The ancestor of the commedia dell'arte. Italian commedia dell'arte

Oh, no matter how much I persuaded Irina Anatolyevna, she flatly refuses to do a webinar on commedia dell’arte, with which I have so many wonderful memories!

What can you do, humor that is appropriate at the moment does not always become a classic joke that can amuse over the centuries. But the entire dramaturgy of the commedia dell'arte arose from improvisation.

The masks of traditional characters were supposed to be somewhat superior to the bright masks of the Venetian carnival. It’s strange, but in the homeland of this theater, almost unknown among us, Angelo Beolko is considered the founder. But we are more familiar with this theater from the work of his compatriot Carlo Goldoni, who worked two hundred years later.

The theater existed in almost unchanged form from the mid-16th to the end of the 18th centuries, having a significant impact on further development Western European drama theatre.

The troupes that played comedies of masks were the first professional theater troupes in Europe, where the foundations were laid acting skills(term commedia dell'arte, or artful theater, indicates the perfection of actors in theatrical play) and where elements of directing were present for the first time. These functions were performed by the leading actor of the troupe, called Kapokomiko(Italian capocomico).

Commedia dell'arte (Italian: commedia dell'arte) is a comedy of masks, a type of Italian folk (square) theater. The predecessors of commedia dell'arte were the performances of minstrels and traveling actors, strong men and clowns, jugglers and magicians; even comic demons from liturgical drama influenced its development.

It’s interesting that Russia also had canonical puppet characters. We had one traveling actor who was a kind of one-man orchestra. According to Olearius, the actors tied a sheet around their body, lifted its free part up and held it above their heads on poles, thus forming something like a stage. With a folk comedy about Petrushka, who defeated first the priest, then the master, then the doctor, the actors walked the streets, showing puppet shows.

In commedia dell'arte there was a strict set of masks corresponding to the actors' roles. The performances were created using the method of improvisation, based on a script containing a brief plot outline of the performance, with the participation of actors dressed in masks. IN different sources also referred to as la commedia a soggetto (script theatre), la commedia all'improvviso (improvisation theatre) or la commedia degli zanni (zanni comedy).

This is a theater that required the actor to play well-coordinatedly in the troupe, reacting flexibly and accurately to each cue within the framework of the accepted image. The actor's role here also included the development of the dramaturgy of his albeit conventional image, but right in front of the audience, often entering into a skirmish with them.

Geiger Richard "Pierrot and Columbine"

The peak of popularity of improvisational comedy with permanent characters moving from performance to performance occurred in the years 1560-1760. Played in performances professional actors- unlike the previous era, when amateurs performed in the theater.

This theater required not just sophisticated professional acting, but required the actor to immediately sprinkle in jokes, maxims, complaints or philosophical treatises, rigidly “working out” the initially agreed upon “backbone” of the script.

The basis of the script was written in advance and discussed with the troupe members based on the planned audience. The performance, intended only for men, was a mixture of sparkling humor, satirical dialogue, crude slapstick, acrobatic stunts, hoaxes, clowning, music and sometimes dance. All this was pushed into the background main topic: the love of one or more young couples.

Intricate love conflicts were brought to the fore only with a female audience in mind.

TO 19th century commedia dell'arte is becoming obsolete, but finds continuation in pantomime and melodrama. In the 20th century comedy serves as a model for the synthetic theater of Meyerhold and Vakhtangov, as well as the Frenchmen Jacques Copot and Jean-Louis Barrault, who revived the expressiveness of stage gesture and improvisation and gave great value ensemble playing.

Commedia dell'arte was born from carnival celebrations. There was no theater yet, but there were jesters, mimes, and masks. Another factor was the emergence of national Italian drama. New plays were written by Ariosto, Machiavelli, Bibiena, Aretino, but all these works are not suitable for the stage; they are oversaturated with characters and abundance storylines. This dramaturgy was called “scientific comedy” (Italian: Commedia erudita).

Principle tipi fissi, in which the same characters (masks) participate in scenarios with different contents, is widely used today in the creation of comedy television series, and the art of improvisation is used in stand-up comedy.

Geiger Richard (1870-1945) "Pierrot and Columbine"

In the ancient Roman theater there was a type of folk performance called atellans. These were obscene farces, originally improvised, in which the actors also wore masks; some of the characters were similar in the nature of the mask to the characters of the commedia dell'arte (for example, the Roman mask of Papus and italian mask Pantalone), although it is inappropriate to talk about the Atellans as the predecessor of the commedia dell'arte: the gap in tradition between them is more than twelve centuries. Most likely, we can only talk about the similarity of circumstances in which these types of theater were born.

Characters of Roman comedy, reinterpreted under the influence national customs and morals, became the prototypes of the main characters: the gullible old Venetian merchant Pantalone; the pedantic Doctor of the University of Bologna; the braggart and coward Captain, who was easily recognized as an officer of the hated occupation spanish army. Due to the mixture of such heterogeneous elements, it was impossible to build a single action, and the commedia dell'arte is a series of interludes.

Ludovic Alleamu “Saddled Pierrot”

Angelo Beolco (Rudzante) in the first half of the 16th century composed plays for the Venetian carnivals, using the technique of “learned comedy”. The confusing plots were accompanied by tricks and healthy peasant humor. A small troupe gradually gathered around Beolko, where the principle tipi fissi and approved use on theater stage folk dialect speech. Finally, Beolko introduced dance and music into the dramatic action. This was not yet a commedia dell'arte - Beolko's troupe played within the framework given plot, she did not have free play and improvisation - however, the road for the emergence comedy was open. The first mention of the mask theater dates back to 1555.

Angelo Beolco(Italian Angelo Beolco, stage name - Ruzante (Italian Ruzzante); 1502, Padua, - March 17, 1542, Padua) - Italian playwright and actor

Angelo Beolco was the illegitimate son of a wealthy businessman who owned lands in the vicinity of Padua and had the degrees of Doctor of Arts and Doctor of Medicine. Raised in the family on a par with legitimate children, Angelo received a good education, but had no rights to the Beolko inheritance, and need forced him to enter the theater stage.

At the age of 18, Beolko organized an amateur troupe in Padua, which gave performances during carnivals, and composed for this troupe, always in the Paduan dialect, small scenes from the Paduan village life that was well known to him - buffoonish, comedic and even tragic, ending in murder.

The actors of Beolko's troupe performed under constant names and in unchanged costumes - Beolko called them unchanged types (tipi fissi), although the nature of the role could change depending on the genre. Beolko himself created the image of a cheerful and broken peasant guy from the outskirts of Padua - Ruzante, who knew how to sing and dance well.

In different plays, Ruzante could be a deceived husband, a stupid servant or a boastful warrior, but his character remained constant, and this constancy was emphasized by his constant peasant costume.

Success came very quickly, and Beolko found rich patrons, primarily in the person of the Venetian patrician, generous philanthropist Alvise Cornaro. The troupe performed exclusively in front of audiences belonging to the patrician or bourgeois class, and adapted to the tastes that prevailed in these circles.

Submitting to demand, Beolko began to write large plays - in the genre of “scientific comedy” (commedia erudita), widespread at that time, but, unlike most playwrights who worked in this genre, who were poorly familiar with the laws of theater and intended their works more likely for reading, Beolko wrote comedies exclusively for the stage, with certain actors in mind. Since the actors of his troupe went through a good realistic school, Beolko’s “learned comedies” were distinguished realistic depiction people and life.

Like all theater groups of that time, Beolko's troupe was semi-professional: it worked a lot during carnivals and much less during other periods; When forced breaks arose in the troupe’s activities, the actors who composed it returned to their previous occupations.

Nevertheless, Beolko's theatrical activities had a significant influence on the development of Italian professional theater; his “unchanging types” anticipated the appearance of the “comedy of masks,” but there was no improvisation in the Beolko theater. IN Venetian Republic Beolko had many followers - actors-playwrights, the most famous among them were Antonio da Molino, nicknamed Burchiella, and Andrea Calmo.

At least some comedies written by Beolko are known: “Coquette”, “Comedy without a title”, “Flora”, “Ankonitanka”, “Dialogues in a rude peasant language”, “The funniest and funniest dialogue” - and two more, representing reworkings of Plautus’ comedies: “Cow” and “Pyovana”.

Beolko's comedies were distinguished by a rare realism for that time in depicting the life and customs of the Paduan peasants; his satire avoided the mockery characteristic of the “peasant farces” of the Renaissance.

Forced to take into account the tastes of his viewers, Beolko nevertheless, wherever he could, rejected the established canons and in the prologue of one of his comedies, made up as Plautus, he argued that writing comedies the way Plautus and other ancient playwrights wrote them was already impossible: if Plautus had lived, he would have written completely differently.

Beolko did not have time to implement the reform of the comedy and, as a playwright, did not find worthy successor, which, however, did not prevent his contemporaries from appreciating the merits of his comedies; Thus, the famous literary critic Benedetto Varchi wrote that “the comedies of Ruzante of Padua, representing rural subjects, are superior to the ancient Atellans.”

Auguste Toulmouche (1829 - 1890)

Zanni(Italian Zanni) - a large group of servant characters (masks) of the Italian commedia dell'arte, among which the most important are: Brighella (the first zanni of the Venetian quartet of masks), Harlequin (the second zanni of the Venetian quartet of masks), Coviello (the first zanni of the Neapolitan quartet of masks) and Pulcinella (the second zanni of the Neapolitan mask quartet). This also includes girls, maids Columbina, Fantesca, Smeraldina, etc.

The word "zanni" comes from the name "Gianni" (Italian: Gianni) in Venetian pronunciation. Zan Ganassa was the name of one of the first actors who made this mask famous.

Zanni on the stage of the square theater there are some of the oldest masks, continuing the tradition of court and carnival jesters. They appear in Italian farces of the 15th century, and even earlier - on the pages of Renaissance short stories.

Zanni- these are servants, former peasants who left their native places due to poverty and unemployment (Bergamo for the northern masks, Cava and Acerra for the southern ones) in search of a better life in prosperous port cities (Venice in the north of Italy and Naples in the south). The townspeople looked at the newcomers with mockery and willingly laughed at them.

They often portray them as completely stupid (Harlequin), or smart, but with provincial actions unusual for a city dweller (Brigella), with a dialect characteristic of “hillbillies” (Harlequin and Brigella, for example, speak a rather monosyllabic Bergamascan dialect of Italian). Over time, of course, this satire softened, especially since it is the zanni who actively intrigue the script, helping the lovers in their confrontation with the old men Pantalone and the Doctor.

Begma Oksana “Pierrot flirts with Columbine”

Brighella(Italian Brighella, fr. Briguelle) - mask character of the Italian Commedia dell'Arte, the first zanni; one of the most ancient servant characters of the Italian theater. Represents the Northern (or Venetian) quartet of masks, along with Harlequin, Pantalone and Doctor.

Brighella is a former peasant, a native of Bergamo, who speaks the abrupt, monosyllabic, ending-eating Bergamo dialect. He hires himself out as a servant, cheats, and delights with witticisms and risky jokes.

Brighella wears a linen blouse, long trousers, a cloak and a white cap. His suit is white, usually trimmed with green braid. The costume is completed with yellow leather shoes. There is a black pouch at the belt, and a dagger (sometimes wooden, but more often real) behind the belt.

Brighella's mask is hairy, dark color with a black mustache and a black beard sticking out in all directions.

This is a clever and resourceful fellow, often a thieving servant; cheeky with women, insolent with old people, brave with cowards, but helpful to the strong; always loud and talkative. At first angry and ruthless, by the 18th century. Brighella becomes softer and more cheerful.

His philosophy is very reminiscent of Bozena Rynska’s public statements: Brighella amuses the audience with long monologues against the old people who prevent the young from living, loving and achieving happiness. They vote incorrectly in elections, cross the road in the wrong place, and make up 71% of the completely unnecessary population, as the Vice-Rector of the Higher School of Economics recently noted.

In our country this is already becoming the norm, almost a “fashionable trend” among the “enlightened elite”. And before, in fact, this was considered the calling card of a stupid hillbilly.

The actors playing this mask are required to be able to play the guitar and master basic acrobatic tricks.

Scapino, drawing by Maurice Sand, 1860

Brighella's mask, although it was one of the most beloved by ordinary spectators, as a rule, was in the background of intrigue; the lack of active action was compensated a large number insert tricks ( Lazzi) and musical interludes. Images close to Brighella are present in the comedies of Lope de Vega and Shakespeare; these are also Scapin, Mascarille and Sganarelle by Moliere and Figaro by Beaumarchais.

The most famous performers This role included Nicolo Barbieri, who performed under the name Beltrame, Carlo Cantu (Buffetto) and Francesco Gabrielli (Scapino).

To be continued…

Masks of Venice. Commedia dell'arte masks

Commedia dell'arte (Italian: la commedia dell'arte), or comedy of masks - a type of Italian folk theater, performances of which were created using the method of improvisation, based on a script containing a brief plot outline of the performance, with the participation of actors dressed in masks. Various sources also refer to it as la commedia a soggetto (script theatre), la commedia all’improvviso (improvisation theatre) or la commedia degli zanni (zanni comedy).

The number of masks in commedia dell'arte is very large (there are more than a hundred of them in total), but most of them are related characters that differ only in names and minor details. The main characters of the comedy include two quartets of male masks, the Captain's mask, as well as characters who do not wear masks, these are the Zanni girls and the Lovers, as well as all the noble ladies and gentlemen.

Male characters
Northern (Venetian) quartet of masks:
- Pantalone (Magnifico, Cassandro, Uberto), - Venetian merchant, stingy old man;
- Doctor (Doctor Balandzone, Doctor Graziano), - pseudo-scientific doctor of law; old man;
- Brighella (Scapino, Buffetto), - the first zanni, an intelligent servant;
- Harlequin (Mezzetino, Truffaldino, Tabarino), - second zanni, stupid servant;

Southern (Neapolitan) quartet of masks:
- Tartaglia, the stuttering judge;
- Scaramuccia, a boastful warrior, a coward;
- Coviello, first zanni, intelligent servant;
- Pulcinella (Policinelle), second zanni, stupid servant;

The captain is a boastful warrior, a coward, the northern analogue of the Scaramucci mask;
- Pedrolino (Pierrot, Clown), servant, one of the zanni.
- Lelio (also Orazio, Lucio, Flavio, etc.), young lover;

Female characters
- Isabella (also Lucinda, Vittoria, etc.), young lover; often the heroine was named after the actress who played this role;
- Columbina, Fantesca, Fiametta, Smeraldina, etc., are maids.

ZANNI - Common name comedy servant. The name comes from the male name Giovanni, which was so popular among common people, which has become a common noun to designate a servant. The zanni class includes such characters as Arlecchino, Brighella, Pierino, who appeared later. The characteristics of the nameless zanni are an insatiable appetite and ignorance. He lives exclusively for today and does not think about complex matters. Usually loyal to its owner, but does not like discipline. At least 2 such characters took part in the play, one of whom was dull, and the other, on the contrary, was distinguished by a fox-like intelligence and dexterity. They were dressed simply - in a shapeless light blouse and trousers, usually made from flour sacks. The mask initially covered the entire face, so in order to communicate with other heroes of the zanni comedy, one had to lift its lower part (which was inconvenient). Subsequently, the mask was simplified, and it began to cover only the forehead, nose and cheeks. Characteristic feature The Zanni mask has an elongated nose, its length being directly proportional to the stupidity of the character.

HARLEQUIN (Arlecchino) - zanni of the rich old man Pantalone. The Harlequin costume is bright and colorful: it is made up of diamonds of red, black, blue and green. This pattern symbolizes Harlequin's extreme poverty - his clothes seem to consist of countless poorly chosen patches. This character can neither read nor write, and by origin he is a peasant who left the impoverished village of Bergamo to go to work in prosperous Venice. By nature, Harlequin is an acrobat and a clown, so his clothes should not restrict his movements. The mischievous man carries a stick with him, which he often uses to bludgeon other characters.

Despite his penchant for fraud, Harlequin cannot be considered a scoundrel - a person just needs to live somehow. He is not particularly smart and is quite gluttonous (his love for food is sometimes stronger than his passion for Columbine, and his stupidity prevents the fulfillment of Pantalone’s amorous plans). Harlequin's mask was black, with ominous features (according to one version, the word “Harlequin” itself comes from the name of one of the demons of Dante’s “Hell” - Alicino). On his head was a white felt hat, sometimes with fox or rabbit fur.
Other names: Bagattino, Trufaldino, Tabarrino, Tortellino, Gradelino, Polpettino, Nespolino, Bertoldino, etc.

Columbina - servant of the Lover (Inamorata). She helps her mistress in matters of the heart, deftly manipulating the other characters, who are often not indifferent to her. Columbine is distinguished by coquetry, feminine insight, charm and dubious virtue. She is dressed, like her constant boyfriend Harlequin, in stylized colored patches, as befits a poor girl from the provinces. Columbine's head is decorated with a white hat, matching the color of her apron. She doesn’t have a mask, but her face is heavily made up, her eyes are especially brightly lined.
Other names: Harlequin, Corallina, Ricciolina, Camilla, Lisette.

PEDROLINO or PIERINO (Pedrolino, Pierino) - one of the servant characters. Pedrolino is dressed in a loose white tunic with huge buttons and too long sleeves, a round ribbed collar on his neck, and a cap hat with a narrow round crown on his head. Sometimes the clothes had large pockets filled with souvenirs romantic in nature. His face is always heavily whitened and painted, so there is no need to wear a mask. Despite the fact that Pedrolino belongs to the Zanni tribe, his character is radically different from that of Harlequin or Brighella. He is sentimental, amorous (although he suffers mainly from soubrette), trusting and devoted to his owner. The poor guy usually suffers from unrequited love for Columbine and from the ridicule of the other comedians, whose mental organization is not so subtle.
The role of Pierino in the troupe was often played by youngest son, because this hero had to look young and fresh.

BRIGELLA - another zanni, partner of Harlequin. In a number of cases, Brighella is a self-made man who started without a penny, but gradually accumulated money and secured a fairly comfortable existence for himself. He is often depicted as a tavern owner. Brighella is a big lover of money and ladies' man. It was these two emotions - primitive lust and greed - that froze on his green half mask. In some productions, he appears as a servant, more cruel in character than his younger brother Harlequin. Brighella knows how to please her master, but at the same time she is quite capable of deceiving him, not without benefit for herself. He is cunning, cunning and can, depending on circumstances, be anyone - a soldier, a sailor and even a thief.

His costume is a white camisole and trousers of the same color, decorated with transverse green stripes. He often carries a guitar with him, as he is inclined to play music.

Brighella's mask, although it was one of the most beloved by ordinary spectators, as a rule, was in the background of intrigue; the lack of active action was compensated by a large number of insert tricks and musical interludes. Images close to Brighella are present in the comedies of Lope de Vega and Shakespeare; these are also Scapin, Mascarille and Sganarelle by Moliere and Figaro by Beaumarchais.

LOVERS (Inamorati) - the constant heroes of the commedia del arte, gentlemen Columbine, Harlequin and other zanni. The lovers look detached from life, pompous characters. If they move, it’s like a ballet, with their toes pointed out unnaturally. They gesticulate a lot and often look in the mirror. The main features of Lovers are vanity, painful attention to own appearance, nervousness, absorption in one's feelings and complete inadequacy, which the zanni actively take advantage of. Even their names sound stilted (men were usually called Silvio, Fabrizio, Aurelio, Orazio, Ottavio, Lelio, Leandro or Florindo, and women were called Isabella, Flaminia, Vittoria, Silvia, Lavinia or Ortensia).
Inamorati always dressed according to latest fashion, exaggeratedly carefully and elegantly. The masks were replaced by a thick layer of makeup, thanks to which the roles of Isabella and Lelio were accessible to far from young actors. In addition, wigs, flies and all kinds of jewelry were an indispensable accessory to their toilet. Young men often dressed up in beautiful military uniforms. During the course of the action, the lovers' costumes could change several times.

Despite the fact that it is around the love of the young that the intrigue of the comedy is built, the lovers always remain in the shadow of the zanni masks, and their love is always perceived with a certain amount of irony.

ISABELLA (also, Lucinda, Vittoria, etc.), young lover; often the heroine was named after the actress who played this role

PULCINELLA (Pulcinella) - the Italian analogue of the Russian Parsley, the English Mr. Punch and the French Polichinelle. A typical representative of the Neapolitan proletariat with all its characteristic features. It is interesting that Pulcinella is an ambiguous character; in the play he could be a stupid person, a cunning person, a servant, a master, a coward, and a bully. This character's name translates to "chicken" in Italian and is apparently related to his mask, the most noticeable element of which is a large beak-like nose. Pulcinella's costume consists of a long, baggy white blouse tied at the waist with a leather strap, loose shapeless pants and an unusual oblong hat. He was often depicted as a hunchback. At first, the hump was barely noticeable, then it began to quickly increase in size, and the stomach grew at the same time. Pulcinella's bending symbolizes his fear of beatings (and in the comedy everyone who stood higher on the social ladder beat him, that is, very many).

PANTALONE - one of the most famous Venetian masks. Pantalone is an elderly rich merchant who is constantly chasing after some female character (always to no avail). This image embodied the growing class of the Venetian bourgeoisie. A characteristic feature of Pantalone's costume is a huge codpiece, symbolizing his imaginary masculine strength. Usually the old man was dressed in a dark red camisole and tight trousers of the same color, a black cloak with short sleeves and a small black cap, like a fez. He had a dagger or purse hanging from his belt, and his shoes were yellow Turkish shoes with sharp, curved toes. The dark brown mask had a prominent hooked nose, shaggy gray eyebrows and the same mustache (sometimes also glasses). Pantalone's beard stuck out upward, sometimes almost touching the tip of his nose, which gave the old man's profile a particularly comical look. Often in the story, Pantalone wanted to marry the girl his son was in love with, and flirted with Columbina, the maid of his daughter Isabella.

CAPTAIN (Il Capitano) - one of ancient characters commedia dell'arte. The captain in a comedy is never a native resident of the city where the action takes place, but always comes from somewhere far away. A type of arrogant and unprincipled warrior - a braggart and adventurer. Depending on the political situation, he could look like a Spaniard or a Turk, although this image was originally Italian. Accordingly, his character also changed - in different periods The captain could be a parody of various national traits. His main features are aggressiveness, unrestrained lies about his imaginary exploits, lack of conscience, the desire to get rich and the desire to appear dandy and handsome. All this was reflected in his costume, which could be different, but was always distinguished by its absurd pretentiousness and brightness. His clothes, in fact, have always been a parody of the military profession: his hat was decorated with feathers of loud colors, his feet were buried in high boots with large garters, his camisole was made of fabric with contrasting diagonal stripes, and a huge sword hung from his belt. The Captain's mask could be flesh-colored or dark in color, with a long militant nose and a menacingly sticking out stiff mustache. Its purpose was to indicate the contrast between the true (cowardly and deceitful) nature of the character and who he claims to be.

DOCTOR (Il Dottore) - a mask similar in character to Pantalone, an elderly character, usually the father of one of the Lovers (Inamorati). External features Doctors were characterized by obesity (sometimes this hero is truly huge), clumsiness on stage and the important manners of a scientist. He is a parody of graduates of the University of Bologna, so he constantly utters seemingly meaningful, but in fact absurd latin phrases. Has a penchant for gluttony and pornographic jokes, usually offensive to the female sex. He is not rich. The Doctor's costume is a black university robe to the toes, black shoes, stockings and breeches and a black academic cap. Dark mask with gray scraggly eyebrows, as a rule, she covered only her forehead and nose. The actor's cheeks remained open - they were brightly colored to show the character's love for alcohol.
In the story, the Doctor often acted as a friend (or rival) of Pantalone and Pedrolino's master.

Jester (Jester, Jolly) -presented in commedia dell'arte, this is a classic mask. The Jester first appeared in Italian theater, then became popular throughout Europe. The costume of this character is variegated and multi-colored. On the head there is a cap with three “ears”, to each of which bells are tied.

SCARAMUCCHIO (Scaramuccia) - is an adventurer and warrior. In later comedies he often coincided with the image of the Captain. Scaramuccio is usually a servant to one of the older characters. Most often dressed in all black and wearing a black velvet mask.

TARTAGLIA (Italian: Tartaglia, stutterer) - mask character of the Italian Commedia dell'Arte. Represents the southern (or Neapolitan) quartet of masks, along with Coviello, Scaramucci and Pulcinella. This mask did not catch on in France.
The Tartaglia mask appeared in Naples ca. 1610. One of the first interpreters of it were the actors Ottavio Ferrarese and Beltrani da Verona.
Origin: Spaniard, poor speaker Italian.
Occupation: civil servant public service: he can be a judge, policeman, pharmacist, notary, tax collector, etc.
Costume: stylized official suit, uniform hat on bald head; there are huge glasses on his nose.
Behavior: He is generally an old man with a fat belly; always a stutterer, his signature trick is the fight against stuttering, as a result of which a serious monologue, for example, in court, turns into a comic stream of obscenities.
The mask reached its greatest popularity in the second half of the 17th century. In the 18th century in fiabs Carlo Gozzi this role was played by actors Agostino Fiorilli and Antonio Sacchi, but in Gozzi this mask no longer has such limited scope; in his fiabas this mask can be worn, for example, by a minister (fiaba “The Raven”) and a royal son (“The Love for Three Oranges”) .

COVIELLO (Italian Coviello, French Covielle) - a mask character of the Italian Commedia dell'Arte, the first zanni, the southern version of Brighella. Represents the southern (or Neapolitan) quartet of masks, along with Tartaglia, Scaramuccia and Pulcinella.
The name of the mask comes from Iacoviello, a Neapolitan tribute to the name Giacomino, Iacoviello Giacometto - that was the name of one of the creators of this mask.
Origin: former peasant, native of Cava or Acerra (ancient cities near Naples), speaking a vibrant Neapolitan dialect. Occupation: servant.
Costume: Wears a tight-fitting suit, but may sometimes be dressed in simple pantaloons and a vest; often with a sword and a beating stick in his belt; wears a hat with feathers.
Mask: red, with a long, beak-like nose; often wears glasses. Behavior: always acts with cunning, pressure, clever invention, intelligence; grimaces a lot, dances and plays the mandolin or guitar).
The mask was formed by the end of the 16th century. and was typical of Southern Italy. An attempt to move it to the north was unsuccessful, because... lost its recognition and southern temperament; Having retained only its external form, the mask became shameless and obscene. However, it received an unexpected development in France, where Moliere saw this mask and used it in his comedy “The Bourgeois in the Nobility”

The lack of dramaturgy close to the people forced the actors to overwork literary subjects in the script and during the course of the action, compose the text of your roles yourself, while maintaining the main conflict of the Renaissance comedy - the struggle between the old way of life and new young forces. But Love triumphed over everything - in the name of the joys of love, the most cunning intrigues, the most daring practical jokes, substitutions and disguises were built.

Each character speaks his own dialect: Pantalone - Venetian; Doctor - in Bolognese (the first law university was built in Bologna); Captain - in Neopolitan; Servants - in Bergamo; Lovers - in Tuscan: literary language Italy.
The mask in the Commedia Dell'Arte had a double meaning: firstly, it was a stage accessory, and secondly, the mask expressed a certain social type, with once and for all established psychological traits, an unchanging appearance and a corresponding dialect. Having once chosen such a mask, the actor did not part with it throughout his entire career. stage life.

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2 slide– COMEDY DEL ARTE (commedia dell"arte); another name is comedy of masks, – improvisational street theater Italian Renaissance, which arose in the mid-16th century. and, in fact, formed the first professional theater in history.
Commedia dell'arte emerged from street festivals and carnivals. Her characters are certain social images in which not individual, but typical traits are cultivated. There were no plays as such in the commedia dell'arte; only a plot scheme, a script, was developed, which during the course of the performance was filled with live replicas that varied depending on the composition of the audience. It was this improvisational method of work that led comedians to professionalism - and, first of all, to the development of an ensemble and increased attention to their partner. In fact, if the actor does not carefully follow the improvisational cues and the line of behavior of the partner, he will not be able to fit into the flexibly changing context of the performance. These performances were the favorite entertainment of the mass, democratic audience. Commedia dell'arte incorporated the experience of farcical theater, but common characters were also parodied here. scientific comedy" A certain mask was assigned to a specific actor once and for all, but the role - despite the rigid typical framework - varied endlessly and developed during each performance.

3 slide– The very name “commedia dell’arte” contains a contrast to the Renaissance “scientific” theater, which, as we have already said, was amateur. La commedia - in Italian, not only “comedy” in our sense, but also theater in general, a spectacle; arte is an art, but also a craft, a profession. In other words, we are talking about a spectacle performed by professionals
The names of Harlequin, Pierrot or Columbine are known to everyone, but few people know that these heroes of the folk theater have their prototypes in the characters of the commedia dell'arte. An idea of ​​commedia dell'arte scripts is given by the first collection that has come down to us (1611), compiled by Flamineo Scala, the leader of the most famous troupe "Gelosi". Following it, several more collections were published. Unfortunately, we have almost no earliest short scripts that could fit on a piece of paper. They reached a later literary adaptation. Moreover, by the end of the 17th century. they began to approach literary drama. The scripts were very different. 99 percent were comedies, but there were also tragedies and pastorals. For example, in the tragedy of Nero, along with Seneca and Agrippina, Brighella and other masks acted. (By the way, it was the Gelosi troupe that first performed Tasso’s pastoral “Aminta” at the summer residence of the Dukes of Este, on the islet Belvedere in the middle of the Po River. The role of Sylvia was played best actress troupe - the incomparable Isabella Andreini.)

4 slide– Semi-professional troupes began to appear in Italy (especially in Venice) already at the beginning of the 16th century. Mainly artisans took part in them. The Venetian patricians willingly invited them to their home celebrations, where they performed the comedies of Plautus and Ternetius, eclogues, farces and momarias - musical pantomimes in masks. The majority of the members of these commonwealths upon completion of " theater season"returned to their original professions: carpentry, carpentry, and shoemaking. However, the most talented of them made acting their main profession.

5 slide– A special role in the development of semi-professional theater was played by Angelo Beolco from Padua (1502-1542), the author of comedies and farces from peasant life, into which he interspersed motifs from the comedies of Plautus. Beolko received a good education, was well acquainted with classical drama, but, unlike the authors of academic drama, who composed plays in the quiet of their offices, he youth began performing on stage. Beolko gathered around himself a troupe of amateurs. The activities of this troupe were marked by two important features that allow us to call Beolko and his comrades the direct predecessors of the commedia dell'arte. Firstly, unlike the pastoral peasants, who spoke in refined language, the peasants in Beolko's farces and comedies spoke the Paduan dialect. (The use of dialects, which, due to the fragmentation of Italy, acquired particular stability, would later become a characteristic feature of the commedia dell'arte and one of the main sources of comedy.) Secondly, the actors from Beolko's troupe performed with constant stage names and in constant costumes. Beolko himself chose the role of the broken country boy Ruzante.

6 slide– Beolko was the direct predecessor of the commedia dell’arte, but its real birth occurred about 20 years after his death. In 1560, a performance of commedia dell'arte was documented in Florence, in 1566 - in Manua, and in 1568 in Munich, on the occasion of the wedding of the Crown Prince, an improvised comedy with masks was performed by Italians living in Bavaria. The Munich performance was described by a humanist writer. There is evidence that the audience was dying of laughter.

7 slide– Around the same time, the most famous commedia dell’arte troupe in Europe, “Gelosi” (“The Zealous”), arose. This troupe, consisting of 12-15 people, assembled a brilliant galaxy of actors. Its true adornment was the famous European actress and poetess, the legendary beauty Isabella Andreini. The King of France himself Henry III, captivated by the performance of the troupe, invited the actors to Paris. It is interesting to trace how not only the status, but primarily the self-awareness of the actors changes during these years. In 1634, a book by one of the most educated actors of the commedia dell'arte, Nicolo Barbieri, "A Request addressed to those who speak in writing or orally about actors, neglecting their merits in artistic matters," was published. In it, Barbieri, trying to get rid of the actor's inferiority complex, writes: "The goal of the actor is to bring benefit by amusing."

8 slide– Italian artists have repeatedly emphasized their special position among their brothers. Comparing the Italian and French artists, Isabella Andreini wrote that the Frenchman is made of the same material “from which parrots are made, who can only say what they are forced to repeat by heart. How much higher than them is the Italian... who, in contrast to the Frenchman, can be compared to a nightingale, composing their trills in a momentary whim of the mood." The Italian actor was also a synthetic actor, that is, he knew how not only to improvise, but also to sing, dance and even perform acrobatic stunts. The fact is that the performance of the commedia dell'arte was a multi-part action. The main plot was preceded by a prologue in which two actors with a trumpet and a drum invited the audience, advertising the troupe. Then an actor appeared, outlining the essence of the performance in verse. Then all the actors poured out and “shari-vari” began, during which the actors demonstrated their skills in every way: “This is what we can do, and we can do everything.” After this, the actor and actress sang and danced. And only then did they begin to play out the plot.

Slide 9– The comic peak of the commedia dell’arte was lactation, buffoonery tricks that had nothing to do with the action and were played by zanni servants. After the completion of the plot, farewell to the public began, accompanied by dancing and songs. One of the actors wrote then that the dead are happy, lying underground, where grief and death reign, “but we do not have the strength to grieve our sorrows, let’s laugh at them.” The essence of the commedia dell'arte was "l"anima allegre" - "joyful soul".
By the time of the activity of "Gelosi", the gaming canon of commedia dell'arte had obviously already taken shape. Formed in general outline and the most popular masks.

10 slide– Commedia dell’arte had two main centers: Venice and Naples. In accordance with this, two main quartets of masks emerged: northern, or Venetian (Pantalone, Harlequin, Brighella, Doctor) and southern, or Neapolitan (Tartaglia, Scaramuccio, Coviello, Pulcinello). Both quartets often included the Captain, Fantesca (or Servette), and the Lovers. In general, the number of masks that appeared on the stage of commedia dell'arte over the two centuries of its existence exceeds a hundred. But they were all modifications of the basic masks listed above.
Commedia dell'arte masks can be divided not only into northern and southern quartets, but also into functional groups. The first is satirical masks (old people). The second is comedy (servants). The third is lovers.

11 slide– Mimes, acrobats, clowns and dancers took part in the IMPROVIZATIONS OF THE COMEDIA DEL ARTE, introducing cheerful confusion into the plot.

Artist

fr. – Acteur; former – Comedian; former – Actor

An actor is a professional performer of roles in drama, opera, ballet, pop, circus performances and in the cinema. The actors perform their roles:
– following the text of the play; or
– following a script that requires improvisation.

12 slide– Harlequin from Italian.Arlecchino
Harlequin is a character from the Italian commedia dell'arte.
In the 16th century, Harlequin occupied the position of Zanni the simpleton in the troupe, confusing the intrigue of the comedy with his stupid antics. The simpleton harlequin wore a suit covered with multi-colored patches, symbolizing the poverty and stinginess of its owner.
In the 17th century, Harlequin occupied the position of Zanni the rogue in the troupe, actively participating in the development of the action. The patches on the rogue Harlequin's costume took the form of regular multi-colored triangles, closely adjacent to each other.
In the 18th century, a pathetic element was introduced into the interpretation of the role of Harlequin, making the audience laugh and cry at the same time.

Slide 13– Brighella

Italian Brighella from Italian. Briga - trouble
Brighella is a character from the Italian Commedia dell'Arte;
– was the mainspring of intrigue;
– wore a suit of a long white blouse with yellow or green stripes, long white trousers, simple shoes and a hat.

Slide 14– Zanni from Italian. – Zanni

Zanni is a character in the Italian commedia dell'arte, which has two varieties:

1 – rogue, rogue, trickster, who bore the names Zanni, Brighella, Pedrolino, Scapino, etc.;
2 - a simpleton, a bumpkin, who bore the names Harlequin, Burattino, Cola, Flauttino, Pulcinella.

– took an active part in the development of plot intrigue;
– spoke local dialects;
– used black half masks;
wore peasant clothes: a long linen blouse, long wide pants, wide-brimmed hat with a feather, wooden sword in his belt, short cloak.

15 slide– Columbina is a traditional character in Italian folk comedy - a servant who participates in the development of intrigue, in different scenarios also called Fantesca, Servette, Franceschina, Smeraldina, Mirandolina, etc. Origin: a peasant girl who feels insecure and unusual in the city.
Behavior. Initially, she is a village fool, similar in character to a Harlequin mask; Her honesty and decency are emphasized, as well as her always good mood.

16 slide – Pantalone(Italian Pantalone, fr. Pantalon) is a mask character in Italian comedy, wearing long red trousers (knickers). Represents the Nordic (or Venetian) quartet of masks, along with Harlequin, Brighella and the Doctor. Prototypes of the Pantalone mask can be found in ancient comedy ( πάπος in Greece, Papus and Casnar in Rome), as well as in the Italian Renaissance novella.
Behavior. Pantalone, as a rule, is the center of intrigue, and, as a rule, always remains the victim of someone, most often Harlequin, his servant. He is sick and frail: he constantly limps, groans, coughs, sneezes, blows his nose, and has a stomach ache. This is a lustful, immoral man, he passionately seeks the love of young beauties, but always fails. His gait is that of an old man; he walks with a slightly crooked back. He speaks in a harsh, shrill, “old man” voice.

Slide 17– Italian commedia dell'arte produced a whole constellation of brilliant actors (many of whom were the first theorists of stage art): Isabella and Francesco Andreini, Giulio Pasquati, Bernardino Lombardi, Marc Antonio Romagnesi, Nicolo Barbieri, Tristano Martinelli, Teresa, Catarina and Domenico Biancolelli, Tiberio Fiorilli and others. From the end of the 16th century. The troupes began to tour widely throughout Europe - in France, Spain, England. Her popularity reached its peak.
However, by the middle of the 17th century. Commedia dell'arte began to decline. The tightening of the church's policy towards theater in general, and commedia dell'arte in particular, led to comedians settling in other countries for permanent residence. So, let's say, in Paris, on the basis of an Italian troupe, the Comedy Italian theater was opened.

Commedia dell'arte had a huge impact on the development of the world theatrical arts. Its echoes are clearly visible in the dramaturgy of Moliere, Goldoni, Gozzi; in the 20th century – in the works of directors V. Meyerhold, A. Tairov, E. Vakhtangov and others.

traditional character from Italian comedies

Originally a simpleton and a fool in the Italian commedia dell'arte

Opal with multicolor mosaic opalescence

A breed of tall hounds found only in Russia, which disappeared in the mid-19th century.

An ancient breed of tall hounds of white or light gray color with frequent small black specks and bluish-white eyes.

Traditional Italian character. and French folk comedies.

In French folk theater 18 - early XIX V. Pierrot's lucky rival

Italian Comedy of Masks character

A strip of fabric fixedly fixed at the top and framing the portal arch of the stage

Synonym for Italian jester, clown

Servant of Melpomene from the fairy tale about the golden key

Poem by A. Blok

Cloths framing the portal arch of the stage

Pierrot's lucky rival

Later, there is a cunning servant (one of the zanni) in a suit of multi-colored triangles

Black opal with multi-colored play of light.

A strip of fabric (cloth) framing the portal arch of the stage and fixedly fixed in the upper part

Jester, clown; clown

Russian poem poet XIX century A. Maykov

Italian jester, clown

Translate “King of the Alder” into Old Germanic

Painting by the French artist A. Watteau “Gallant...”

Painting by French artist Paul Cezanne

Painting by the French artist Edgar Degas “... and Columbine”

Comedian from the Karabas Barabas Theater

A character in the comedy of the Italian playwright C. Goldoni “The Cunning Widow”

Breed hunting dogs, marbled Great Dane

Rival Pierrot

Clown from Comedy of Masks

Jester from Commedia dell'Arte

. "I'm a joke, I..."

Traditional character from old Italian comedies

Italian version of our Parsley

Jester, clown (trans.)

Hero of the "Comedy of Masks"

Cheerful rival Pierrot

Pierrot's rival in the fairy tale

His name means "king of alder"

Malvina's suitor

Cheerful friend Pinocchio

Hero from Comedy of Masks

Schemer among dolls

Jester from Italy

Pierrot the offender

Clown, jester

Traditional character of the Italian comedy of masks, rival of Pierrot

Gemstone, opal with mosaic play of colors

. (obsolete) hound dog with motley fur

Poem by A. Maykov

. "I'm a joke, I..."

A breed of tall hounds found only in Russia, which disappeared in the mid-19th century

An ancient breed of tall hounds of white or light gray color with frequent small black speckles and bluish-white eyes

Traditional Italian character. and French folk comedies

Black opal with multi-colored play of light

Hero of the "Comedy of Masks"

His name means "king of alder"

Painting by the French artist A. Watteau "Gallant..."

Painting by the French artist Edgar Degas "... and Columbine"

M. is one of the funny faces of silent comedy (pantomime): a joker and a prankster, in tight, colorful clothes made from scraps, sometimes with bells; motley jester, striped gaer, lomaka, amusing. A breed of sniffer dogs wearing a white shirt and wearing black or white foals. Odd-eyed, animal, esp. horse with different colored eyes. There was once a variegated fashionable harlequin fabric. Milky or noble opal, girazal, a valuable stone that plays with all colors. She dressed up like a harlequin, colorfully. Harlequin's pranks, mistaking him for famous person comedies; harlequin, clownish, gay tomfoolery. Harlequinism cf. harlequin state, buffoonery, gayness. Harlequinade w. a jester's performance in which the motley jester is the main performer. Harlequinism, harlequinism, harlequinism, being a jester, gayer, breaker, vulgar amusement

Translate "King of the Alder" into Old Germanic.

A character in the comedy "The Cunning Widow" by Italian playwright C. Goldoni

Commedia dell'arte, or comedy of masks, is an improvisational street theater of the Italian Renaissance that arose in the mid-16th century and, in fact, formed the first professional theater in history.

Commedia dell'arte emerged from street festivals and carnivals. Her characters are certain social images in which not individual, but typical traits are cultivated. There were no plays as such in the commedia dell'arte; only a plot scheme, a script, was developed, which during the course of the performance was filled with live replicas that varied depending on the composition of the audience. It was this improvisational method of work that led comedians to professionalism - and, first of all, to the development of an ensemble and increased attention to their partner.

In fact, if the actor does not carefully follow the improvisational cues and the line of behavior of the partner, he will not be able to fit into the flexibly changing context of the performance. These performances were the favorite entertainment of the mass, democratic audience. The commedia dell'arte incorporated the experience of farcical theater, but the common characters of the "learned comedy" were also parodied here.

A certain mask was assigned to a specific actor once and for all, but the role - despite the rigid typical framework - varied endlessly and developed during each performance. The number of masks that appeared in commedia dell'arte is extremely large - more than a hundred. However, most of them were rather variations of several basic masks.

Commedia dell'arte had two main centers - Venice and Naples. In accordance with this, two groups of masks emerged. The Northern (Venetian) consisted of Doctor, Pantalone, Brighella and Harlequin; southern (Neapolitan) - Coviello, Pulcinella, Scaramuccia and Tartaglia. The style of performance of the Venetian and Neapolitan commedia dell'arte was also somewhat different: Venetian masks worked primarily in the genre of satire; the Neapolitans used more tricks, rude buffoon jokes.

According to functional groups, masks can be divided into the following categories: old people (satirical images of Pantalone, Doctor, Tartaglia, Captain); servants (comedic zanni characters: Brighella, Harlequin, Coviello, Pulcinella and a fantasy maid - Smeraldina, Francesca, Columbina); lovers (images closest to the heroes of literary drama, played only by young actors).

We invite you to take a look at the colorful gallery of characters from the Italian Commedia dell'Arte: