This 1699 Italian acting treatise includes chapters on all kinds of staged productions, scripted or improvised, sacred or secular, tragic or comic. It also addresses enunciation, diction, memorization, gestures, and stage comportment, and describes the details important to a successful commedia dell'arte performance.
This 1699 Italian acting treatise includes chapters on all kinds of staged productions, scripted or improvised, sacred or secular, tragic or comic. It also addresses enunciation, diction, memorization, gestures, and stage comportment, and describes the details important to a successful commedia dell'arte performance.Hinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.
Francesco Cotticelli is a specialist in theatre history at the University of Cagliari. Anne Goodrich Heck is a professional translator. Thomas F. Heck is emeritus professor of the Ohio State University and has published extensively on the performing arts. Together they translated and edited The Commedia dell'Arte in Naples: A Bilingual Edition of the 176 Casamarciano Scenarios (Scarecrow Press, 2001).
Inhaltsangabe
Part 1 Foreword Part 2 Translators' Preface Part 3 Introduction Part 4 Facsimile and Translation of Title Page Part 5 Facsimile of Original Table of Contents Part 6 Your Excellencies [Dedication] Part 7 To the Reader Part 8 Part One [Acting from Memory] Chapter 9 Preface Chapter 10 1. What the Art of Acting Is and What Its Parts Are Chapter 11 2. Concerning the State or Theatre and Its Disposition Chapter 12 3. Concerning Costumes Appropriate to Tragedy Comedy Satire etc. Chapter 13 4. On the Choice of Tragedy Comedy and Pastorale and before Them Opera Chapter 14 5. About Dramas in Prose Chapter 15 6. About Choosing Actors Capable of Performing Chapter 16 7. About the Best Pronunciation for Acting and What Defects Are to Be Noted in Various Dialects Chapter 17 8. On Memory and How It Is Used to Learn the Parts Chapter 18 9. On Delivering a Speech or Acting Chapter 19 10. About the Voice and How to Regulate and Vary It in Performance Chapter 20 11. On Appropriate Gestures for the Actor Chapter 21 12. On Certain Actions Performed on Stage Chapter 22 13. On Defects that Occur while Performing and How to Correct Them Chapter 23 14. On Particular Characters in Tragedies Comedies Pastorales and Tragicomedies Chapter 24 15. On Prologues Intermezzi Choruses Music and Dance Chapter 25 Endnotes-Annotations to Part I Part 26 Part Two [Acting by Improvisation] Chapter 27 Preface - On Improvisation in Performance Chapter 28 1. On the Roles of Lovers Chapter 29 2. On the Soliloquies in Tuscan Roles Chapter 30 3. On the Roles of Female Lovers Chapter 31 4. On Amorous Dialogues etc. Chapter 32 5. On Closing Couplets and Verses Chapter 33 6. On the Roles of Fathers and Old Men Chapter 34 7. On the Capitan Bravo Roles and Others Chapter 35 8. On the Comic Roles of First and Second Zanni Chapter 36 9. On the Roles of the Maidservant and the Old Woman Chapter 37 10. On Jests Witticisms Quips and Other Pleasantries for the Comic Parts Chapter 38 11. On Scenes with Extended Equivocal Metaphors and Others Chapter 39 12. On Ridiculous Actions Gestures Disguises Nocturnal Scenes and Songs Chapter 40 13. On the Improvised Soggetto Chapter 41 14. On How to Coordinate the Soggetto Chapter 42 15. On Improvised Intermezzi Chapter 43 Endnotes-Annotations to Part 2 Part 44 Bibliography Part 45 Nota filologica Part 46 Index Part 47 About the Editors
Part 1 Foreword Part 2 Translators' Preface Part 3 Introduction Part 4 Facsimile and Translation of Title Page Part 5 Facsimile of Original Table of Contents Part 6 Your Excellencies [Dedication] Part 7 To the Reader Part 8 Part One [Acting from Memory] Chapter 9 Preface Chapter 10 1. What the Art of Acting Is and What Its Parts Are Chapter 11 2. Concerning the State or Theatre and Its Disposition Chapter 12 3. Concerning Costumes Appropriate to Tragedy Comedy Satire etc. Chapter 13 4. On the Choice of Tragedy Comedy and Pastorale and before Them Opera Chapter 14 5. About Dramas in Prose Chapter 15 6. About Choosing Actors Capable of Performing Chapter 16 7. About the Best Pronunciation for Acting and What Defects Are to Be Noted in Various Dialects Chapter 17 8. On Memory and How It Is Used to Learn the Parts Chapter 18 9. On Delivering a Speech or Acting Chapter 19 10. About the Voice and How to Regulate and Vary It in Performance Chapter 20 11. On Appropriate Gestures for the Actor Chapter 21 12. On Certain Actions Performed on Stage Chapter 22 13. On Defects that Occur while Performing and How to Correct Them Chapter 23 14. On Particular Characters in Tragedies Comedies Pastorales and Tragicomedies Chapter 24 15. On Prologues Intermezzi Choruses Music and Dance Chapter 25 Endnotes-Annotations to Part I Part 26 Part Two [Acting by Improvisation] Chapter 27 Preface - On Improvisation in Performance Chapter 28 1. On the Roles of Lovers Chapter 29 2. On the Soliloquies in Tuscan Roles Chapter 30 3. On the Roles of Female Lovers Chapter 31 4. On Amorous Dialogues etc. Chapter 32 5. On Closing Couplets and Verses Chapter 33 6. On the Roles of Fathers and Old Men Chapter 34 7. On the Capitan Bravo Roles and Others Chapter 35 8. On the Comic Roles of First and Second Zanni Chapter 36 9. On the Roles of the Maidservant and the Old Woman Chapter 37 10. On Jests Witticisms Quips and Other Pleasantries for the Comic Parts Chapter 38 11. On Scenes with Extended Equivocal Metaphors and Others Chapter 39 12. On Ridiculous Actions Gestures Disguises Nocturnal Scenes and Songs Chapter 40 13. On the Improvised Soggetto Chapter 41 14. On How to Coordinate the Soggetto Chapter 42 15. On Improvised Intermezzi Chapter 43 Endnotes-Annotations to Part 2 Part 44 Bibliography Part 45 Nota filologica Part 46 Index Part 47 About the Editors
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