The Relationship of Oral and Literate Performance Processes in the Commedia Dell'arte PDF Download
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Author: Tim Fitzpatrick
Publisher:
ISBN:
Category : Literary Criticism
Languages : en
Pages : 480
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Book Description
This study argues that the performers who developed the commedia dell'arte in the 16th century did so by applying oral story-telling techniques to a multi-performer genre.
Author: Tim Fitzpatrick
Publisher:
ISBN:
Category : Literary Criticism
Languages : en
Pages : 480
Get Book Here
Book Description
This study argues that the performers who developed the commedia dell'arte in the 16th century did so by applying oral story-telling techniques to a multi-performer genre.
Author: Robert Henke
Publisher: Cambridge University Press
ISBN: 9780521643245
Category : Literary Criticism
Languages : en
Pages : 288
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Book Description
This book explores the commedia dell'arte: the Italian professional theatre in Shakespeare's time. The actors of this theatre usually did not perform from scripted drama but instead improvised their performances from a shared plot and thorough knowledge of individual character roles. Robert Henke closely analyzes hitherto unexamined commedia dell'arte texts in order to demonstrate how the spoken word and written literature were fruitfully combined in performance. Henke examines a number of primary sources including performance accounts, actors' contracts, and letters, among other documents.
Author: Natalie Crohn Schmitt
Publisher: Routledge
ISBN: 0429663064
Category : Art
Languages : en
Pages : 181
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Book Description
Performing Commedia dell’Arte, 1570-1630 explores the performance techniques employed in commedia dell’arte and the ways in which they served to rapidly spread the ideas that were to form the basis of modern theatre throughout Europe. This book is winner of Ennio Flaiano Award in Italianistica, 2020. Chapters include one on why, what, and how actors improvised, one on acting styles, including dialects, voice and gesture; and one on masks and their uses and importance. These chapters on historical performance are followed by a coda on commedia dell’arte today. Together they offer readers a look at both past and present iterations of these performances. Suitable for both scholars and performers, Performing Commedia dell’Arte, 1570-1630 bears on essential questions about the techniques of performance and their utility for this important theatrical form.
Author: Olly Crick
Publisher: Routledge
ISBN: 1000533298
Category : Performing Arts
Languages : en
Pages : 189
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Book Description
This book examines Commedia dell'Arte as a performative genre, and one that should be analysed through the framework of dramaturgy and dramaturgical practice. This volume examines the way Commedia has been explored in the twentieth and twenty-first centuries, and details its reinventors’ dramaturgic approaches, both focusing in on specific examples such as Jacques Lecoq, Dario Fo and Antonio Fava, and also suggesting how modern discoveries may aid the study of historical performance practice. It also discusses how audiences read and receive masks; the relationship between the different masked and unmasked roles; the range of performance activities that come under the umbrella term ‘improvisation’; the performative construction of a role performed ‘live’ from a scenario; the role of language and embodied locality in performance; and the performative relationship between performative commedia and literary tragicomedy. Its focus is dramaturgy, and so it may be read both as a text describing various theatrical practices from 1946 onwards and as a way of creating one’s own contemporary Commedia practice. It is an important read for any student or scholar of Commedia dell'Arte and theatre historians grappling with the status of this unique and influential performance form.
Author: Judith Chaffee
Publisher: Routledge
ISBN: 1317613368
Category : History
Languages : en
Pages : 415
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Book Description
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 Commedia, this book introduces the history of the Sartori mask studio; presents a comparison between Gozzi and Goldoni’s complicated and adversarial approaches to theatre; invites discussions on Commedia’s relevance to Shakespeare, and illuminates re-interpretations of Commedia in modern times. The authors are drawn from actors, mask-makers, pedagogues, directors, trainers and academics, all of whom add unique insights into this most delightful of theatre styles. Notable contributions include: • Donato Sartori on the 20th century Sartori mask • Rob Henke on form and freedom • Anna Cottis on Carlo Boso • Didi Hopkins on One Man, Two Guv’nors • Kenneth Richards on acting companies • Antonio Fava on Pulcinella • Joan Schirle on Carlo Mazzone-Clementi and women in Commedia • and M.A. Katritzky on images Olly Crick is a performer, trainer and director, having trained in Commedia under Barry Grantham and Carlo Boso. He is founder of The Fabulous Old Spot Theatre Company. Judith Chaffee is Associate Professor of Theatre at Boston University, and Head of Movement Training for Actors. She trained in Commedia with Antonio Fava, Julie Goell, Stanley Allen Sherman, and Carlos Garcia Estevez.
Author: Christopher B. Balme
Publisher: Cambridge University Press
ISBN: 1108556876
Category : Drama
Languages : en
Pages : 376
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Book Description
The commedia dell'arte, the improvised Italian theatre that dominated the European stage from 1550 to 1750, is arguably the most famous theatre tradition to emerge from Europe in the early modern period. Its celebrated masks have come to symbolize theatre itself and have become part of the European cultural imagination. Over the past twenty years a revolution in commedia dell'arte scholarship has taken place, generated mainly by a number of distinguished Italian scholars. Their work, in which they have radically separated out the myth from the history of the phenomenon remains, however, largely untranslated into English (or any other language). The present volume gathers together these Italian and English-speaking scholars to synthesize for the first time this research for both specialist and non-specialist readers. The book is structured around key topics that span both the early modern period and the twentieth-century reinvention of the commedia dell'arte.
Author: Michael Caesar
Publisher: Routledge
ISBN: 1351196014
Category : Literary Criticism
Languages : en
Pages : 326
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Book Description
"In our highly literate culture, orality is all-pervasive. Different kinds of media and performance - theatre, film, television, story-telling, structured play - make us ask what is the relation between improvisation and premeditation, between transcription and textualization, between rehearsal, recollection and re-narration. The challenge of writing down what is spoken is partly technical, but also political and philosophical. How do young writers represent the spoken language of their contemporaries? What are the rules governing the transcription of oral evidence in fiction and non-fiction? Is the relationship between oral and written always a hierarchical one? Does the textualization of the oral destroy, more than it commemorates or preserves, the oral itself? Twelve wide-ranging essays, the majority on contemporary Italian theatre and literature, explore these questions in the most up-to-date account of orality and literacy in modern Italian culture yet produced. With the contributions: Michael Caesar, Marina Spunta- Introduction Michael Caesar- Voice, Vision and Orality: Notes on Reading Adriana Cavarero Arturo Tosi- Histrionic Transgressions: The Dario Fo-Commedia dell'Arte Relationship Revisited Gerardo Guccini- Le poetiche del 'teatro narrazione' fra 'scrittura oralizzante' e oralita-che-si-fa-testo Richard Andrews- Composing, Reciting, Inscribing and Transcribing Playtexts in the Community Theatre of Monticchiello David Forgacs- An Oral Renarration of a Photoromance, 1960 Alessandra Broccolini- Identita locali e giochi popolari in Italia tra oralita e scrittura Marina Spunta- The Facets of Italian Orality: An Overview of the Recent Debate Kate Litherland- Literature and Youth in the 1990s: Orality and the Written in Tiziano Scarpa's Cos'e questo fracasso? and Caliceti and Mozzi's Quello che ho da dirvi Elena Porciani- Note su oralita e narrazione inattendibile Marco Codebo- Voice and Events in Manlio Calegari's Comunisti e partigiani: Genova 1942-1945 Hanna Serkowska- Oralita o stile? La trasmissione orale e le modalita narrative ne La Storia di Elsa Morante Catherine O'Rawe- Orality, Microhistory and Memory: Gesualdo Bufalino and Claudio Magris between Narrative and History"
Author: Oliver Crick
Publisher: Routledge
ISBN: 1134629826
Category : Performing Arts
Languages : en
Pages : 282
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Book Description
A companion to John Rudlin's best-selling Commedia dell'Arte: A Handbook for Actors, this book covers both the history and professional practice of commedia dell'arte companies from 1568 to the present day. Indispensable for both the beginner and the professional, it contains historical and contemporary company case histories, details on company organisation, and tips on practical stagecraft. Essential for students and practitioners, this book enables the reader to understand how successful commedia dell'arte companies function, and how we can learn from past and current practice to create a lively and dynamic form of theatre. Includes tips on: * writing a scenario * mask-making * building a stage * designing a backdrop * costume * music. _
Author: C. W. Marshall
Publisher: Cambridge University Press
ISBN: 1139458760
Category : Drama
Languages : en
Pages : 335
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Book Description
A comprehensive survey of Roman theatrical production, this book examines all aspects of Roman performance practice, and provides fresh insights on the comedies of Plautus and Terence. Following an introductory chapter on the experience of Roman comedy from the perspective of Roman actors and the Roman audience, addressing among other things the economic concerns of putting on a play in the Roman republic, subsequent chapters provide detailed studies of troupe size and the implications for role assignment, masks, stage action, music, and improvisation in the plays of Plautus and Terence. Marshall argues that Roman comedy was raw comedy, much more rough-and-ready than its Hellenistic precursors, but still fully conscious of its literary past. The consequences of this lead to fresh conclusions concerning the dramatic structure of Roman comedy, and a clearer understanding of the relationship between the plays-as-text and the role of improvisation during performance.
Author: Jessica Goodman
Publisher: Oxford University Press
ISBN: 0192516698
Category : Literary Criticism
Languages : en
Pages : 347
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Book Description
The thirty years Carlo Goldoni spent in Paris hold an ambiguous place in his career. The preface to his autobiography explicitly draws attention to France as the site of his authorial glory, but elsewhere he dismisses his work for the Parisian Comédie-Italienne as a failure, and this view has come to dominate modern readings of his French experience. This study sets out to explore this apparent contradiction. By reading Goldoni's own contemporary and subsequent accounts through the lens of his context as a dramatic author in 1760s Paris, Jessica Goodman sheds new light on both his experience and critical reactions to that experience. A key part of this contextualisation is an examination of contemporary Comédie-Italienne archives, resulting in the most comprehensive existing account of this oft-neglected theatre and its authorial relations in the period. When material and artistic conditions at the Comédie-Italienne thwarted the self-fashioning strategies Goldoni had developed in Italy, he turned his attention to other areas of French life; notably the court and the Comédie-Française. Yet despite relative success in this regard, his career as an eclectic homme de lettres was lost in translation to posterity. In his French Mémoires, he constructed the claim of Parisian glory according to an out-dated understanding of what it meant to succeed in the French literary field, focusing predominantly on the power of Comédie-Française success. Ultimately, this construction was a failure: in modern France, Goldoni is remembered as a famous foreigner, not the consecrated French littérateur he believed he had become.
