Brings together for the first time in one volume today's leading scholars of this major theatre tradition. The book provides a state-of-the-art survey of current thinking on the commedia and discusses both the early modern period and the reinvention of the commedia dell'arte in the nineteenth and twentieth centuries.
Brings together for the first time in one volume today's leading scholars of this major theatre tradition. The book provides a state-of-the-art survey of current thinking on the commedia and discusses both the early modern period and the reinvention of the commedia dell'arte in the nineteenth and twentieth centuries.Hinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.
Introduction: commedia dell'arte: history, myth, reception Daniele Vianello Part I. Elements: 1. Knots and doubleness: the engine of the Commedia dell'Arte Ferdinando Taviani 2. Popular traditions, carnival, dance Riccardo Drusi 3. Notebooks, prologues and scenarios Stefan Hulfeld 4. Between improvisation and book Piermario Vescovo Part II. Commedia dell'Arte and Europe: 5. Journeys Siro Ferrone 6. France Virginia Scott 7. The Iberian Peninsula María del Valle Ojeda Calvo 8. German-speaking countries M. A. Katritzky 9. Eighteenth-century Russia Laurence Senelick 10. England Robert Henke 11. Northern Europe Bent Holm Part III. Social and Cultural Conflicts: 12. Commedia dell'arte and the church Bernadette Majorana 13. Commedia dell'arte and dominant culture Raimondo Guarino Part IV. Opera, Music, Dance, Circus and Iconography: 14. Commedia dell'arte in opera and music 1550-1750 Anne MacNeil 15. From Mozart to Henze Andrea Fabiano 16. Commedia dell'Arte in dance Stefano Tomassini 17. The circus and the artist as Saltimbanco Sandra Pietrini 18. Iconography of the commedia dell'arte Renzo Guardenti Part V. Commedia dell'Arte from the Avant-Grade to Contemporary Theatre: 19. Stanislavsky and Meyerhold Franco Ruffini 20. Copeau and the work of the actor Marco Consolini 21. Staging Gozzi: Meyerhold, Vakhtangov, Brecht, Besson Franco Vazzoler 22. Staging Goldoni: Reinhardt, Strehler Erika Fischer-Lichte 23. Eduardo De Filippo and the Mask of Pulcinella Teresa Megale 24. Dario Fo, Commedia dell'arte and political theatre Paolo Puppa 25. Commedia dell'arte and experimental theatre Mirella Schino Conclusion: commedia dell'arte and cultural heritage Christopher B. Balme.
Introduction: commedia dell'arte: history, myth, reception Daniele Vianello Part I. Elements: 1. Knots and doubleness: the engine of the Commedia dell'Arte Ferdinando Taviani 2. Popular traditions, carnival, dance Riccardo Drusi 3. Notebooks, prologues and scenarios Stefan Hulfeld 4. Between improvisation and book Piermario Vescovo Part II. Commedia dell'Arte and Europe: 5. Journeys Siro Ferrone 6. France Virginia Scott 7. The Iberian Peninsula María del Valle Ojeda Calvo 8. German-speaking countries M. A. Katritzky 9. Eighteenth-century Russia Laurence Senelick 10. England Robert Henke 11. Northern Europe Bent Holm Part III. Social and Cultural Conflicts: 12. Commedia dell'arte and the church Bernadette Majorana 13. Commedia dell'arte and dominant culture Raimondo Guarino Part IV. Opera, Music, Dance, Circus and Iconography: 14. Commedia dell'arte in opera and music 1550-1750 Anne MacNeil 15. From Mozart to Henze Andrea Fabiano 16. Commedia dell'Arte in dance Stefano Tomassini 17. The circus and the artist as Saltimbanco Sandra Pietrini 18. Iconography of the commedia dell'arte Renzo Guardenti Part V. Commedia dell'Arte from the Avant-Grade to Contemporary Theatre: 19. Stanislavsky and Meyerhold Franco Ruffini 20. Copeau and the work of the actor Marco Consolini 21. Staging Gozzi: Meyerhold, Vakhtangov, Brecht, Besson Franco Vazzoler 22. Staging Goldoni: Reinhardt, Strehler Erika Fischer-Lichte 23. Eduardo De Filippo and the Mask of Pulcinella Teresa Megale 24. Dario Fo, Commedia dell'arte and political theatre Paolo Puppa 25. Commedia dell'arte and experimental theatre Mirella Schino Conclusion: commedia dell'arte and cultural heritage Christopher B. Balme.
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