- Arelcchino was the most famous. He was an acrobat and a wit, childlike and amorous. He wore a cat–like mask and motley colored clothes and carried a bat or wooden sword.
- Brighella , Arlecchino's crony, was more roguish and sophisticated, a cowardly villain who would do anything for money.
- Il Capitano (the captain) was a caricature of the professional soldier—bold, swaggering, and cowardly.
- Il Dottore (the doctor) was a caricature of learning—pompous and fraudulent.
- Pantalone was a caricature of the Venetian merchant, rich and retired, mean and miserly, with a young wife or an adventurous daughter.
- Pedrolino was a white–faced, moon–struck dreamer and the forerunner of today's clown.
- Pulcinella , as seen in the English Punch and Judy shows, was a dwarfish humpback with a crooked nose, the cruel bachelor who chased pretty girls.
- Scarramuccia, dressed in black and carrying a pointed sword, was the Robin Hood of his day.
- The handsome Inamorato (the lover) went by many names. He wore no mask and had to be eloquent in order to speak the love declamations.
- The Inamorata was his female counterpart; Isabella Andreini was the most famous. Her servant, usually called Columbina , was the beloved of Harlequin. Witty, bright, and given to intrigue, she developed into such characters as Harlequine and Pierrette.
- La Ruffiana was an old woman, either the mother or a village gossip, who thwarted the lovers.
- Cantarina and Ballerina often took part in the comedy, but for the most part their job was to sing, dance, or play music.
Begins with a misunderstanding
Example: A chair is pulled away while someone’s going to sit on it because they need to stand on it
Miscommunications
Rising actions, everything goes bad one after another.
One person is being concentrated on, so everyone else got ignored
MISCOMMUNICATIONS
Sarcasm
Mockery of another
Someone else’s need is abandoned in favor of one’s own
Complains, Complains, Complains
Mockery!!
Argument
COMMUNITY THEATER AS DEVELOPMENT; THE CULTURALLY TRANSCENDENT COMMEDIA DELL’ARTE
Posted on 16/06/2012 by Erin T under Uncategorized
Community Theater as Development;
The culturally transcendent Commedia dell’arte
Erin T. Altman 05 June 2012
Division of the bourgeoisie and the creation of the middle class plagued the social structures of industrialized Europe. Unification of the masses (das Volk) created a socio-political gap from the bourgeoisie, which was reflected in reactionary movements like worker uprisings, counter-cultural artistic expression and a fluid ideology of equitable development. Establishment of das Volk is important, because it actualizes the subordination of non-bourgeoisie Europe to capitalist development and widening cultural norms. Communities were able to participate in a greater unification of das Volk, leaving also a gap between communities and das Volk, as well as between das Volk and the bourgeoisie. Both gaps are important, as they represent development of the European community towards modernity, and are exemplified though reflective and reactionary pieces of culturally relevant art and science.
Gaps of community development between progressions in modernity have a common element, das Volk. Analysis of das Volk is essential, as it is the grounding force for sociological perceptions and thusly, change. As described by Martin Heidegger, Das Volk represents a unity of men under a common background and ideology.[1] In community development, das Volk plays a paradoxical role, illuminated by Bertolt Brecht in his “Short Organum for the Theater” (1948), acknowledging the ‘entanglement’ of mutual human relations under the auspice of intellectual and technological innovation. Perpetuation of innovation through development also perpetuates the community towards larger-scale unification. This unification can be conceptualized as das Volk, and is self-perpetuating through community reflection, perception and innovation.[2] Brecht situates the necessity of reflection towards development, through paralleling Heidegger’s ideology of community as commonality, and the establishment of commonality through theatrical performance.
“The theatre can let spectators enjoy the particular ethic of their age, which springs from productivity… the critical approach –i.e. our great productive method-… often proves to have powers of understanding, if society knows how to master it, we make it our own.” (25, et al)
Societal relevancy of theater is said, by Brecht, to exemplify the productive method of community development. Through the consideration and analysis of the history ofCommedia dell’arte, the uniquely paradoxical relationship of das Volk to community development is shown as progressive and destructive. Commedia dell’arte represents a humankind-long history of street theater performance[3], and is purposed because of its transcendence through multiple cultures, and existence in modern society. Street theater performance of the Commedia dell’arte is significant for the development of das Volk, because of its reflection of the small communities, and on an even smaller scale, the interaction with its particular audience. The Italian futurist theorist, Filipino Marinetti, in his 1915 work, “The Futurist Synthetic Theater”, best explains such technique of Commedia dell’arte. Illiciting the syncratic nature of improvisational theater with the community, Marinetti calls for the interaction “through unbroken contact.” Such interaction and response to the audience, is a reflection of the community in its current and fluid state, leading to Brecht’s ‘great productive model’ through the critical approach of self.[4]
Commedia dell’arte creates a uniquely critical situation through audience (community) interaction, due to the relatable nature of street theater actors.Commedia dell’arte actors were divided in to common characters that would be found in any community setting[5]. Purpose of commonality in community development is discussed by Heidegger as a fundamental part of an individual’s being-in-the-world, because of the constant existence among others. Commonality underpins the existence of das Volk, and therefore, the exposure to commonality creates community, and the potential for community development. Commedia dell’artetechniques of interaction and relatable experience for the audience are both elements of Marinetti’s syncratic futurism. Marinetti essentializes community-street theater interaction and commonality through the communal sensory experience. Importance of a community’s communal sensory experience of commonalities is futurist, in that it inspires progressive reflection.
Sensory experience of the community is paradoxically destructive, in that it overwhelms the community with anti-realist enlightenment. Renowned anti-social realism theorist, Vsevolod Meyerhold, depicted Commdia dell’arte in his analysis of street theater in, “The Fairground Booth” (1915). Critiquing the “true theater” of Greek dialogue and performance, Meyerhold speculates that the fundamental element of theater is cabotinage; The dramatic movement of actors affected the sensory perception of the audience, without plot discimination discrimination by language. This form of theatrical pantomime uses the syncratic Commedia dell’artestyle, by being universally relatable. Sensory reaction to the syncratic reflection ofCommedia dell’arte deconstructs the audience perception of realism, leading towards progression of new ideology, to fill the gap of misunderstanding.
Commedia dell’arte’s paradoxical relationship with progression and destruction gave rise to community development, which followed the same pattern. Brecht explains this phenomenon of community development in to das Volk through the linear progression of community reflection as art, towards the intellectualization of society, and the intellectualization of society towards the reactionary progression of technology. Technology fathered the unification of relative communities, in to a common economic market[6]. This shift from traditional class system communities, to a distinction of the more wealthy bourgeoisie, was based on production by a subordinated working class (das Volk). Destruction of community, towards the separation of the bourgeoisie and das Volk represents the paradoxical break from community progression. The gap between relative communities and the establishment of das Volk is emphasized in the community development, based on societal reflection and reaction, which is represented by Commedia dell’arte.
Greater unification of communities created a wider spectrum for community reflection, inspiring furthered communication and establishment of new commonalities. In this era of newly developed technology, and thusly the subordination of the once-self reliant communities as working class[7] (das Volk), community reflection and commonality centered on the concept of being das Volk. Self-separation from the bourgeoisie was readily apparent in the Brechtian community reflective and reactionary movement of das Volk in theater. Commedia dell’arte transcended the gap from community to das Volk, and took on the characteristics of new technical and political dimensions for a broadened community.
Theatrical production by das Volk became ultimately reflective of the community differences with the bourgeoisie. Rebellious movements in theater, against the new use of technology as representation of theater in cinematic form, sought to reflect on that difference, and represented the community theater of Commedia dell’arte in the gap between das Volk and the bourgeoisie.[8] Technology, including the popularity of cinema in the newly industrialized society, was brought to issue by Georg Lukács in his article, “Thoughts on Aesthetics of Cinema” (1913)[9]. Lukács detaches the aesthetic of theater, as reflective and syncratic, from the poetry of cinema. Lukács echoes the involvement of Commedia dell’arte with the audience, in the creation of a commonality through experience, through calling it a “fidelity to nature”(15et al). Citing the unnatural commitment of cinema to mass-entertainment positions popularized experiences as separate from the Commedia dell’arte community experience,
“And when the popular literature of the stages has finally been slain—then the stage will again be forced to cultivate that which is its actual calling: grand tragedy and grand comedy.”(16 et al)
The search by das Volk for a reduction back to community-level theater was in reaction to the popularization of technology and art. Popularity of cinema was resisted by a multiplicity of theater theorists, framing the rebellion against the bourgeoisie, and the unification of overarching social power- the proletariat. As a further step backwards, towards the structure of Commedia dell’arte, Hugo von Hoffmansthal authored “The Substitute for Dreams” (1921)[10], in which he analyzed the negation of language in both theater and cinema.
Accepting the cultural shift towards cinema, Commedia dell’arte made another transcendence in to the realm of technology, through the negation of language in cinema as a syncratic method. Silent film encouraged the involvement of the audience, not through sensual means, but as an internal speculation. Hoffmannsthal states, “The language of the educated… ruffles the surface, but it does not awaken what slumbers in the depths. It is… but an abbreviation to reality.”(54 et al)
A paradoxical breaking away from the reality of das Volk was now towards a progressive destruction of cinematic art as that of the community-level theater. It is here that community-focused factors that compromise Commedia dell’arte can be seen as transcendant over the industrial and social transitions of das Volk. Coming full-circle from the upswing of community development towards the creation of das Volk, Commedia dell’arte’s syncratic, community-based and dramatic underpinning situated it as a universal and transcendent element of artistic and technical innovation. Commedia dell’arte concepts were reflected on throughout the progressive destruction of das Volk towards the anti-realist desire for regression away from the proletariat.
Rebellion against the monetary and technical power of the bourgeoisie, as well as the rebellion against the popular movements of the proletariat, make the community development, framed by Commedia dell’arte, in direct contrast to the Wagnarian idea of the total work of art (Gesamtkunstwerk). The Gesamtkunstwerk, as a totalizing fabrication of the idea of art[11], is represented in contrast to Wagnarian ideas of community development.[12] Brechtian ideology of totality was formed around the separation of ideas of development, whereas the Wagnarian totality ofGesamtkunstwerk was positioned as an organic, continuous unification of das Volk.[13] Commedia dell’arte aligns with the Brechtian recognition of system separation, and rebellion, because of the transcendence through das Volk, instead of along with it.
Commedia dell’arte’s essential ideology of syncratic, involved and dramatic reflection and reaction to society is a visible concept in modern day community-based entertainment as well. Ideology behind travelling music festivals has mirrored the street performance of Commedia dell’arte, in that it is participatory with the audience, and develops community around the Heideggerian communal experience. Similar rebellions against popular culture and wealth are also represented by modern day music festivals, in that they are counter-cultural movements against the popularized form of music hall, concert entertainment. Principles of Commedia dell’arte transcend any sociological dimension, due to the Brechtian consideration of change and rebellion in art and technology.
[1]Heidegger, Martin. Sein Und Zeit. Tübingen: M. Niemeyer, 1967. Print.
[2] Brecht B, Short Organum for the Theatre (1948)
[3] Clayton, J. Douglas. Pierrot in Petrograd: The Commedia Dell’arte/Balagan in Twentieth-century Russian Theatre and Drama. Montréal: McGill-Queen’s UP, 1993. Print.
[4] Clayton, J. Douglas. Pierrot in Petrograd: The Commedia Dell’arte/Balagan in Twentieth-century Russian Theatre and Drama. Montréal: McGill-Queen’s UP, 1993. Print.
[5] Clayton, J. Douglas. Pierrot in Petrograd: The Commedia Dell’arte/Balagan in Twentieth-century Russian Theatre and Drama. Montréal: McGill-Queen’s UP, 1993. Print.
[6] Farr, James R. Artisans in Europe: 1300-1914. Cambridge: Cambridge Univ., 2000. Print.
[7] Schumpeter, Joseph Alois. Capitalism, Socialism, and Democracy. New York: Harper, 1950. Print.
[8] Fischer-Lichte E, Re-inventing a people’s theatre Max Reinhardt’s Theatre of the Five Thousand (Theatre, Sacrifice, Ritual 2005)
[9] Lukacs G, Thoughts on an Aesthetics of the Cinema (1913)
[10] Hofmannsthal Hv, The Substitute for Dreams (1921)
[11] Heidegger, Martin. Basic Writings: From Being and Time (1927) to The Task of Thinking (1964). New York: Harper & Row, 1977. Print.
[12] Wilson Smith M, Total montag Brechts reply to Wagner (Total Work of Art From Bayreuth to Cyberspace 2007)
[13] Wagner R, The Art-work of the Future (1849)