Lodewyk Toeput: some pictures related to the <i>commedia dell'arte</i>

Katritzky, M. A.; Lea, Kathleen M.

doi:10.1111/j.1477-4658.1987.tb00123.x

Renaissance Studies

1987

DOI: 10.1111/j.1477-4658.1987.tb00123.x

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Lodewyk Toeput: some pictures related to the commedia dell'arte

M. A. Katritzky¹,

Kathleen M. Lea²

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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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Theatre Iconography: An Introduction

Erenstein

1997

Theatre Research International

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Harlequin, Holberg and the (In)visible Masks:Commedia dell'artein Eighteenth-Century Denmark

Holm¹

1998

Theatre Research International

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The profound influence of the commedia dell'arte on European theatre is commonly acknowledged, although it has not yet been extensively analysed. In Northern Europe some of its first traces are iconographic. There are masked Venetian characters among the paintings collected by the Danish king Christian IV. The first such masks to appear in a Danish context are three Pantaloons acting as stage hands in a court ballet which was part of Det store Bilager (‘The Great Wedding Feast’), the grandiose festivities celebrating the Crown Prince's wedding in 1634. Later, German troupes may have presented harlequinades. The first reliable accounts of Italian actors playing in Denmark feature a certain Venetian comedian-charlatan: Sebastiano di Scio, known as Harlekino, who travelled the country with a twenty-four strong entourage, at the turn of the seventeenth and eighteenth centuries. He was employed as a royal comedian and physician, and furnished the Royal household with obscure medicines for obscure diseases. The combination of comedian and charlatan is, of course, typical.

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A Cannonade of Weapons: Signs of Transgression in the Early Commedia dell'arte

Hamill¹

2010

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Lodewyk Toeput: some pictures related to the commedia dell'arte

Cited by 3 publications

References 3 publications

Theatre Iconography: An Introduction

Theatre Iconography: An Introduction

Harlequin, Holberg and the (In)visible Masks:Commedia dell'artein Eighteenth-Century Denmark

A Cannonade of Weapons: Signs of Transgression in the Early Commedia dell'arte

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