Matt Groening's "The Simpsons". Keeping society
entertained at every age. Unlike most masks in theatre, or even masks for ceremonial purposes,
performers in commedia dell'arte wear masks that cover half of their face leaving their mouths free.
... Show more content on Helpwriting.net ...
The use of masks was of a great significance to the early performers. (Marczak, 7) Early in the life
of commedia dell'arte it quickly became normal to call the "character" "the Mask". Performers
would be the Mask of Il Capitano, or the Mask of Pantalone. This notion of being the mask can get
confusing as not all commedia dell'arte characters wear masks that convey who they are. "Lovers
are the Commedia stock characters that do not wear masks" (Sullivan 14). In this case the Masks are
often referred to as stereotypes. This wouldn't be very accurate. Stereotypical characters are very
broad two dimensional characters that are based on a class of persons that have been stuck with
prejudices and generalizations. Although old men are salacious and money–grubbing that isn't all
the Mask of Pantalone must be this way. If done right he is so much more than that, but that is left to
the performer that takes on the Mask to develop with their own flair. Often we find Il Capitano
playing the false romantic lead. Since he is part of the Vecchi (old people) one of his common
functions is to interfere with the innamorati or young lovers. He is often hired by the father,
Pantalone, to protect his daughter. Upon which Il Capitano often falls head over heels in love with
her, creating opportunities for a great lazzi to occur. Lazzi are rehearsed comical bits added
throughout the performance at the performer's

Research Investigation: Commedia Dell'Arte
How should costumes be chosen in a production of Carlo Goldoni's The Servant of Two Masters
following the conventions of Commedia dell'Arte? by Jessica Hornsey The Servant of Two Masters
is a Venetian comedy in the style of Commedia dell'Arte, written by Carlo Goldoni in 1743. In order
for a director to portray Truffaldino and Smeraldina's class clearly, a costume designer would need
to know the origins of the characters, as well as traditional masks and costume styles and colours.
The Servant of Two Masters takes place in Venice when a servant – the main character, Truffaldino
– and his master – Beatrice, disguised as a man – arrive in Venice. Whilst Beatrice is preoccupied
with finding Florindo, her lover who fled after having ... Show more content on Helpwriting.net ...
Furthermore, without the masks, costumes became more important in the identification of the stock
characters. This shows that The Servant of Two Masters is a landmark in the history and
development in Italian theatre. Truffaldino is the stock character "Arlecchino", a Zanni 13, or
servant. His role in the play's antics as a buffoonish but agile and clever trickster grows as the play
progresses, which is typical for Arlecchino in Commedia. 14 Truffaldino is central to the action in
the play, the pivot around which all the action revolves and the source of most confusion. 15 This is
demonstrated when he is to give both his master's clothes an airing and he mixes up their
belongings: "(He appears to shove the miniature into the pocket of FLORINDO's purple jacket [...]
FLORINDO pats his pockets and feels something there. He takes out the miniature.) FLORINDO
Good heavens! This is [...] the very portrait I gave to my beloved Beatrice! Tell me, you, 11 ibid 12
Memoirs of M. Goldoni. Trans. Barrett, H. Clark. In European Theories of the Drama: Crown. 1947.
p.249 13 Zanni; An unfortunate immigrant worker, also a servant; contributes to any confusion;
always hungry. Rudlin, John. Commedia

Vsevolod Meyerhold As A Theatre Practitioner Analysis
Vsevolod Meyerhold is a broadly known Russian theatre practitioner, who created and taught
Theatrical Biomechanics, which is both "an acting technique and a production style" (Baldwin,
1995: p. 181). Mostly because of Meyerhold's unique position as the leading Soviet avant–garde
director, his Biomechanics received wide attention in the beginning of the XXI century (Law, 1995:
p. 1). However, if Meyerhold was influenced by Commedia dell'arte at first and after the Revolution
by Taylor's scientific management while designing his technique (Gordon, 2005), can he be named
an innovator? Can a practice be innovative without being revolutionary? This essay will focus on
Vsevolod Meyerhold as a theatre practitioner, critically analysing the extent to which his practice
can be considered "innovative". It will discuss the concept of "innovation", ... Show more content on
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It is highly important to define a word "innovation" from the question, as depending on how we
understand it, the whole meaning of the question changes, which causes the final conclusion to be
completely different. According to Collins English Dictionary, innovation means "something newly
introduced, such as a new method or device". The synonyms that it provides to this word are:
"revolution, introduction, newness, novelty, etc.". At the same time, it offers the translation of
"innovation" to Russian – "нововведение" – which literally translated as "newly introduced" (no
date). Hence, we can see that innovation, by its meaning, is really close to invention or revolution.
How can this affect the question, can be asked? If innovation is a revolution, it means that it has to
be wholly original, without drawing on precedents or not be based on any other movements or
practices. It is hard to find any examples of this kind of innovative because you have to be entirely
and physically isolated

Commedia dell' Arte theatre emerged as a new form of stage entertainment in Italy in the late 16th
Century, and reached the height of its artistic and commercial success in 1650; then flourished in
Europe for two hundred years. Commedia was seen as one of the highest forms of entertainment,
and is now considered to be the template of almost every practice of theatre. Commedia troupes
performed for and were accessible to all social classes, and remarkably was also the first practice of
theatre to use women. The exact origins of Commedia dell'Arte are still undetermined, but scholars
believe that it was inspired by Atellan farces in Rome, Latin comedies of Terence and Plautus,
Commedia Erudita (written comedy) of the Renaissance; and from clowns ... Show more content on
Helpwriting.net ...
Each stock character developed a distinct set of attributes such as characteristic speech, gestures,
interaction with each other, props, masks and costumes – which became standard to the portrayal of
their individual characters. The actors sometimes created their own masks or further developed ones
already established, which helped keep the traditional continuity of the characters while still
allowing diversity.
Although the troupes presented the idea of being anarchic in spirit, they were actually very
disciplined, as they had to have the talent of improvisational comedy around a pre–established
simple scenario. Commedia often tended to poke fun at elements of society's respectable values by
means of exaggerated gestures and styles and insightful character traits. The actors were at liberty to
modify their performances to their audiences, incorporating sly commentary on politics and risqué

Analysis Of 'Accidental Death Of An Anarchist'
In Accidental Death of an Anarchist by Dario Fo, farce is prevalent throughout the play. Fo sought
to recreate traditional farce and the comedic effect it creates. In Accidental Death of an Anarchist,
Fo succeeded in creating Didactic Farce, combining comedic values of traditional farce with a rage
of injustice. Fo believed farce to be the most effective way to provoke thought about Pinelli's death.
Didactic farce portrays politics and events of the time in a comedic way. The combination of farcical
elements such as Slapstick humor and Commedia Dell'arte and the use of the alienation effect create
a didactic play, underlying the corruption in Italy revolving around the death of Pinelli.
Farce creates a humorous play where characters become involved involuntarily. Farcical elements
include sight gags, physical comedy, and general absurdity. Critics often dislike farce as it is
believed to be a low form of entertainment. The Maniac is primarily Fo's means of presenting farce
in the play. At the start of the play, the Maniac is speaking with Bertozzo in his office about the
different kinds of law when he exclaims, "international law, jurisprudence, human rights legislation,
common law, ecclesiastical law, the offside law, LA Law, mother–in–law" (7). The Maniac begins
by saying laws that the people would know. He then talks about the offside law which is a rule in
soccer, LA Law which is an American show, and finally mother–in–law which is a family member.
These allusions create humor the audience would recognize and build the Maniac's character as he
uses farce to convey information. Later in the play, the journalist is about to arrive, and the
Superintendent says she cannot see the judge. The Maniac quickly exclaims, "I'll change character"
(55). He proceeds to change clothes, wearing a false mustache and a black eye patch. This is
situational irony as the audience knows of the Maniac's ability to change character, while for those
involved, this is the first time. His new appearance creates humor as his outfit is absurd and later
leads to an exchange with the investigator. Farce also includes slapstick or physical comedy to
further specific points while providing humor. While still acting as Mark Weeny, the

Analysis Of Richard Bean 's The Servant Of Two Masters By...
A 300–word rationale outlining the approach that has been taken My viewing of the One Man, Two
Guvnors production in 2013, and the feelings of chaos, shock, anarchic laughter and anticipation
sparked my interest of exploring this play, and why its lazzi and improvisation added to the
heightened experience I had, whist viewing this performance. I became interested in how much the
One Man, Two Guvnors play written by Richard Bean, was based of the traditional Commedia
dell'Arte play The Servant of Two Masters written by Carlo Goldoni. I planned to explore the extent
of how much the play was improvised and the extent of how much it was scripted and planned. I
looked at why Commedia dell'Arte used improvisation and the approach of incorporating
improvisation and lazzi into a performance. I went about doing so by comparing the characters and
the scripts of Bean's One Man, Two Guvnors to Goldoni's The Servant of Two Masters. I researched
the role of Improvisation and Lazzi in traditional commedia dell'Arte and compared it to its role in
One Man, Two Guvnors. I decided to carry out my research by surveying audience members who
had viewed the production of One Man, Two Guvnors , and finding out how the incorporation of
improvisation and lazzi heightened the experience for the audience and impacted them. An outline
of the hypothesis Commedia dell'Arte has been incorporated in many contemporary productions
which are loose adaptations of traditional Commedia dell'Arte plays. The

The Influence of Commedia Dell'arte on Le Barbier de Séville ou la Précaution inutile and Il
Barbieri di Siviglia
Introduction
Commedia dell'arte played a crucial role in the history of Western theater, "its underlying satire and
irony ultimately shaping the development of comedy on the dramatic as well as the lyric stages,"
(Fisher 17). This paper will discuss, first, commedia dell'arte's satirical performances, their
circumstances, and their original audience, and tell how this theatrical form became well–known
throughout Western Europe. It then will discuss two enduring popular stage works: Sterbini and
Rossini's opera buffa Il Barbieri di Siviglia, and Beaumarchais's satirical comedy Le Barbier de
Séville ou la Précaution inutile of ... Show more content on Helpwriting.net ...
Furthermore,.Moliere had embedded the scenario in a much more complex story, one with many
players and plot talk worthy of romantic comedy, Beaumarchais, however, adopted the entire
commedia dell'arte trope, with the only modification, mentioned above, of the young nobleman
being incognito, creating a straight comedic satire. He wrote, "As the play opened, an old man, in
love with his ward, arranges to marry her the next day. A young suitor, who is cleverer than he, foils
his plan and marries the girl, today, under the guardian's nose and in his own house" (Bermel

Commedia dell'arte Essay
Commedia dell'arte
Commedia dell'arte is a truly popular form of theatre – of the people, by the people, for the people.
Discuss this statement with specific examples of Commedia dell'arte scenarios, stock characters,
performance features and circumstances.
Commedia dell'arte is definitely an artform centred on people and their world. Although its origins
are hazy due to the illiteracy of its first performers and audience, it is believed to have stemmed
from the carnivals in Italy during the sixteenth century. Here it rose from the people from folk
theatre, which used masks and music, and from the charlatans using pretence as a means of earning
money.
The scenarios involved in Commedia arose from the thematic concerns the ... Show more content on
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Such characters as these were created because the audience could relate to them and laugh. As the
people changed, so too did stock characters. More were added into the list of masks, and elements
such as costume changed to suit the society the play was directed at.
Performance features of the performances were directed straight to the people. The amount of credit
the audience gave the actors, determined the energy of the charcters. For example, if a crowd
cheered Arlecchinos antics on, he would play this up by continuing it for a longer period of time.
Such was the improvising nature of commedia conventions.
Many stock characters would directly address the audience, which would allow further interest to
evolve in the people watching. Isabella would flirt with the audience, Ill Dottore would address
them with "expert" knowledge on anything, and fool them with tautologies, "he who is always
wrong, is less right than anyone else". Ill Capitano would address them directly in an attempt to gain
praise from them. Other characters, such as Pedrolino, would play on the audience for sympathy.
The degree of response by the people watching towards the masks indicated the action the troupe
would continue to further their scenarios.
The masks themselves often reflected the Italian people, Their warts, apart from hiding
imperfections in the leather, alluded to the boils on the malnourished poor of Itlay. In similar ways,
the

The Popularity of Commedia dell'arte
Commedia dell'arte is an improvisational style of theatre which began in the 15th century Italy and
kept its popularity then flourished in Europe for 200 years until the late 18th century. If we translate
Commedia Dell'arte into English it would be ''the comedy of professional players'' or ''comedy of
Arts''. The word ''arte'' means ''profession'' so the actors must have been professional in order to
work on a stage. It had some other names which they show its nature and features better when we
try to read them like; Commedia alla Maschera (comedy of masks), Commedia Improvisso
(Improvisation comedy). The core of this comedy was performance or skill of actors on the stage.
This style of theatre was based on the actor rather than playwright. Commedia Dell'arte had no
scripts but it had a few paintings on the stage. Characters used different types of mask for the
purpose of offering more fun to the audiences. There were some reasons why started to use masks in
this theatre. Originally they used masks for identifying the characters on the stage, recognizing
characters and remind them to audiences what they were doing and to improve character's skills.
Therefore they used masks to show to audience better and unique performance on the stage. There
were stock masks, costumes even specific character's features and their names. They also used
music at the end of each act even audiences have joined. Everything depended on the performance
of actors because there was

Form and Structure of a Servant to Two Masters Essay
?A Servant To Two Masters? is the play that I studied. The structure is simplistic but also dynamic.
It is quite an unusual play this may be something to do with coming under the genre of Comedia Del
Art this is a form of theatre. Groups of actors would travel and perform their improvised plays. Their
plays would usually be non–scripted and be very much like a pantomime. If plays were ever written
then they would be written after they were performed. Comedia Del Arte was and still is enjoyed by
many people. Lower class citizens could enjoy the simplistic storylines, as the upper class would
admire the comedy within the play.
Lazzi scenes were used in the plays to make the audience laugh. The spectators would most be
looking forward to ... Show more content on Helpwriting.net ...
Lazzi scenes were spontaneous, however most of them were rigorously rehearsed and the insertion
in performance was sometimes pre planned, they added light humour to the play and were enjoyed
by the audience so when Truffaldino was the surprising protagonist he played a great role, as he was
a foolish character.
A strong narrative is used throughout the play. There is use of soliloquy, which were humorous.
Smeraldina?s speech about men ?If women had a position in this society that was equal to their tact
intelligence and ability to get things done you don?t think they?d put up with you poncing around
like some superannuated gondolier. They wouldn?t give you a second glance, ?big boy?? (Act 2
Scene 5).
?A Servant To Two Masters? is a complicated story, however the audience always know what is
going on, this adds humour, as the audience are enlightened about the plot twist bringing them
closer to the characters. Truffaldino grabs the audience?s hearts even though he is a fool, he makes
the audience feel sorry for him when talking about being hungry.
The play has been contemporised. Modern day language is used this makes it easier to understand.
Colloquialism of ?sod? and ?bollocks? are used these are words that are often spoken today. Being
rewritten to modern day language has really helped me to understand the play more. In my opinion
if I was to read the play before it was adapted I don?t think I would of understood it.
The

A Pocket Full Of Truffles Character Analysis
This year we decided to do something completely different and original. What makes A Pocket full
of Truffles unique is that we started the rehearsal process with no script ... that is right, no script!
Inspired by the popular Italian Commedia dell'Arte street performers of the 16th–18th centuries, we
are developing the script from scenarios and character types. These Venetian performers took
characters that were relatable to Italians: the carefree and bumbling servant, overbearing master,
book–smart doctor, dewey–eyed young lover, and the gallant yet cowardly captain. Studying these
character types, the stories were then created in rehearsals through ideas, experimentations and
improvisations. In the end, we have created an original scripted

The Importance Of The Theatrical Space And How It Can...
In the words of Gay McAuley, "for an activity to be regarded as a performance, it must involve the
live presence of the performers and those witnessing it..." (McAuley, 2009, cited in Schechner,
2013, pp.38). This statement recognises the importance of both the actor and the audience for
something to truly function as a performance. In addition, Lloyd Llewellyn–Jones highlights the
significance of the theatrical space and how it can influence an audience stating that "on entering a
theatre of any kind, a spectator walks into a specific space, one that is designed to produce a certain
reaction or series of responses" (Llewellyn–Jones, 2002, pp.3). The relationship between actor,
audience and theatrical space is no less important today than it was at the time of theatre during the
Spanish Golden Age and the creation of Commedia dell'arte in Italy. Despite being very close
geographically with theatre thriving for both in the same era, sources that explore the social, cultural
and historical context of these countries and the theatre styles will bring to light the similarities and
differences. This essay will analyse the staging, the behaviour of the audience as well as the
challenges the actors faced, and how this directly influenced the relationship between actor,
audience and theatrical space.
Commedia dell'arte was established during the sixteenth century at a time when theatre flourished in
Italy. Despite such a rich time for the arts, a divide in the church as well as

Venetian Carnival Mask: Republic Of Venice Against...
The History of the Venetian Carnival Mask began in 1168 to celebrate the victory of Republic of
Venice against Patriarch of Aquileia. This was the start of the annual festival "Carnival of Venice",
where the people gather together in celebration. While wearing many different types of masks, eat
food, and honor the victory of Venice.
The Mascherari also known as the mask–makers have the ability to create any mask to your liking.
There are a variety of different types of carnival masks. They are created from porcelain, paper
mache, heavy, or light. Venetian Masks can be decorated with fur, fabric, gean, and feathers.
Typically people with different occupations wore different types of macks. There are a few masks
which have a given name like

Accidental Death of an Anarchist
In the play Accidental Death of an Anarchist, Dario Fo expresses his political concerns, using
humour as a way of educating his audience. He incorporates stock characters such as the Maniac
and the superintendent to address issues like abuse of power, while using farce and satire to
emphasize his point. All of these combined help to leave the responder thinking about the issues in
contemporary society.
The Maniac has the main and most important role in ADOA. He can be likened to the Commedia
Dell'arte character Arlecchino as both are very intelligent, but also unpredictable and known to
frequently change their plans. Through the Maniac the audience learns the truth about the death of
the anarchist.
The Maniac constantly changes his ... Show more content on Helpwriting.net ...
This stirs anger within the responder, while making them laugh at how openly and confidently the
Superintendent expresses his corruption.
The Superintendent heightens the comedy in the play and is made to be oafish and completely
unaware by Fo, contradictory of someone who is meant to be learned. In Act Two, Scene One, the
Superintendent exclaims «...your Honour, you're taking the piss.» Not only does this expose the
police's disrespect for the law and it's proceeding through the use of his farcical comment, but it is
also ironic that what he has said is such an understatement. The Superintendent is unable to grasp
what the Maniac is up to. By showing the audience his 'raw' stupidity, Dario Fo helps the responder
to come to the realisation that there are actually people like this in positions of power.
The police's controverting actions are continually presented through the Superintendent–»So he's
a...hoaxer, an imposter, a quick–change artist.» The irony here is that the police have actually
demonstrated that they're the «hoaxers» and «quick change artists» in regards to the number of times
that they have changed their evidence. This irony creates a humorous side to the critical issue of
police corruption while reinforcing the idea that what happened was a serious political
amalgamation of lies aimed at hiding the truth behind the anarchist's death.
There were many themes presented in ADOA including that of the abuse of power by the
authoritarian. This

Analysis Of ' Picasso 's ' Arte And Ballet Russes '
Introduction: Prior to completing Three Musicians, Pablo Picasso was associated with the refined
world of ballet as he became the set designer for multiple performances across Europe. Picasso took
inspiration from his experiences with commedia dell'arte and Ballet Russes to complete Three
Musicians in Fontainebleau, France during the summer of 1921. Picasso's influence with theater is
evident in this painting as he depicts himself as the Harlequin, which is a common motif found in
commedia dell'arte that ties in with the Rose Period from his earlier life. Not only does the
Harlequin symbolize theatre and Picasso's alter–ego but the Perriot and Monk figures are cubist
manifestations of his two poet friends, one of whom passed away. Despite ... Show more content on
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It is not enough to say that Three Musicians is a significant piece of synthetic cubism because there
are a lot of paintings that were created with a similar aesthetic. For instance, Georges Braque made
Fruit Dish and Glass in 1912 and it is similar to the collage elements found in Picasso's Three
Musicians. To further understand why Three Musicians is relevant to synthetic cubism we must
assess both the context and visual qualities of the figures that make up most of the composition.
Picasso's Three Musicians is a prime example of Cubist style. To fully understand cubism, a person
needs to understand that the subject of the artwork becomes a sequence of planes, lines, and arcs.
Another aspect of Cubism art has been described as a reinvention of an artist's analyzation of
shapes. This analyzation of shapes show how artists subject and reinvent them on a canvas. (The
Free Library)
Shapes and colors are used by Picasso to reinforce the flatness of Three Musicians. Objects in the
painting like the patterned green wallpaper and the brick–red floor are made up of shapes. These
shapes interlock with the other figures of the painting. These shapes are also not painted with
highlights and shadows. Which help them not to be overlooked or recede behind the musicians. The
painted image of the table and music also have a very flat look to them. since the music is not shown
in perspective but as if it were held flat against

The Italian Renaissance And Theatre's Contributions To...
Italian Renaissance
Introduction
The Italian Renaissance is the "rebirth" of new ideas based on classical teachings. The Italian
Renaissance gave birth to many innovations in theater architecture and scene design, including the
proscenium arch stage, painted–flat wings and shutters, and Torelli's mechanized pole–and–chariot
system. In addition, the Italian Renaissance saw the development of the neoclassical rules of
dramatic structure, and of opera and Commedia dell'arte. Between the 14th and 16th centuries
Renaissance drama developed in Italy, marking an end to medieval practices and a release of
traditional Roman ways of presenting drama. (Web.) The three major Renaissance contributions to
Theatre were one, Neoclassical ideal in playwriting and criticism, two, Italianate staging and
architecture, and three, Commedia dell'arte. By 1600, this rebirth had moved to other parts of
Europe. It remained dominant for over 200 years, especially among upper classes.
It is generally agreed that the Italian theatre has its origins in the liturgy of the Catholic Church as it
was recited on holy days and particularly, at Carnival time. It was at first a simple prolongation of
the religious rites in Latin, but subsequently was gradually transformed into an independent
spectacle. There were members of church–sponsored lay confraternities which engaged in extreme
forms of penance as well as in prayer and in the singing of songs called laude. Although usually
lyrical or narrative in nature,

How Has Physical Theatre Changed Over Time Essay
How has physical theatre developed over time?
Physical theatre is a form of performance where movement and physicality of the body has the main
part within a performance. There are several quite distinct traditions of performance which all
describe themselves using the term "physical theatre", which has led to a lot of confusion as to what
the definition of physical theatre actually is. The term physical theatre has been applied to
performances consisting mainly of mime, contemporary dance, theatrical clowning and other
physical comedy (such as slapstick), puppetry and mask work and theatrical acrobatics and lifts.
One of the early practitioners of physical theatre was Artaud. His ideas included total theatre,
wherein actors appeal to all ... Show more content on Helpwriting.net ...
The development of English pantomime was strongly influenced by commedia dell'arte. This was a
"comedy of professional artists" travelling from province to province in Italy and then France, who
improvised and told comic stories that held lessons for the crowd, changing the main character
depending on where they were performing. Pantomime mainly incorperated song, dance,
buffoonery, slapstick, cross–dressing, in–jokes, topical references, audience participation, and mild
sexual innuendo. The general movement within Pantomime creates physical theatre as the storyline
is presented to the audience mainly through lifts, dance and slapstick, although performers also use
their voice throughout.
The Theatre of the Absurd is the name for particular plays of absurdist fiction written by a number
of primarily European playwrights in the late 1950s, as well as one for the style of theatre which has
evolved from their work. Their work expressed what happens when human existence has no
meaning or purpose and therefore all communication breaks down, alerting their audiences to pursue
the opposite. The Absurd in these plays takes the form of man's reaction to a world apparently
without meaning, and/or man as a puppet controlled or menaced by invisible outside forces. Theatre
of the Absurd consisted of horrific or tragic images; characters caught in

Commedia Dell Arte: Influence On Modern Comedy
The sixteenth century, the period between 1500 – 1600, witnessed many changes in a developing
world. Spain and Portugal expanded trade and exploration into the West, the Protestant Reformation
changed the face of Europe, the Ottoman Empire rose and fell, and many advances were made in
science and medicine. Art and theater also witnessed change and development during this era. The
Roman revivals, intermezzi (intermediate musical pieces), the emergence of the Elizabethan Theater
in England, and commedia dell'arte in Italy are a few of these emerging genres. In Italy during the
sixteenth century, actors developed and embraced a new form of acting that would have an impact
on modern–day comedy. Commedia dell'arte was considered ... Show more content on
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One can further define commedia dell'arte as semi–impromptu; it was traditional Italian theatre with
professional actors with some written text (Rudlin)
Commedia dell'Arte: Influence on Contemporary Comedy Freeman 2
While theater history teaches us that formal commedia dell'arte troupes no longer exist; stand–up
comedy, contemporary modern day sitcoms, and comedic movies all share similarities with this
sixteenth century art form. In order to understand fully commedia dell'arte it is beneficial that we
understand what the term means. So when you hear the term commedia dell'arte, what does it mean?
Where did it originate? Research and history show the term commedia dell' arte can be traced back
to the eighteenth century, but theater history shows that it may have been used before then. In the
Medieval and Renaissance period, an "arte" was defined as an economic and political corporation
organized by one of various crafts or professions. The term commedia dell' arte could easily be
interpreted as meaning "theatre

Venetian Masks: Centuries-Old Tradition Of Venice, Italy
Venetian masks are a centuries–old tradition of Venice, Italy. The masks are typically worn during
the Carniva, but have been used on many other occasions in the past, usually as a device for hiding
the wearer's identity and social status. The mask would permit the wearer to act more freely in cases
where he or she wanted to interact with other members of the society outside the bounds of identity
and everyday convention. It was useful for a variety of purposes, some of them illicit or criminal,
others just personal, such as romantic encounters. Venetian masks are characterised by their ornate
design, featuring bright colours such as gold or silver and the use of complex decorations in the
baroque style. Many designs of Venetian masks stem

Character Analysis Of Il Dottore
Commedia dell' arte translates to "comedy of the professional players" was introduced in Italy
during the sixteenth century. Commedia usually contains eight stock characters (stereotypical
fictional characters), one of these stock characters is Il Dottore which translates to "the doctor".
During the sixteenth century a "Dottore" was someone who studied each subject and had great
knowledge upon it. In Commedia, the doctor claims to know everything and is able to give advice
but, he ignores the knowledge of others and talks on about the things he thinks he has knowledge on.
Since Il Dottore is a man of wealth and "knowledge", he is dressed in a scholarly robe that is usually
all black and goes to his ankles with a round white collar. The ... Show more content on
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He does not have much of a function on stage but, he does attempt to help the protagonist but, fails
to do so. Another portion of his character is his social status, which is, upper class because he is
considered, "educated" and wealthy. Il Dottore social status allows him to be considered as one of
the "masters". When someone is a "master" they are treated with respect and formality from other
stock characters. As an example, a Brigella (highest ranking servant in Comedia) would speak in
more of a formal tone when he/she approaches Il Dottore versus when a Brigella speaks with a
Zanni (lowest class) where a they would speak to him casually and possibly use more of a
demeaning tone towards a Zanni. This hierarchy of characters is still common in modern day theater
and television. Commedia dell'arte is form of theater that has been used for hundreds of years and is
commonly seen in twentieth and twenty first century playwrights. One example is from the
American television show, M*A*S*H where Major Frank Burns, played by Larry Linville.
Linville's character fits the description of Il Dottore because Major Burns is wealthy, thinks he is an
expert surgeon and is addressed in a formal matter by his under ranking officers (except Pierce and
McIntyre). He also usually makes grand facial expressions and talks with his hands in order for the
other

Zanni In Commedia Dell Arte
Who is Zanni ?
Zanni is a character type of Commedia dell'arte but he is best known as an astute servant and
trickster. Zanni comes from the Countryside. He is also known to be a "disappointed immigrant
worker". Throughout the time he grew to be a popular figure who was seen in commedia as early as
the fourteenth century.
Origin of the name
Zanni is a name that is a Venetian variant of the name Gianni and was common in the Lombard–
Venetian countryside which was provided to most of the servants to the wealthy nobles and
merchants of Venice. Although in Italian it is specifically a name of someone whose identity is not
of any importance. It is one of the oldest characters of the Commedia dell'arte but over the time it
became subdivided into ... Show more content on Helpwriting.net ...
This costume was similar to the dress of the peasants(poor farmer) and farm workers of the time. A
specific type of Zanni, was Brighella, wore accents of green to indicate his tricky and devious
nature. Arlecchino, however, was known for his irregular colored patches that eventually became the
essence of the entire outfit. The Zanni is also known to be clothed in a peaked hat and a wooden
sword. The Zanni at first wore a full faced carnival mask, due to the need for dialogue between
Pantalone and Zanni, the bottom of the mask was hinged and eventually cut away altogether. The
longer the nose of the Zanni, the stupider he is said to be.
Props
A Zanni is known to take and temporarily keep items that belong to someone else. Some items that
the Zanni would keep would be bags, letters, valuables, or food.
Posture
The posture of Zanni has a "lowered centre of gravity" either from the earth or from carrying heavy
bags and chairs. Zanni's back is arched when he stands up and his knees are bent and apart with
spread out and apart feet. The support knee is bent and the other leg is extended with his toe pointed.
He switches his feet a lot while speaking or listening within the same position, and without his head
moving up and down. Zanni's elbows are usually bent and arms half lifted.
Speech
Zanni's speech is loud and his voice is rough due to manufacturing a living outdoors and trying to be
heard in a market or a busy

Italian Renaissance Research Paper
At the time of the Italian renaissance, Italy was divided into individual city states ruled by wealthy
families. The term renaissance translates to rebirth and references the period from the late fourteenth
to the early seventeenth century in Europe during which art, culture, politics, and thought flourished.
The renaissance originated in Italy and spread throughout most of Europe. The invention of the
printing press and increased use of vernacular in writing facilitated the spread of information.
Renaissance art, politics, and thought were influenced by the rediscovery of classic Greek texts.
Most renaissance advances were in the fields of painting, architecture, and literature. Nonetheless,
theatre experienced various developments as well. ... Show more content on Helpwriting.net ...
The neoclassical ideals were rules determined by critics to help playwrights create great drama.
There are many neoclassical ideals. A few of them are verisimilitude, the three unities, and ideas of
genre. Verisimilitude is the idea that drama should be "true to life" and the most important ideal.
Note that this idea of "true to life" is distinct from modern ideas of realism. The three unities are the
unity of time; the plot should take place within twenty–four hours. The unity of place; the action
should occur within one region. And the unity of action; no action should superfluous. The three
unities are often credited to Aristotle who only suggested the unity of action. For critics, genres were
distinct and should not intermingle. To that extent, tragedy dealt with royalty and must have sad
endings. Comedy was about common people and must have a happy

Commedia Del'Arte
PANTALONE: Pantalone is of top pecking order. He is wealthy and controls the finance in the
character world of commedia, therefore his orders are usually obeyed by all. He is the father of
Isabella. He wears dark colours of black, grey and red; dynamic Pantaloons, tight–fitting long red
trousers or red breeches and stockings, a short tight–fitting jacket, a loose long black cloak with
plain sleeves, red–woollen skull–cap and yellow turkish slippers. He is lean and scrawny and often
short in stature. He wears a mask with a long, hooked nose with bushy eyebrows, sometimes also a
moustache. Pointed beard just forward as if to meet the nose coming down, thus giving a very
dynamic profile. His signature props are a gold chain hung around ... Show more content on
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The mask, in its general aspect, was intended to emphasize the contrast between a brave appearance
and a craven nature. His signature prop is a long sword that he never actually uses for fighting. His
feet are planted apart in order to occupy maximum space, his chest is pushed forward and his back is
always straight and tall standing with his hips wide. His walk is a long stride where the heels of his
boots come down first, then the foot rolls onto the ball, then he steps again off the ball of his foot
giving him rise and bounce in his step so his head can be among the clouds. However, his actual
steps are small (he is in no hurry to get to war, but wants to do so with maximum effect). When he
hears a frightening noise he drops everything, but only succeeds in running on the spot, head thrown
back, arms in the air, kicking his feet forward and howling piteously. When he hears a wolf (or small
dog) he shrinks little by little until he has made himself unnoticeable as possible, then scurries away
in a crouch. When fleeing from a mouse he adopts a kind of leaping promenade walk in order to
prevent it running up his legs. When scared witless he occasionally runs to be seen, to show off his
legs. He often stands at attention or with his hand on his sword, nose in the air and his chest puffed
out. When he's not pretending to be brave he is

Commedia Dell Arte
Commedia dell'arte literally means"comedy of the actors." One side was comedic theatre that
included improvisation, the other was plays that were based on written texts. The art–form came into
being around 1550 and reached its height of success in Italy around 1650. During this time, the great
stars of Italian comedy performed, including Flaminio Scala, Francesco Andreini and his wife
Isabella. The deaths of those performers and an economic decline in Italy made the drop in the
popularity of the commedia dell'arte, which continued to be an important form of theatre until 1780.
It can be used effectively in drama today to form characters, add humour or base storylines off of.
Commedia is made up of several, stock characters, all with short, simple storylines of their own.
Each stock character of the commedia evolved a distinct set of attributes, speech, gestures, props,
and costume that became standard to the portrayal of the character. Exaggerated gestures and odd
speech/accents were used to convey emotion and intention. The distinctive costumes held particular
appeal for modellers of small sculpture such as Franz Anton Bustelli, who made porcelain figures of
commedia characters. The characters of commedia usually act and gesture very strangely, ... Show
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They have grossly exaggerated features that show their status and personality type. All but two
characters (Isabella and Flavio) wear masks because of their meaning. Since Commedia is a mixture
of street performance and theatre, it requires little setting or stage; masks can set the stage
themselves. Masks de–humanize the actors and allow them to form a persona more easily as it can
create the feeling of detachment from one's

Duality In A Clockwork Orange
'A Clockwork Orange' – How does Stanley Kubrick create reference to the duality of 'the fool'?
A Clockwork Orange (1971) is one of Stanley Kubrick more notable endeavours, based on Anthony
Burgess' novel. Both film and book depict the simultaneous humanity and inhumanity of Alex and
his 'droogs'. This duality is key to my interpretation of these characters as representative of 'the fool'.
Here, 'the fool' is derivative of the Commedia Dell'arte Harlequin character, '[a] chameleon which
takes on every colour', and its reincarnation in later forms of art, such as the silent films of Charlie
Chaplin. Kubrick may have chosen to emulate the idea of the fool to comment on the intense duality
of human nature. Shocking scenes within the film allow ... Show more content on Helpwriting.net ...
Kubrick may have created his protagonist with foolish qualities in order to align him with the
audience. Traditionally, the fool plays the role of the Greek chorus, making the most direct and
honest communications with the audience; an ally within the play. Alex's qualities, firstly, can be
deemed as foolish due to visual similarities with Commedia dell'arte performers. Firstly, their attire
is extremely reminiscent of the costumes worn by Commedia dell'arte's Harlequin, 'the first poet of
acrobatics'. According to Duchartre, 'Harlequin's authentic mask... [had] eyebrows... covered in stiff
bristles.' and 'The eyes... gave a curious expression of craftiness... [and] sensuality which was both
disturbing and alluring'. If we look at the introduction of the film, we see Alex wearing thick, black
and harshly pointed fake lashes on one eye. This bears a similarity to the stiffly bristled eyebrows of
Harlequin. Additionally, fake eyelashes, a typically female item, evokes an air of sexuality which is
both 'disturbing and alluring', especially to a confused pre–Glam Rock 1970's audience, unused to a
male protagonist wearing purposely feminine make–up. There are also Commedia dell'arte segments
that involve the Harlequin dressing half as a man and half as a woman, which corresponds

The Green Bird, By Carlo Gozzi
The eighteenth century marked a period of renewal within Italy. This transition saw the acceptance
of new philosophies that were rampant throughout most of Europe (Yawney 2). The Age of
Enlightenment, as it has come to be known, brought upon changes within the realms of economic,
social, and religious affairs. However, amidst any form of radical change come those who do not
attest to it. In his fable, The Green Bird, Venetian dramatist Carlo Gozzi incorporates subject matter
that attacks not only the realism seen in Carlo Goldoni's theatre but also the thought of modern
Enlightenment ideology.
The first half of the Age of Enlightenment saw Italy more as a spectator as opposed to an active
participant within the ever–changing affairs of Europe. Italy could not yet incorporate the growing
ideology of the Enlightenment due to the Roman Catholic Church that governed the land. However,
with the decline of that absolute ecclesiastical authority near the latter half of the eighteenth century,
Italy gradually delved into enlightenment thought, and slowly became part of the movement that
was dominating Europe. The continuance of scientific research ensued, which led to studies in
history and archaeological science. Recognition of social conditions throughout Italy influenced the
study of economics and socio–political issues. These new philosophies proved to be the main
concerns within the intellectual community as the eighteenth century progressed. (Yawney 1,3–4)
Italy

Commedia Del'Arte. Character Analysis and Traits of...
COLUMBINA
Columbina is the perky maid of the 'Old Man', Pantalone. She is better dressed than the male
servants as she is also a lady's maid. She usually wears a knee length dress and an apron. The
colouring of her clothes can be different in different acts, depending on her relationships with the
characters and the scenario. She can be in a similar scheme to Arlecchino (where she is sometimes
known as Arlecchina with similar diamonds and triangles), or if she is assigned to a rival family of
Arlecchino's, she can be in that scheme. In cases where she is an independent character, she can be
in blacks and whites in the spirit of a French Maid.
Columbina does not usually wear a mask but sometimes wears one covering only her eyes. Her ...
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The lovers are in love with themselves being in love. They love each other, but are more
preoccupied with being seen as lovers. They often feign mild hatred. She is extremely aware of
being watched and plays with the audience for sympathy in their plight and ccasionally flirts with
spectators.
She is flirtatious, headstrong, has dramatic intensity and feigned madness due to passionate love and
can be prudish. She can be hot and cold. i.e. prone to mood swings and is a tease with an
independent will.
She is vain, petulant, spoilt, full of doubt and have very little patience. She has a masochistic
enjoyment of enforced separation because it enables her to dramatize their situation, lament, moan,
send messages, etc. When her and Lelio do meet they are almost always tongue–tied and need
interpreters who proceed to misinterpret their statements, either through stupidity (Zanni), malicious
desire for revenge (Brighella) or calculated self–interest (Columbina). Isabella's attention span is
short like a young child's and her fear that she might be a nobody keeps her hyper–animated.
ARLECCHINO
Arlecchino has an enduring magical power, a testimony perhaps to the mystery of it origin. He is a
servant and jester, usually to Pantalone, but also frequently Il'Capitano, or Il' Dottore. He wears a
tight–fitting long jacket and trousers, sewn over with random, odd–shapen patches of green, yellow,
red and brown

Commedia Dell Arte Influence On Greek Theatre
The article seems to imply that, in the same way Greek theatre dwarfed any other form of theatre
from that period, commedia dell'arte was the domineering theatre form in its time– not, perhaps, to
quite the extent that Greek theatre did, but still largely influential throughout Europe. It was around
during Jacobean times, and thus will have been known by Shakespeare, he being incredibly infused
with the theatre world around London and will have at least heard of commedia dell'arte. Such
dramatic troupes as those traditionally associated with commedia dell'arte found their way into
many of his plays; Twelfth night, Taming of the shrew, Othello, they all either directly referenced to
commedia dell'arte or they held various aspects of it which

Social Responsibility In Greek Theatre

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