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…mehr
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 imagesHinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.
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 García Estévez. 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.
Inhaltsangabe
Introduction Part 1 The Defining Features Actors Chapter 1 The Pre-Eminence of the Actor in Renaissance Context, Scott McGehee Scenarios Chapter 2 Form and Freedom, Robert Henke Chapter 3 Parallel Processing, Tim Fitzpatrick Troupes Chapter 4 The Commedia dell'Arte Acting Companies, Kenneth Richards Stock Characters Chapter 5 You Must have Heard of Harlequin..., Michele Bottini, Samuel Angus McGehee, Michael J. Grady Chapter 6 Pantalone and Il Dottore, Peter Jordan Chapter 7 The Young Lovers, Richard Stockton Rand Chapter 8 Reading and Interpreting the Capitano's Multiple Mask-Shapes, Mace Perlman Chapter 9 Le Servette in Commedia dell'Arte, Julie Goell Chapter 10 Carnival, Comedy and the Commedia, Stephen P. J. Knapper Chapter 11 Official Recognition of Pulcinella, Antonio Fava, Mace Perlman Chapter 12 The Many Faces of Brighella, Artemis Preeshl Masks Chapter 13 A Mask Maker's Journey, Stefano Perocco di Meduna, Brenda O'Donohue Chapter 14 Mask Performance for a Contemporary Commedia dell'Arte, Carlos García Estévez Chapter 15 New Roles for the Mask in Twentieth Century Theatre, Donato Sartori, Peter Jordan Language Chapter 16 Grommelot, John Rudlin Lazzi Chapter 17 Lazzi, Mel Gordon Chapter 18 Principles of Comedy for Commedia dell'Arte, Brian Foley Chapter 19 Slapstick and Comic Violence in Commedia dell'Arte, Dr Louise Peacock Part 2 Historical Context Chapter 20 Aristocratic Archeology, Paul Monaghan Chapter 21 The Rise of Commedia dell'Arte in Italy, Kate Meehan Chapter 22 The Great Ruzante, Linda L. Carroll Chapter 23 The Coming Together, Olly Crick Chapter 24 Stages and Staging Practices in Early Commedia dell'Arte, Franklin J. Hildy, Matthew R. Wilson Chapter 25 Commedia dell'Arte and the Spanish Golden Age Theatre, Nancy L. D'Antuono Chapter 26 Celestial Sirens of the Commedia dell'Arte Stage, Anne E. MacNeil Chapter 27 Incidental Music in Commedia dell'Arte Performances, Thomas F. Heck Chapter 28 Meetings on Naxos, Roger Savage Chapter 29 Classical Ballet and the Commedia dell'Arte, Barry Grantham Chapter 30 Images of the Commedia dell'Arte, M. A. Katritzky Chapter 31 The Old Man's Spectacles, Andrew Grewar Chapter 32 Shakespeare's Clown Connection, Sara Romersberger Chapter 33 Writing for the Elite, Elizabeth C. Goldsmith Chapter 34 Goldoni and Gozzi, Mike Griffin Chapter 35 Commedia dell'Arte as Grotesque Dance, Domenico Pietropaolo Chapter 36 The Myth of Pierrot, Mark Evans Chapter 37 Speechless Spectacles, Matthew R. Wilson Chapter 38 From Meyerhold to Eisenstein, J. Douglas Clayton Chapter 39 Giorgio Strehler's Arte, Mace Perlman Chapter 40 Giovanni Poli, Giulia Filacanapa, Eileen Cottis Chapter 41 Arlecchino Appleseed, Joan Schirle Part 3 Alive and Well and Living in... Chapter 42 Despite Everything, Commedia dell'Arte is Alive in Italy, Fabio Mangolini Chapter 43 Dario Fo and the Commedia dell'Arte, Antonio Scuderi Chapter 44 Carlo Boso, Anna Cottis Chapter 45 Antonio Fava, John Rudlin Chapter 46 Happy Bedfellows, Claudia Orenstein Chapter 47 Commedia in Gloucestershire, Olly Crick Chapter 48 I Sebastiani, Judith Chaffee Chapter 49 Commedia Women on Stage-and in the Wings, Joan Schirle Chapter 50 Commedia CounterPart s, Kathy Foley Chapter 51 Commedia for the Contemporary Theatre Maker, Davis Robinson Chapter 52 Roots and Routes, Didi Hopkins Chapter 53 Commedia in a New World Context, Katrien van Beurden Part 4 Commedia dell'Arte Bibliography Chapter 54 Bibliography of Generally Accepted Commedia dell'Arte Literature
Introduction Part 1 The Defining Features Actors Chapter 1 The Pre-Eminence of the Actor in Renaissance Context, Scott McGehee Scenarios Chapter 2 Form and Freedom, Robert Henke Chapter 3 Parallel Processing, Tim Fitzpatrick Troupes Chapter 4 The Commedia dell'Arte Acting Companies, Kenneth Richards Stock Characters Chapter 5 You Must have Heard of Harlequin..., Michele Bottini, Samuel Angus McGehee, Michael J. Grady Chapter 6 Pantalone and Il Dottore, Peter Jordan Chapter 7 The Young Lovers, Richard Stockton Rand Chapter 8 Reading and Interpreting the Capitano's Multiple Mask-Shapes, Mace Perlman Chapter 9 Le Servette in Commedia dell'Arte, Julie Goell Chapter 10 Carnival, Comedy and the Commedia, Stephen P. J. Knapper Chapter 11 Official Recognition of Pulcinella, Antonio Fava, Mace Perlman Chapter 12 The Many Faces of Brighella, Artemis Preeshl Masks Chapter 13 A Mask Maker's Journey, Stefano Perocco di Meduna, Brenda O'Donohue Chapter 14 Mask Performance for a Contemporary Commedia dell'Arte, Carlos García Estévez Chapter 15 New Roles for the Mask in Twentieth Century Theatre, Donato Sartori, Peter Jordan Language Chapter 16 Grommelot, John Rudlin Lazzi Chapter 17 Lazzi, Mel Gordon Chapter 18 Principles of Comedy for Commedia dell'Arte, Brian Foley Chapter 19 Slapstick and Comic Violence in Commedia dell'Arte, Dr Louise Peacock Part 2 Historical Context Chapter 20 Aristocratic Archeology, Paul Monaghan Chapter 21 The Rise of Commedia dell'Arte in Italy, Kate Meehan Chapter 22 The Great Ruzante, Linda L. Carroll Chapter 23 The Coming Together, Olly Crick Chapter 24 Stages and Staging Practices in Early Commedia dell'Arte, Franklin J. Hildy, Matthew R. Wilson Chapter 25 Commedia dell'Arte and the Spanish Golden Age Theatre, Nancy L. D'Antuono Chapter 26 Celestial Sirens of the Commedia dell'Arte Stage, Anne E. MacNeil Chapter 27 Incidental Music in Commedia dell'Arte Performances, Thomas F. Heck Chapter 28 Meetings on Naxos, Roger Savage Chapter 29 Classical Ballet and the Commedia dell'Arte, Barry Grantham Chapter 30 Images of the Commedia dell'Arte, M. A. Katritzky Chapter 31 The Old Man's Spectacles, Andrew Grewar Chapter 32 Shakespeare's Clown Connection, Sara Romersberger Chapter 33 Writing for the Elite, Elizabeth C. Goldsmith Chapter 34 Goldoni and Gozzi, Mike Griffin Chapter 35 Commedia dell'Arte as Grotesque Dance, Domenico Pietropaolo Chapter 36 The Myth of Pierrot, Mark Evans Chapter 37 Speechless Spectacles, Matthew R. Wilson Chapter 38 From Meyerhold to Eisenstein, J. Douglas Clayton Chapter 39 Giorgio Strehler's Arte, Mace Perlman Chapter 40 Giovanni Poli, Giulia Filacanapa, Eileen Cottis Chapter 41 Arlecchino Appleseed, Joan Schirle Part 3 Alive and Well and Living in... Chapter 42 Despite Everything, Commedia dell'Arte is Alive in Italy, Fabio Mangolini Chapter 43 Dario Fo and the Commedia dell'Arte, Antonio Scuderi Chapter 44 Carlo Boso, Anna Cottis Chapter 45 Antonio Fava, John Rudlin Chapter 46 Happy Bedfellows, Claudia Orenstein Chapter 47 Commedia in Gloucestershire, Olly Crick Chapter 48 I Sebastiani, Judith Chaffee Chapter 49 Commedia Women on Stage-and in the Wings, Joan Schirle Chapter 50 Commedia CounterPart s, Kathy Foley Chapter 51 Commedia for the Contemporary Theatre Maker, Davis Robinson Chapter 52 Roots and Routes, Didi Hopkins Chapter 53 Commedia in a New World Context, Katrien van Beurden Part 4 Commedia dell'Arte Bibliography Chapter 54 Bibliography of Generally Accepted Commedia dell'Arte Literature
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