I diritti di riproduzione, memorizzazione elettronica e pubblicazione con qualsiasi mezzo analogico o digitale (comprese le copie fotostatiche e l'inserimento in banche dati) e i diritti di traduzione e di adattamento totale o parziale sono riservati per tutti i paesi.Le fotocopie per uso personale del lettore possono essere effettuate nei limiti del 15% di ciascun volume/fascicolo di periodico dietro pagamento alla SIAE del compenso previsto dall'art. 68, commi 4 e 5, della legge 22 aprile 1941 n. 633.Le riproduzioni effettuate per finalità di carattere professionale, economico o commerciale o comunque per uso diverso da quello personale possono essere effettuate a seguito di specifica autorizzazione rilasciata da:
In his well-known monograph on Pulcinella,' which offsets a great deal of Information with an almost total lack of criticism, Anton Giulio Bragaglia declares an intimate connection between the Commedia dell'Arte and opera buffa. "Opera buffa -he writes -was born in the early eighteenth Century, but the old Commedia dell'Arte had already very often been opera bujfa and we insist on the fact that Giudiate and Burlesche, as well as the simpler Burlette, were buffooneries in prose or in verse accompanied by music: embryonic opere buffe, which, performed in the grandest theatres, were called Intermezzi or Drammi giocosi or Tragicommedie and flourished along with other forms of musical comedy such as the form defined in French as 'vaudeville'"} Although his theory is merely based on a number of individual Performances from the Renaissance to the present Century, from which the common development of musical drama and improvised comedy may be inferred from minor details and unreliable intuitions -despite the vague sociological reference -^ it nevertheless contains some truth, provided that we bear in mind how restrictive it would be to speak of this controversial relationship in terms of general performers' skills in playing music and singing. The real problem is to outline the growing division in the theatre world between the commedia d'istrioni and opera, despite a common background of outstanding actors and to pinpoint how and when in the seventeenth Century contemporary artists and the public became conscious of a different genre, which claimed its independence and promoted its own striking success.'* The life and career of Domenico Antonio di Fiore are exemplary of this process, which led to new triumphs of comic imagery all over Europe. He seemed to move easily between old and new traditions, skilfully exploiting both the resources of an established trade and the attractive opportunities offered by the emerging system of 1
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