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Commedia dell'arte in art. --- Commedia dell'arte --- History and criticism. --- Commedia dell'arte dans l'art
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Douglas Clayton examines the tradition of commedia dell'arte as the Russian modernists inherited it, from its origins in Italian street theatre through its various transformations: in Italy (Gozzi and Goldini's plays); in France (the development of Pierrot and the restructuring of the plot); and in Germany (Tieck's and Hoffmann's metatheatre). He also analyses crucial texts by Gozzi, Lothar, Benavente, and Schnitzler that came to play a central role in the Russian theatre. Tracing the history of commedia dell'arte on the Russian stage, he demonstrates that the introduction of the tradition was theory-driven and discusses several milestone productions in the pre- and post-revolutionary period. Clayton examines the impact of commedia dell'arte, russified as the new theatrical genre of balagan, on both popular and lesser-known Russian playwrights, and, in conclusion, explores the significance of the commedia dell'arte as a theoretical underpinning for Sergei Eisenstein's theories of theatre and film.
Commedia dell'arte --- Russian drama --- History and criticism.
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"Analysis of improvisation as a compositional practice in the Commedia dell'Arte and related traditions from the Renaissance to the 21st century. Domenic Pietropaolo takes textual material from the stage traditions of Italy, France, Germany and England, and covers comedic drama, dance, pantomime and dramatic theory, and more. He shines a light onto 'the signs of improvised communication'. The book is comprehensive in its analysis of improvised dramatic art across theatrical genres, and is multimodal in looking at the spoken word, gestural and non-verbal signs. The book focusses on dramatic text as well as: - The semiotics of stage discourse, including semantic, syntactic and pragmatic aspects of sign production; - The physical and material conditions of sign-production including biomechanical limitations of masks and costumes. Semiotics and Pragmatics of Stage Improvisation is the product of an entire career spent researching the semiotics of the stage and it is essential reading for semioticians and students of performance arts."--Bloomsbury Publishing.
Theater --- Improvisation (Acting) --- Impromptu theater --- Theater, Impromptu --- Acting --- Amateur theater --- Commedia dell'arte --- Semiotics --- Semiotics.
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From Commedia dell'Arte came archetypal characters that are still with us today, such as Harlequin and Pantalone, and the rediscovered craft of writing comic dramas and masked theatre. From it came the forces that helped create and influence Opera, Ballet, Pantomime, Shakespeare, Moliere, Lopes de Vega, Goldoni, Meyerhold, and even the glove puppet, Mr Punch.The Routledge Companion to Commedia dell'Arte is a wide-ranging volume written by over 50 experts, that traces the history, characteristics, and development of this fascinating yet elusive theatre form. In synthesizing the elements of Comm
Commedia dell'arte --- Theater --- Histoire et critique --- History and criticism --- History --- Historia i krytyka. --- Italian literature --- Theatrical science --- Drama --- Histoire et critique. --- commedia dell'arte --- Renaissance --- theatergeschiedenis --- History and criticism.
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There has been an enormous revival of interest in Commedia dell'arte. And it remians a central part of many drama school courses. In Commedia dell'arte in the Twentieth Century John Rublin first examines the orgins of this vital theatrical form and charts its recent revival through the work of companies like Tag, Theatre de Complicite and the influential methods of Jacques Lecoq. The second part of the book provides a unique practical guide for would-be practitioners: demonstrating how to approach the roles of Zanni, Arlecchion, Brighella, Pantalone, Dottore, and the Lovers in terms of movement, mask-work and voice. As well as offering a range of lazzi or comic business, improvisation exercises, sample monologues,and dialogues. No other book so clearly outlines the specific culture of Commedia or provides such a practical guide to its techniques. This immensely timely and useful handbook will be an essential purchase for all actors, students, and teachers.
Dramatherapie --- Commedia dell'arte --- Improvisation (Acting) --- Improvisation (Art de l'acteur) --- Improvisation (Acting). --- theater --- toneelgeschiedenis --- Theatrical science --- Italy --- History and criticism --- History and criticism. --- Histoire et critique --- Commedia dell'arte - History and criticism
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Commedia dell'arte --- Characters and characteristics in literature --- Masks --- Personnages dans la littérature --- Masques --- Exhibitions --- Expositions --- Exhibitions.
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Italian comedians attracted audiences to performances at every level, from the magnificent Italian, German and French court festival appearances of Orlando di Lasso or Isabella Andreini, to the humble street trestle lazzi of anonymous quacks. The characters they inspired continue to exercise a profound cultural influence, and an understanding of the commedia dell'arte and its visual record is fundamental for scholars of post-1550 European drama, literature, art and music. The 340 plates presented here are considered in the light of the rise and spread of commedia stock types, and especially Harlequin, Zanni and the actresses. Intensively researched in public and private collections in Oxford, Munich, Florence, Venice, Paris and elsewhere, they complement the familiar images of Jacques Callot and the Stockholm Recueil Fossard within a framework of hundreds of significant pictures still virtually unknown in this context. These range from anonymous popular prints to pictures by artists such as Ambrogio Brambilla, Sebastian Vrancx, Jan Bruegel, Louis de Caulery, Marten de Vos, and members of the Valckenborch and Francken clans. This volume, essential for commedia dell'arte specialists, represents an invaluable reference resource for scholars, students, theatre practitioners and artists concerned with commedia -related aspects of visual, dramatic and festival culture, in and beyond Italy.
Commedia dell'arte --- Literature [Comic] --- Pictorial works --- Painting --- Theater in art. --- Art and theater --- History and criticism. --- Themes, motives. --- Subjects
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Annotation
Commedia dell'arte --- Comic literature --- Literature, Comic --- Acting --- Comedy --- Farce --- Italian drama (Comedy) --- Improvisation (Acting) --- Scala, Flaminio, --- Criticism and interpretation.
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The iconic masks of the Italian commedia dell'arte-Harlequin, Pierrot, Colombina, Pulcinella, and others-have been vagabonding the roads of Russian cultural history for more than three centuries. This book explores how these masks, and the artistic principles of the commedia dell'arte that they embody, have profoundly affected the Russian artistic imagination, providing a source of inspiration for leading Russian artists as diverse as nineteenth-century writer Nikolai Gogol, modernist theater director Evgenii Vakhtangov, Vladimir Nabokov, and the empress of Russian popular culture Alla Pugacheva. The author presents a new perspective on this topic, showing how the commedia dell'arte has nourished a rich cultural tradition in Russia.
Arts, Russian --- Commedia dell'arte --- Comic literature --- Literature, Comic --- Acting --- Comedy --- Farce --- Italian drama (Comedy) --- Improvisation (Acting) --- Italian influences. --- Influence.
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In this book, Emily Wilbourne boldly traces the roots of early opera back to the sounds of the commedia dell'arte. Along the way, she forges a new history of Italian opera, from the court pieces of the early seventeenth century to the public stages of Venice more than fifty years later. Wilbourne considers a series of case studies structured around the most important and widely explored operas of the period: Monteverdi's lost L'Arianna, as well as his Il Ritorno d'Ulisse and L'incoronazione di Poppea; Mazzochi and Marazzoli's L'Egisto, ovvero Chi soffre speri; and Cavalli's L'Ormindo and L'Artemisia. As she demonstrates, the sound-in-performance aspect of commedia dell'arte theater specifically, the use of dialect and verbal play produced an audience that was accustomed to listening to sonic content rather than simply the literal meaning of spoken words. This, Wilbourne suggests, shaped the musical vocabularies of early opera and facilitated a musicalization of Italian theater. Highlighting productive ties between the two worlds, from the audiences and venues to the actors and singers, this work brilliantly shows how the sound of commedia performance ultimately underwrote the success of opera as a genre.
Opera --- Commedia dell'arte --- Commedia dell'arte. --- Oper. --- Rezeption. --- History and criticism. --- Influence. --- Characters. --- Italien. --- Characters and characteristics in music. --- Comic literature --- Literature, Comic --- Comic opera --- Lyric drama --- Opera, Comic --- Operas --- History and criticism --- Music --- opera's --- muziekgeschiedenis --- improvisatie --- barokmuziek --- anno 1600-1699 --- Musical portraits --- Musical portraiture --- Acting --- Comedy --- Farce --- Italian drama (Comedy) --- Improvisation (Acting) --- Drama --- Dramatic music --- Singspiel --- Characters and characteristics in music --- Influence --- Claudio Monteverdi. --- Francesco Cavalli. --- Virginia Andreini. --- aria. --- commedia dell'arte. --- lament. --- listening. --- opera. --- recitative. --- sound.
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