Fathers, Daughters, Crossdressing, and Names: L’Anconitana and Angelo Beolco/Ruzante’s Contribution to Commedia Erudita

Abstract

The essay examines Angelo Beolco/Ruzante’s place in the scripted comedy tradition by looking at one of his comedies, L’Anconitana , alongside post- Anconitana commedie erudite . My aim is twofold: first, to take stock of the Paduan playwright’s rich contribution by analyzing the protofeminist aspects of this early and highly original yet neglected play; second, to bring to light less well known but equally fascinating dramatic texts which seem to take their impetus, at least in part, from the Ruzantian model. My purpose, ultimately, is to reclaim Ruzante’s Anconitana as another ‘classic’ alongside the canonical Gl’ingannati . By the same token, I seek to highlight reasons more sophisticated than the traditional innamoramento for women’s crossdressing on the Renaissance stage, namely, the quest for an education and/or the acquisition of an inheritance.