Commedia dell´
Arte
is a particular type of entertainment that developed in Italy for about two
centu
ries
starting from the second half of the 16th Century. It was famed throughout
Europe, but especially in France where, from 1653 to 1697, an Italian company
performed on a regular basis at the Palais Royal; alternating with that of
Moliè
re. The term Commedia dell´
Arte was used
for the first time in 1750 by the great comic writer Carlo Goldoni, being used
to indicate the comedy of “artists”, i.e. of professional actors, in as much as
“arte” referred to “the activity of artisans”. Previously other denominations
had been in use: “improvised comedy”, “masked comedy”, or “the comedy of the
Zanni” (in the dialect of Bergamo, Zanni means Giovanni or Gianni, who is the
servant, the main character in this type of show). The
term Commedia dell’Arte thus has both an economic as well as a
professional connotation. It indicates the fact that this was a form of theatre
produced by “artisan” comics, who were bound to one another by real contracts
drawn up in front of a notary. The oldest of these dates back to 1546.
The most significant features of this type of entertainment
were the use of improvisation, its use of rough scripts and, above all, the
presence of women in the female roles, which, up to that time, had been played
by men.
One of the main features that characterised what is today known
as the Commedia dell´
Arte was its reliance on improvisation; so much so
that this theatrical phenomenom was originally called Commedia all’Improvviso.
The concept of improvisation in Commedia dell ´
Arte
did not refer to something totally lacking in preparation which is produced on
the spot, as might be believed, but rather the ability to “improvise” demanded
perfect synchronism on the part of the actors, as well as imagination, humour
and the skill of mimicry. The actors were professionals, who would rehearse
their parts for hours on end. In effect, the
improvisation did not refer to the style of performance, but rather to the way
in which the constituent parts of an entertainment might be “assembled” in a
different order every evening, so as to appeal to the mood of a particular
audience. Each actor would specialise in interpreting
a certain “type” of personage, typical of contemporary society; the mindless
servant or his crafty counterpart, the astute merchant, the kind-natured old
man, the boastful soldier, the pair of young lovers. This led to the development
of “Maschere” (masks). These characters were the very
fabric of the entertainment. To each were given traits that defined them in
relation to the others. Love, avarice, haughtiness,
intemperance, astuteness etc... were the impulses, opportunely organised on the
template of a rough plot, which the comics called a canovaccio (script),
upon which was structured the comedy which came about in an “improvised” manner.
The Canovaccio (Comedy Script)
The canovaccio, also called the “scenario”, is an outline script which includes the structure of a comedy; although it was not divided like a standard theatrical play, into actors’ lines and stage directions, but instead was presented in a narrative form, almost as if it were a single, extended stage direction.
It consisted of a synopsis of the plot, the division of the acts, a list of the dramatis personae and of the necessary props, and some other brief indications. The transformation of this rough sketch into a true entertainment was left in the hands of the actors. There did exist, however, “generic” collections, which container dialogues (of love, of disdain etc. ...), sonnets, “chiusette” (rhyming verses used to conclude a dialogue), “tirades” (i.e. soliloquies for the various characters), “conceits” (of jealousy, of desperation), and “one-liners” (jokes, witticisms, plays on words). The actor would insert this material at the point in the entertainment which he deemed most opportune.
Alongside the words, also gestures, acrobatics, leaps, and contortions were considered important. We have knowledge of a Harlequin (the actor Visentini) who performed a somersault whilst holding a glass of wine in one hand, without spilling a drop, or alternatively frightened the spectators by exiting the stage and running the cornices of the hall. Certainly there must have been “generic” collections that presented gestures that were probably similar for every role, and which each actor adapted to his personality; but little of this material has come down to us.
The Role of Women in
the Commedia dell´
Arte
In the theatrical world, prior to the birth of
the Commedia dell’Arte, female roles were always taken by men dressed as
women. Beginning in the 1500s, thanks to this new theatrical current, also
women, precisely in 1560, began to form part of this ambience. They had their
own roles, with appropriate lines and a script. In Italy, where the commedia
dell ´
arte met with most success, the principle actress was Isabella
Andreini, a member of the “Gelosi” Company, who was famous for her beauty, her
culture and the great interpretative quality that also brought her acclaim in
France.
In England women remained excluded from the
theatrical universe from 1642 to 1660 due to a Puritan law, which imposed the
closure o
f
theatres. (Prior to these dates it was, as stated above, men who played female
roles.) Both young girls, interpreting youthful roles, and older women who
interpreted elderly personages or worked backstage, participated in the
entertainments. Still today the most well-known female role in the commedia
dell´
Arte is that of Colombine. Hers is one of the most ancient of “masks”
in this genre, and personifies the astute serving girl. She first appeared with
the “Intronati” Company in about 1530. Although not
one
of the largest roles, her ability to sort out intricate situations, meant she
was of equal importance. The principle Italian actresses of the era who
interpreted this role were Isabella Biancolelli Franchini and Caterina
Biancolelli. As far as the role of the sweetheart is concerned - the only
personage along with her suitor to not wear a mask - the main characters are
Flaminia and Isabella. The female lovers are generally more determined than
their male colleagues; both in seeking and rejecting love. The actresses who
interpreted these roles had to be equipped with qualities such as beauty and
elegance, artistic skills and a certain level of culture. The above-mentioned I.
Andreini, and Virginia Andreani Ramponi, were among the actresses who frequently
played these roles. The character of Flaminia was in constant conflict with the
old men who wished to obstruct her desire for love; whilst Isabella had a
character which was closely linked to that of the actress who played her.
Bibliografia:
A. Perrucci
Dell´
arte rappresentativa premeditata ed all´
improvviso (Michele Luigi Mutio
Napoli 1699)
C. Molinari Teatro (Laterza)
V. Pandolfi
La Commedia dell´
arte (Sansoni, Firenze 1957-61)