Acknowledgements |
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xii | |
Foreword |
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xiii | |
Notes on contributors |
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xv | |
Introduction |
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1 | (4) |
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PART I The defining features: Actors, scenarios, troupes, stock characters, masks, language and lazzi |
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5 | (188) |
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1 The pre-eminence of the actor in renaissance context: Subverting the social order |
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9 | (12) |
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2 Form and Freedom: Between scenario and stage |
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21 | (9) |
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3 Parallel Processing: Two playwrights: Scala and Shakespeare |
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30 | (13) |
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4 The Commedia dell'Arte acting companies |
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43 | (12) |
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5 You must have heard of Harlequin... |
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55 | (7) |
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6 Pantalone and il Dottore: The old men of Commedia |
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62 | (8) |
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70 | (12) |
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8 Reading and interpreting the Capitano's multiple mask-shapes |
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82 | (9) |
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9 Le Servette in Commedia dell'Arte |
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91 | (5) |
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10 Carnival, comedy and the Commedia: A case study of the mask of Scaramouche |
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96 | (12) |
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11 Official recognition of Pulcinella: The one who saved the Commedia from extinction by securing its continuity to the present day |
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108 | (6) |
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12 The many faces of Brighella: The knave we love to hate |
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114 | (11) |
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13 A mask maker's journey |
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125 | (5) |
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Stefano Perocco Di Meduna |
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14 Mask performance for a contemporary Commedia dell'Arte |
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130 | (9) |
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15 New roles for the mask in twentieth century theatre |
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139 | (16) |
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155 | (12) |
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167 | (10) |
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18 Principles of comedy for Commedia dell'Arte |
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177 | (8) |
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19 Slapstick and comic violence in Commedia dell'Arte |
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185 | (8) |
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PART II Historical context: What we know from whom, about what, and why it matters |
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193 | (206) |
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20 Aristocratic archeology: Greco-Roman roots |
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195 | (12) |
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21 The rise of Commedia dell'Arte in Italy: A historical perspective |
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207 | (6) |
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213 | (8) |
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221 | (8) |
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24 Staging and staging practices in early Commedia dell'Arte |
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229 | (9) |
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25 Commedia dell'Arte and the Spanish Golden Age Theatre |
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238 | (8) |
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26 Celestial sirens of the Commedia dell'Arte Stage |
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246 | (9) |
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27 Incidental music in Commedia dell'Arte performances |
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255 | (13) |
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28 Meetings on Naxos: Opera and Commedia dell'Arte |
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268 | (8) |
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29 Classical Ballet and Commedia dell'Arte: Influences |
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276 | (8) |
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30 Images of the Commedia dell'Arte |
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284 | (16) |
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31 The old man's spectacles: Commedia and Shakespeare |
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300 | (12) |
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32 Shakespeare's clown connection: Hybridizing Commedia's Zanni |
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312 | (9) |
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33 Writing for the Elite: Moliere, Marivaux, and Beaumarchais |
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321 | (8) |
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34 Goldoni and Gozzi: Reformers with separate agendas |
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329 | (9) |
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35 Commedia dell'Arte as grotesque dance: Decline or evolution? |
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338 | (8) |
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346 | (9) |
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37 Speechless spectacles: Commedia pantomime in France, England, and the Americas during the eighteenth and nineteenth centuries |
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355 | (9) |
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38 From Meyerhold to Eisenstein: Commedia dell'Arte in Russia |
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364 | (6) |
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39 Giorgio Strehler's Arte: A Commedia master directs Shakespeare |
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370 | (8) |
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40 Giovanni Poli: The missing link |
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378 | (8) |
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41 Arlecchino Appleseed: Or how Carlo Mazzone-Clementi brought Commedia to the New World |
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386 | (13) |
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PART III Alive and well and living in... |
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399 | (98) |
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42 Despite everything, Commedia dell'Arte is alive in Italy. Long live Commedia! |
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401 | (7) |
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43 Dario Fo and the Commedia dell'Arte |
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408 | (11) |
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44 Carlo Boso: Fear and laughter in popular theatre |
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419 | (8) |
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427 | (8) |
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46 Happy bedfellows: Commedia dell'Arte, politics, and the San Francisco Mime Troupe |
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435 | (8) |
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47 Commedia in Gloucestershire: Rural contexts (2004 to 2010) |
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443 | (8) |
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48 I Sebastiani: Commedia geeks |
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451 | (6) |
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49 Commedia women on stage---and in the wings |
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457 | (7) |
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50 Commedia counterparts: Middle Eastern and Asian connections |
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464 | (11) |
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51 Commedia for contemporary theatre maker |
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475 | (5) |
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52 Roots and routes: One Man, Two Guvnors |
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480 | (10) |
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53 Commedia in a new world context: The comedy and poetry of survival |
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490 | (7) |
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PART IV Commedia dell'Arte bibliography |
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497 | (2) |
Bibliography of generally accepted Commedia dell'Arte literature |
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499 | (4) |
Index |
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503 | |