Eight Portraits of Gelosi Actors in 1589?

Katritzky, M. A.

doi:10.1017/s0307883300014693

Cited by 5 publications

(1 citation statement)

References 10 publications

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“…In 39 of these scenarios his mask is the one of the prototype servant, while the other 10 granted him the role of 'a friend' , 'an innkeeper' and once even as 'fattore di Villa': the 'handyman' of the village 7 . 4 Ambrogio Brambilla was an Italian Printmaker and cartographer, active mainly between 1579 and 1599 in Rome. 5 Pellesini (1526-1616) was an actor in the company of the Uniti, that also featured the brothers Martinelli (the first Arlecchinos), a 'Pantalone' , a 'Capitano' and even an actor who played 'Franceschina'the maid who mostly acted as Pedrolino's female counterpart.…”

Section: Commedia Dell' Arte: Pedrolino the Servantmentioning

confidence: 99%

Teaching Schoenberg’s Pierrot Lunaire

Sheinberg¹

2017

Vestnik SPbSU. Arts

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The article offers a fresh methodology for teaching Schoenberg's Pierrot Lunaire to college students. Relying on the character of Pierrot's historical development, rooted in 16 th -century Commedia dell' Arte traditions, but enriched during the following three centuries, this approach chooses elements that are relevant to the target audience, with the aim to instigate motivation and emotional involvement toward Schoenberg's masterpiece. Refs 14.

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Section: Commedia Dell' Arte: Pedrolino the Servantmentioning

confidence: 99%

Teaching Schoenberg’s Pierrot Lunaire

Sheinberg¹

2017

Vestnik SPbSU. Arts

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Eloquent Action: The Body and Meaning in Early Commedia Dell'arte

Buckley¹

2009

Theat Surv

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One of the things that strikes one most forcibly in surviving images of early commedia dell'arte is its enigmatic physicality, the manner in which its actors everywhere adopt postures and make gestures that seem not merely emphatic and exaggerated but almost hieroglyphic, full of some additional implication, laden with a figural and emblematic resonance that we sense but no longer see. In general terms, this quality is easily understood, as the body clearly served in commedia as a complex and polyvalent instrument of expression. Its gestures and movements were, as in all theatre, indexically linked to dramatic action, and they also served, as in much masked drama, as surrogates for the facial expression of affect, in that the movements and aspects of the whole body were enlisted to articulate the motions and mien of a veiled face and to overcome or play upon the sensation of estranged speech produced by the half-mask's bifurcation of the visage. Moreover, in a manner less familiar but illustrated well in Fig. 1, these movements and aspects also functioned as expressions in their own right, not articulating the affect or expression attendant upon immediate speech or situation or delineating the lines of external action but signaling the many impulses and various appetites of the world, the varied aspects of all persons and of the body itself, and invoking at times as their implicatory context human nature, common character, and identity rather than situation, attitude, or emotion.

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Theatre Iconography: An Introduction

Erenstein

1997

Theatre Research International

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Theatre iconography systematically attempts to integrate the pictorial representation of theatre as a vital source of information in researching the history of theatre. Given the primacy of the written word (lógos) in western culture, the status of the illustration as a source of historical research has remained low in the West where it is the norm to give the text priority over illustrations, which serve merely as decorations, to support a conclusion or confirm a statement made in the text. Theatre iconography, however, involves the search for a new dialectical relationship between the written word and the theatre illustration, one in which the illustration is not immediately interpreted as an appendage to a text. It involves an autonomous ‘reading’ of the image in which the use of other documents, preferably from other sign systems, cannot and may not be discounted. The aim here is to study theatre history with the help of tools that are more effective than those used previously.

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Eight Portraits of Gelosi Actors in 1589?

Cited by 5 publications

References 10 publications

Teaching Schoenberg’s Pierrot Lunaire

Teaching Schoenberg’s Pierrot Lunaire

Eloquent Action: The Body and Meaning in Early Commedia Dell'arte

Theatre Iconography: An Introduction

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