The commedia LED' arte , Italian term used in many languages, whose French, means Théâtre interpreted by people of art, professional actors, is a popular kind of theater Italy N appeared towards 1545 with the first troops of comedy with Masque.

The representations take place initially on trestles, the actors improvising their text starting from a Canevas (scenario regulated in advance). The comic one was mainly gestural (tomfooleries). In the improvised comedy, the speech is unceasingly renewed, the actors taking as a starting point the dramatic situation, the circumstances of time and of place, made part which they represented a changing work, renovated without delay. As for the comic types, they are the same ones as those of the Italian comedy: its masks and its buffoons find themselves there. There are initially the four principal types: Pants, the Doctor, the Capitan, and the Zanni S or servants, with their varieties of cheating or imbeciles, of intrigants or cowards; then in love ones, Horace, the Isabelle; finally the following ones, like Francisquine, or Zerbinette. Certain characters were obligatory.

Representation

Each actor adopting and preserving a character in connection with his aptitudes, incarnated himself in his role and, to enrich his speech, had funds of features in conformity with his character. “The actors, known as Niccolò Barbieri, study much and provide the memory with a large provision of things: sentences, Concetti, declarations of love, reproaches, despairs and be delirious, in order to have them any loans on the occasion, and their studies are in connection with manners and the practices of the characters whom they represent. ” Thus, Andreini made print the boastings that it output in its roles of Capitan. Remainder, the word goes hand in hand with the action, and this one is supported by the abundance of the stage businesses.

The majority of the actors were of the gymnastes of first order able to give bellows with the foot, or to carry out in the interior of the theater of the perilous rises. Much initiative was left to them and the liveliness of word of the actor, his gibe, his talent mimicry made most of the success of commedia LED' arte. Sometimes the actors improvisers were useful themselves, like groundwork, of such written part. They often did it for the Emilia of Luigi Groto, while embroidering on the plan of the comic poet, a dialog which belonged to them. In addition, such commedia LED' arte, after being remained a long time with the repertory in simple groundwork, was written either by that which had laid out the scenario of it, or by any other dramatic author.

Origins

One gives to the comedy all' improvised an origin former to that of the regular comedy, which did not start, in Italy, which with by reppresentazioni . With, it becomes an erudite art and, as of this moment, it popularizes, by strengthening them, of the comic types to the diffusion of which the Renaissance will be useful strongly.

In the speech for the reception of the Nobel Prize of literature which he pronounced with Stockholm in 1997, Dario Fo, pays homage to a Dramaturge Venetian of the 16th century, Angelo Beolco, known as Ruzzante , “extraordinary a man of theater of my ground, little known… even in Italy. But which is without any doubt more the great author of theater that Europe knew during the Renaissance before the arrival of Shakespeare. ” He insists on the quality of the theater of Ruzzante, which he regards as “the true father of the commedia LED' arte , which invented an original language, a language of and for the theater, based on a variety of languages: dialects of the Valley of Po, the expressions in Spanish Latin, , even in German, the whole mixed with Onomatopoeia S of its own invention. ”

With the attraction of the kind, the reputation of some troops passed the mounts. Henri III made come to France, in 1576, to make favorable the States of Blois, that of the Gelosi (jealous to like) directed by Flaminio Scala known as Flavio , author of many scenarios, troop which counted in its members Francesco Andreini and his wife, celebrates it Isabelle. Gelosi succeeded, towards 1614, Comici Fedeli, which went to Paris on the invitation of Marie de Médicis. They returned there in 1621 and 1624. Then one as of their, Nicolo Barbieri known as Beltrame , formed a new troop which remained in Paris, and from which Molière child followed the representations.

Troops

The theatrical companies, especially those which played in province, did not have a plate fixes and travelled of country in country while transporting their trestles, they were to know to attract the public and to convince it to attend the representations. The groundworks, consequently, made it possible an expert theatrical company to put in scene situations of the local topicality in a few hours.

The few written texts were in worms and passed to the Prose only with Goldoni. The comedies were based on stereotyped characters quite recognizable and characters, with gestural emphatic, impromptu dialogs , musical interludes and buffooneries, to satisfy a vast public of various social conditions and cultural. All the Actor S, except for the couple in love one and maidservants carried the Masque. With the same very typified masks, each company built hundreds of different situations.

Contrary to the companies of traditional theater, those of commedia LED' arte employed professional actresses instead of making interpret the female role S by men. The troops of commedia LED' arte were generally made up of three women and the seven men, richest had a poet house .

Evolution

The popularity of commedia LED' arte, in Italy like abroad, was extraordinary. At the 17th century when commedia LED' arte was more brilliant than ever in Italy, the governments of Spain and France sought to censure and regulate this theatrical form. In France the Recueil of Gherardi constitutes the most interesting testimony on what was this theater. Gherardi was the Arlequin of the troop authorized and privileged by Louis XIV. Some large actors, such as Fiorelli known as Scaramouche and the Harlequin Dominique, supported it by their talent. In England, the influence of commedia LED' arte forged the characters of the puppets of Punch, mixes of authoritative Harlequin and Punchinello, and his Judy wife.

Commedia LED' arte inspired largest Dramaturge S French, that it is Molière, which divided a room during a time with the “Italian Actors of the King” of the Commedia dell'Arte among which appeared the famous Scaramouche (Tiberio Fiorelli), or Marivaux. Later, the Italian comedy took again in France, by improving it, which this one had borrowed to him, and the parts of Molière passed for the majority, reduced with their groundwork, in the mobile repertory of commedia LED' arte.

To the 18th century, in Italy, Carlo Goldoni gives a new breath to commedia LED' arte. Goldoni obliges its actors to refer to the written text, to give up the easy tomfooleries, eliminating the masks little by little, by conferring to the characters an individuality increasingly more marked. It transformed commedia LED' arte into comedy of character, however that Carlo Gozzi remains in the tradition having recourse to arguments with the pathetic and satirical accents, referring to contemporary personalities and habits.

The 19th century forgets, except for Maurice Sand, wire of George, somewhat this ancestral art. In France, however, the family Deburau takes again the characters of Pierrot and Colombine and the fact of entering by MIME the French theatrical repertory.

To the 20th century, when Dario Fo met Franca Rame, girl of a family of itinerant actors who still had the ancestral groundworks, it adapted to the modern world these testimonys of an old now extinct culture, in particular with the part Mystère Puffs out (1969).

In Paris, Carlo Boso with the company “Mystery Puffs out”, Luis Jaime-Cortez with its company “Theater of the Owl”, Attilio Maggiulli in its theater “the Italian Comédie”, evolve/move in the tradition of commedia LED' arte.

Markus Kupferblum, a director Austrian, introduced the rules of play and the hierarchy of the characters of the commedia to the modern histories, either with the theater, or with the opera.

Characters

• the Zanni S (servants of the small people): Harlequin (nobody merry, jovial fellow), Scaramouche (the malicious slope of Harlequin), Mascarille (rascal, intrigant, Master in cheatings), Brighella (the landlord)…
• the old men (town most extreme): Pants (old greybeard in love with an young girl), Cassandre, the doctor…
• the soldiers (will fanfarons and sometimes timorous): the Capitan, Matamore, Spavento…
• in love (ingenuous but also clever to mislead the old men ): Isabella, Colombine (which forms sometimes part of the zannis )…

Certain characters of the commedia LED' arte remained extremely famous and passed in other theatrical cultures. Punchinello is at the origin of the Punch English , Capitan is found in the Tengu Japanese , Pedrolino is the twin brother of the Pierrot French, one also finds Arlequin in the Island of the slaves of Marivaux…

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