Commedia dell’Arte

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A01=Domenico Pietropaolo
aesthetics
allegory
audience
Author_Domenico Pietropaolo
Category=ATD
Category=NHTB
censorship
character comedies
civil responsibility
controlled improvisation
costumes
dance
dialects
dramatic action
dramaturgy
eq_art-fashion-photography
eq_bestseller
eq_history
eq_isMigrated=1
eq_isMigrated=2
eq_nobargain
eq_non-fiction
fable
gentrification
giullarata
harlequinade
hybrid textuality
improvisation
lazzi
libretto
magic
masks
metatheatricality
morality
Naples
neo-commedia
performance
playwright
pulcinellate
puppet
social reform
Venice

Product details

  • ISBN 9781350144194
  • Weight: 340g
  • Dimensions: 128 x 206mm
  • Publication Date: 11 Aug 2022
  • Publisher: Bloomsbury Publishing PLC
  • Publication City/Country: GB
  • Product Form: Hardback
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What were the origins of commedia dell’arte and how did it evolve as a dramatic form over time and as it spread from Italy? How did its relationship to the ruling ideology of the day change during the Enlightenment? What is its legacy today?

These are just some of the questions addressed in this authoritative overview of the dramatic, ideological and aesthetic form of commedia dell’arte. The book’s 3 sections examine the changing role of performers and playwrights, improvisatory scenarios and scripted performance, and its function as a vehicle for social criticism, to offer readers a clear understanding of commedia dell’arte’s evolution in Renaissance Italy and beyond. This study throws new light on the role of women performers; on the changing ideological discourse of commedia dell’arte, which included social reform and, later, conservatism as well as the alienation of ethnic minorities in complicity with its audience; and on its later adaptation into hybrid forms including grotesque dance and the giullarata typified by the work of Dario Fo.

Domenico Pietropaolo is Professor of Italian and Drama at the University of Toronto, Canada. His publications include Pragmatics and Semiotics of Stage Improvisation (Methuen Drama, 2016), The Baroque Libretto (co-authored with M.A. Parker, 2011), and, as editor, The Science of Buffoonery: Theory and History of the Commedia dell'Arte (1989).

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