Commedia dell'arte facts for kids
Commedia dell'arte (pronounced kom-AY-dee-ə del-AR-tay) was an early type of professional theatre. It started in Italy and was very popular across Europe from the 1500s to the 1700s. People used to call it "Italian comedy."
Commedia dell'arte was known for its masked characters, called "types." It also helped actresses become famous, like Isabella Andreini. The plays were often made up on the spot, based on simple story outlines. These performances were a mix of planned scenes and improvised parts. For example, characters' entrances and exits were planned, but much of the dialogue was not.
A special part of Commedia dell'arte was the lazzo. This was a funny joke or a clever bit that actors often knew well. Another key feature was pantomime, which is acting without words. The character Arlecchino, now known as Harlequin, often used pantomime.
The characters in Commedia dell'arte usually showed common social types. These were like stock characters you might see in stories. They included foolish old men, tricky servants, or army officers who pretended to be brave. These characters were exaggerated versions of real people. Examples are Il Dottore, a doctor who thought he knew everything, or Pantalone, a greedy old man. There were also the innamorati, who were young lovers. Many acting groups, called troupes, performed Commedia dell'arte. Famous ones included I Gelosi and Confidenti Troupe.
Commedia dell'arte was often performed outdoors. You might see it on platforms or in busy public places like a piazza (town square). This type of theatre began in Italy but traveled all over Europe, even reaching places like Moscow. The idea for Commedia dell'arte might have come from the Carnival in Venice. An actor named Andrea Calmo created a character called Il Magnifico around 1570. This character was an early version of Pantalone, the "old man."
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History of Commedia dell'arte
Some historians believe Commedia dell'arte might have links to ancient Roman plays. For example, the Atellan Farces from early Roman times had simple characters who wore masks. These plays also had improvised plots. Some think that characters like Pappus and Maccus from these old plays are early versions of Commedia characters like Pantalone and Pulcinella.
The first recorded Commedia dell'arte shows happened in Rome around 1551. These plays were performed outside by professional actors. They wore costumes and masks. This was different from commedia erudita, which were written plays performed indoors by actors who were not professionals and did not wear masks.
By the mid-1500s, specific groups of Commedia performers started to form. In 1568, the Gelosi became a well-known company. The Gelosi troupe traveled in Northern Italy and France. The King of France even supported them. They usually had "the usual ten" actors: two old men (vecchi), four lovers (innamorati), two servants (Zanni), a captain, and a serving maid.
A very important change in Commedia dell'arte was that women played female roles. This started as early as the 1560s. This made them the first known professional actresses in Europe since ancient times. Lucrezia Di Siena is known as the first Italian actress by name.
Over time, Commedia dell'arte became more structured. By the 1600s, the plays moved from being purely improvised street shows to having more specific acts and characters. In France, during the time of Louis XIV, the Comédie-Italienne group created new masks and characters. French playwrights, like Molière, learned from these plots and characters. Molière even performed on the same stage as the Comédie-Italienne.
Commedia dell'arte also moved to fair theatres in the early 1700s. It became more focused on pantomime. When Italian comedians were sent out of France in 1697, the style changed. Commedia dell'arte was very popular in France until 1697. It was in France that Commedia developed its well-known stories.
This type of theatre changed in different European countries. For example, pantomime in the 1700s got its start from Commedia characters, especially Harlequin. The Punch and Judy puppet shows, still popular today in England, came from the Pulcinella mask from Naples. In Italy, Commedia masks and plots were used in opera buffa (comic opera).
During the time when Napoleon ruled Italy, he banned Commedia dell'arte in 1797. He wanted to stop the improvised style of Carnival, which people used to criticize his rule. Because of this, Commedia dell'arte was not performed in Venice again until 1979.
Acting Companies
Compagnie, or companies, were groups of actors. Each actor had a special job or role. Actors had many skills. Many joined troupes without any theatre training. Some were doctors, priests, or soldiers. They were drawn to the excitement of theatre in Italy.
Actors would sometimes switch between troupes. Companies often worked together if they had the same supporter or were performing in the same area. Members would also leave to start their own troupes. This happened with the Zan Ganassa and Gelosi troupes. These companies traveled all over Europe from early on.
Magistrates and church leaders were not always happy with the traveling companies. This was especially true during times of plague. The word vagabondi (vagabonds) was used for the actors. This word is still a negative term today. It referred to how the troupes moved from place to place. This was often because the Church, local governments, or other theatre groups forced them to move.
A troupe usually had ten performers. They included both masked and unmasked characters, and women were part of the groups. The companies would also hire carpenters, prop masters, servants, nurses, and prompters. Everyone traveled with the company. They used large carts to carry their supplies. This allowed them to move easily without worrying about finding new things in each town.
The troupes moved around to find new audiences who would pay to see them. They often performed at public fairs and celebrations. They preferred wealthier towns where they could earn more money. Sometimes, important officials would invite companies to perform in their land for a certain time. Companies usually did not stay in one place for too long. They worried their act would become "stale." They would move on while they were still popular. This made sure towns were sad to see them go. It also made it more likely that people would invite them back or pay to see them again.
Known Commedia Troupes
- Compagnia dei Fedeli: active 1601–1652
- Compagnia degli Accesi: active 1590–1628
- Compagnia degli Uniti: active 1578–1640
- Compagnia dei Confidenti: active 1574–1599; reformed 1611–1639
- I Dedosi: active 1581–1599
- I Gelosi: active 1568–1604
- Signora Violante and Her Troupe of Dancers: active 1729–1732
- Zan Ganassa: active 1568–1610
Commedia Characters
Actors came from different backgrounds. They performed wherever they could. In Commedia dell'arte, each character showed a certain mood or feeling. These could be mockery, sadness, happiness, or confusion.
According to an 18th-century theatre critic, Commedia dell'arte characters were meant to represent specific Italian regions or towns. Each character spoke with the dialect of their region. Characters were often passed down through families. Actors who played lovers on stage were often married in real life. This was thought to make performances more natural. It also made the troupe feel more like a family. Each character also had a unique costume and mask.
Commedia dell'arte has four main groups of characters:
- Zanni: These were the servants or clowns. Examples include Arlecchino (also known as Harlequin), Brighella, Scapino, Pulcinella, and Pedrolino.
- Vecchi: These were the wealthy old men or masters. Examples include Pantalone and Il Dottore.
- Innamorati: These were the young, upper-class lovers. They often had names like Flavio and Isabella.
- Il Capitano: These were self-important captains who bragged a lot. Sometimes this role was played by a woman, called La Signora.
Masked characters are often called "masks" (maschere in Italian). The mask and the character are seen as one. Over time, maschere came to mean all Commedia dell'arte characters, whether they wore a mask or not. Female characters, including female servants, usually did not wear masks. The female lovers (amorose) never wore masks.
Some well-known Commedia dell'arte characters are Pierrot, Pierrette, Pantalone, Gianduja, Il Dottore, Brighella, Il Capitano, Colombina, the innamorati, Pedrolino, Pulcinella, Arlecchino, Sandrone, Scaramuccia (also known as Scaramouche), La Signora, and Tartaglia.
| Character(s) | Masks | Status | Costume |
|---|---|---|---|
| Harlequin | Yes | Servant (sometimes to two masters) | Colorful tight-fitting jacket and trousers |
| Pulcinella | Yes | Servant or master | Baggy, white outfit |
| Il Dottore | Yes | Head of the household | Black scholarly robe |
| Il Capitano | Yes | Lonely wanderer | Military uniform |
| Innamorati | No | High-class hopeless lovers | Nicely dressed on par with the time |
| Pantalone | Yes | Older wealthy man | Dark capes and red trousers |
| Scaramouche | Yes, later removed | Braggart with villainous traits | Black Spanish dress |
| Sandrone | Yes | Clever peasant | Corduroy jacket and pants, red and white cross-striped socks |
| Tartaglia | Yes | Stuttering statesman | Large felt hat and enormous cloak |
| Colombina | Yes | Perky maid / servant | Can be colourful on par with Harlequin or black and white |
| Pierrot | Yes | Servant (Sad clown) | White, flowy costume with large buttons |
In the 1600s, when Commedia became popular in France, characters like Pierrot, Columbina, and Harlequin were changed. They became more like Parisian characters.
Costumes and Masks
Each Commedia dell'arte character had a special costume. This helped the audience quickly understand who the character was.
Arlecchino first wore a tight, long jacket and matching trousers. These had many odd-shaped patches, usually green, yellow, red, and brown. He often had a bat and a wallet hanging from his belt. His soft cap sometimes had a rabbit or fox tail. In the 1600s, the patches became blue, red, and green triangles in a pattern. By the 1700s, Arlecchino got his famous diamond-shaped pattern. His jacket became shorter, and his hat changed to a two-pointed hat.
Il Dottore's costume made fun of the academic clothes worn by scholars in Bologna. He was almost always dressed completely in black. He wore a long black gown or jacket that went below his knees. Over this, he had a long black robe that reached his heels. He also wore black shoes, stockings, and breeches. In 1653, his costume was changed to include a huge black hat and a flat ruff around his neck.
Il Capitano's costume was also a satire, making fun of military uniforms of the time. This costume would change depending on where the Capitano character was from and the time period.
Pantalone had one of the most famous Commedia dell'arte costumes. He usually wore a tight-fitting jacket with matching trousers. He often paired these with a big black coat called a zimarra.
Women, who usually played servants or lovers, wore less stylized costumes than the men. The lovers, innamorati, wore what was considered fashionable at the time. They usually did not wear masks but used a lot of makeup.
Storylines and Themes
The plays often had common storylines about jealousy, love, and old age. Many of these basic plot ideas came from old Roman comedies. However, it is more likely that the actors used popular stories or news from their own time. Not all plays were funny; some were mixed, and a few were even tragedies.
Actors performed written comedies in courts. Music and dance were very important. Many of the innamorati (lovers) were skilled singers. Audiences came to see the performers, and the plot was less important than the acting. Isabella Andreini was one of the most famous innamorate. Tristano Martinelli became famous as the first great Arlecchino.
Performers used well-practiced jokes and physical gags, known as lazzi. They also used clever sayings called concetti. On-the-spot improvised parts, called burle (jokes), often involved a practical joke.
Since the shows were improvised, the dialogue and actions could easily be changed. This allowed them to make fun of local scandals, current events, or regional tastes. They still used old jokes and punchlines. Characters were recognized by their costumes, masks, and props, like a type of stick called a slapstick. These characters included early versions of the modern clown, like Harlequin (Arlecchino) and the Zanni. Harlequin, in particular, was allowed to comment on current events during his performance.
A classic Commedia dell'arte plot is about the innamorati who are in love and want to get married. But an older person (vecchio) or several older people (vecchi) stop them. So, the lovers ask one or more Zanni (funny servants) for help. The story usually ends happily, with the lovers getting married and everyone forgiving each other.
Even though the performances were mostly improvised, they were often based on scenarios. These were outlines that gave a basic plot. The Flaminio Scala scenarios, published in the early 1600s, are the most famous collection. They show how the famous I Gelosi company performed.
Influence on Art and Performance
Commedia dell'arte characters have appeared in many paintings and other artworks for centuries. Flemish painters helped make Commedia dell'arte a popular subject in art.
In the 1700s, Watteau painted Commedia figures mixing with rich people. These paintings were often set in beautiful gardens. Pablo Picasso's 1921 painting Three Musicians shows colorful characters inspired by Commedia. Picasso also designed costumes for Stravinsky's ballet Pulcinella (1920), which featured Commedia characters. You can also find Commedia figures in porcelain statues.
Commedia dell'arte influenced Molière's comedies and later, ballet d'action. This gave new ways for actors and dancers to express themselves. An example of a Commedia dell'arte character in literature is the Pied Piper of Hamelin, who is dressed like Harlequin.
Music and dance were very important in Commedia dell'arte. Most shows had both instrumental and vocal music. Brighella was often shown with a guitar. Many pictures of Commedia show the innamorati singing or characters dancing. It was expected that the innamorati could sing popular songs.
Many playwrights have created characters influenced by Commedia dell'arte. Famous examples include The Tempest by William Shakespeare, Les Fourberies de Scapin by Molière, and The Servant of Two Masters (1743) by Carlo Goldoni.
Commedia characters have also appeared in opera. Mozart's Don Giovanni has comic servants like Leporello and Figaro, who are like Commedia characters. Comic operas by Gaetano Donizetti also use Commedia types. Leoncavallo's opera Pagliacci shows a Commedia dell'arte company where the actors' real lives mirror their stage performances.
The piano piece Carnaval by Robert Schumann was like a masked ball. It combined Commedia dell'arte characters with real people. Parts of the music are named after Commedia characters like Pierrot, Harlequin, Pantalon, and Columbine.
Stock characters and situations also appear in ballet. Igor Stravinsky's Petrushka and Pulcinella directly refer to the Commedia tradition.
Commedia dell'arte is still performed today. In Denmark, it is performed seasonally at the Peacock Stage of Tivoli Gardens in Copenhagen. North of Copenhagen, at Dyrehavsbakken, Pierrot performs daily for children.
The characters created by English comedian Sacha Baron Cohen, like Ali G and Borat, have been linked to Commedia dell'arte. This is because Baron Cohen trained with a French master clown who taught Commedia.
See also
- Costumes in commedia dell'arte
- Theatre of Italy
