Commedia dell'arte

Long ago, actors in Italy started a new show.

They acted in town squares for everyone to see. These actors wore funny masks. The masks helped people know their roles.

Some characters were greedy old men. Others were silly servants. The actors did not use a full script. They made up jokes as they played. This made the shows very fun.

It was a grand way to tell stories.

Commedia dell'arte was a famous type of theater. It began in Italy. It was popular across Europe from the 1500s to the 1700s.

Professional actors traveled to perform. They often acted in town squares called piazzas.

These actors used masks to show their roles. Each mask represented a specific type of person. For example, Pantalone was a greedy old man. Il Dottore was a doctor who knew too much. Arlecchino, or Harlequin, was a character who used pantomime, which is acting without words.

The shows were special because they used improvisation. This means actors made up parts of the play as they went. They used a basic plan called a scenario. This plan told them the main plot points. The actors could then add new jokes or funny bits.

This style helped women become the first professional actresses in Europe. Famous troupes like I Gelosi traveled far to share their art. Their shows left a mark on many other kinds of stories.

Commedia dell'arte was a famous style of professional theatre. It began in Italy and spread across Europe. It was very popular between the 16th and 18th centuries.

This art form was special because it used masked characters. These characters were called "types." Every actor played a specific type of person. These roles were the same in every show. People knew them by their names and costumes. This helped the audience understand the story right away.

Performing commedia dell'arte was a mix of planning and making things up. Actors used a written plan called a scenario. This scenario gave them the main plot points. It also told them when characters should enter or exit.

However, the actors did not follow a strict script for everything. They used improvisation to make up funny jokes on the spot. These jokes were sometimes called "lazzi." A lazzo is a witty or foolish routine.

Some characters even used pantomime. This means they acted using mostly body movements instead of words. The character Arlecchino, or Harlequin, was famous for this style.

This type of theatre has a very long history. Some people think it grew from the Carnival in Venice. In 1570, an actor named Andrea Calmo created a character called Il Magnifico. This character eventually became the greedy old man known as Pantalone.

While it is hard to be certain, some link it to ancient Roman plays. These old plays also used masks and improvised plots. By the mid-1500s, professional troupes began to form in Italy. These groups traveled to different cities to perform for crowds. They often performed outdoors in town squares called piazzas.

Many famous groups, or troupes, traveled throughout Europe. One famous group was called I Gelosi. They were active by 1568 and even traveled to France.

They used the two-faced Roman god Janus as their symbol. This symbol showed that actors play different roles. Commedia dell'arte was also important for women. It allowed women to become professional actresses. Lucrezia Di Siena is one of the first named actresses from 1564. Other famous women like Vincenza Armani were also top performers.

Commedia dell'arte changed many other kinds of art. In France, the famous writer Molière used its characters and plots.

The character Pulcinella from Naples even inspired English puppet shows. These are known as Punch and Judy shows. In Italy, the style influenced many famous operas. Composers like Rossini and Verdi used these types of stories. Even today, we can see the influence of these masked characters in many stories.

Commedia dell'arte was a professional form of theatre that flourished throughout Europe from the 16th to the 18th centuries. It originated in Italy and was known for its highly recognizable characters and improvised performances.

Unlike earlier styles of comedy, commedia dell'arte relied on masked "types." These were standardized archetypical characters that audiences recognized by specific names, costumes, and social functions. This art form was not just about acting; it was a professional system involving traveling companies, specific performance structures, and the rise of the first professional female actresses in Europe.

The mechanism of a commedia dell'arte performance relied on a balance between structure and spontaneity. Actors did not work from a full, word-for-word script. Instead, they used a scenario, which was a written outline of the plot. This scenario dictated key plot points and the specific moments when characters entered or exited the stage.

Within this framework, actors were expected to improvise much of the dialogue and action. A vital part of this was the lazzo, a rehearsed or spontaneous joke or witty routine used to entertain the crowd. Some characters, such as Arlecchino, also utilized pantomime, which is a form of acting using mostly body movements rather than speech.

Characters in commedia dell'arte represented fixed social types, often referred to as stock characters. These roles were exaggerated versions of real people found in society. For example, il Dottore was a know-it-all doctor, while Pantalone was a greedy old man. Other types included devious servants, military officers with false bravado, and lovers. The Zanni were a specific group of servant characters. Troupes often maintained a "usual ten" lineup, which included two Zanni, two lovers, a captain, a serving maid, and other roles to ensure a balanced ensemble.

The history of this theatre is complex, with some scholars looking for ancient roots. Some suggest connections to the Atellan Farces of the Roman middle republic, which used masks and improvised plots. Others link the tradition to medieval jongleurs or moralities.

A likely origin point is the Carnival in Venice. By 1570, the actor Andrea Calmo had created Il Magnifico, a character that eventually evolved into Pantalone. While it is uncertain exactly when masks became a standard requirement, the connection to the masked traditions of Carnival suggests they were central to the form's development.

Professionalism in commedia dell'arte led to significant social changes, particularly for women. By the 1560s, women were playing female roles, making them the first professional actresses in Europe since antiquity.

Records show Lucrezia Di Siena was an actress by 1564. Other women, such as Vincenza Armani and Barbara Flaminia, became well-documented primadonnas. Despite this progress, the rise of actresses faced opposition from the church and critics. Some religious leaders argued that female performers were improper, yet actresses remained a standard part of the Italian stage by the end of the 16th century.

Many famous troupes, or compagnie, traveled across Europe to perform. The Gelosi were a particularly notable company, active by 1568. They adopted the two-faced Roman god Janus as their symbol to represent both the traveling nature of the troupe and the dual identity of the actor.

Other groups included the Confidenti, Desioi, and Fedeli troupes. These performers were true professionals who often came from various backgrounds, such as being soldiers or priests, before joining the theatre. They performed in diverse settings, from outdoor town squares called piazzas to the private halls of royal courts.

Commedia dell'arte left a lasting legacy on global culture. In France, the style influenced the great playwright Molière and the development of the Comédie-Italienne.

The Neapolitan character Pulcinella eventually influenced the English Punch and Judy puppet shows. In Italy, the masks and plots of commedia dell'arte were integrated into opera buffa, influencing composers like Rossini, Verdi, and Puccini. Even the political history of Italy was touched by the form, as citizens used Carnival masks during the Napoleonic occupation to hide their identities while criticizing the regime. This led Napoleon to outlaw the form in 1797 to prevent it from being used as a political platform.