commedia dell'arte: Characters of the Commedia Dell'Arte commedia dell'arte Characters of the Commedia Dell'Arte The characters or "masks," in spite of changes over the years, retained much of their original flavor. Most important were the zanni, or servant types; Arlecchino, or Harlequin, was the most famous. He was an acrobat and a wit, childlike and amorous. He wore a catlike mask and motley colored clothes and carried a bat or wooden sword, the ancestor of the slapstick. His crony, Brighella, was more roguish and sophisticated, a cowardly villain who would do anything for money. Figaro and Molière's Scapin are descendants of this type. Pedrolino was a white-faced, moon-struck dreamer; the French Pierrot is his descendant. Pagliaccio, the forerunner of today's clown, was closely akin to Pedrolino. Pulcinella, as seen in the English Punch and Judy shows, was a dwarfish humpback with a crooked nose, the cruel bachelor who chased pretty girls.

Pantalone or Pantaloon was a caricature of the Venetian merchant, rich and retired, mean and miserly, with a young wife or an adventurous daughter. Il Dottore (the doctor), his only friend, was a caricature of learning—pompous and fraudulent; he survives in the works of Molière. Il Capitano (the captain) was a caricature of the professional soldier—bold, swaggering, and cowardly. He was replaced by the more agile Scarramuccia or Scaramouche, who, dressed in black and carrying a pointed sword, was the Robin Hood of his day. The handsome Inamorato (the lover) went by many names. He wore no mask and had to be eloquent in order to speak the love declamations. The Inamorata was his female counterpart; Isabella Andreini was the most famous. Her servant, usually called Columbine, was the beloved of Harlequin. Witty, bright, and given to intrigue, she developed into such characters as Harlequine and Pierrette. La Ruffiana was an old woman, either the mother or a village gossip, who thwarted the lovers.

Cantarina and Ballerina often took part in the comedy, but for the most part their job was to sing, dance, or play music. None of the women wore masks. Sections in this article: Columbine | stock theatre character | Britannica.com stock theatre character Scaramouche Columbine, Italian Colombina, stock theatrical character that originated about 1530 in Italian commedia dell’arte as a saucy and adroit servant girl; her Italian name means “Little Dove.” Her costume included a cap and apron but seldom a commedia mask, and she usually spoke in the Tuscan dialect . In French theatre the character became a lady’s maid and intrigant and assumed a variety of roles opposite Cassandre, Pantalone (Pantaloon), Harlequin, and Pierrot. In English comedies she was usually the daughter or ward of Pantaloon and in love with Harlequin. The soubrette of the 20th-century musical comedy is a version of the Columbine character. Columbine, etching by Maurice Sand, 1860 Courtesy of the trustees of the British Museum; photograph, J.R. Freeman and Co. Ltd.

Learn More in these related articles: in commedia dell’arte: The masks, or characters ...like Capitano, “outgrew” his mask and became a character in his own right, probably created by Silvio Fiorillo (died c. 1632), who had earlier created a famous Capitano, Mattamoros. Columbina, a maidservant, was often paired in love matches with Arlecchino, Pedrolino, or the Capitano. With Harlequin she became a primary character in the English pantomime’s harlequinade. The... 1 Reference found in Britannica Articles Assorted Reference role in commedia dell’arte (in commedia dell’arte: The masks, or characters ) External Links Columbine - Student Encyclopedia (Ages 11 and up) A stock theatrical character in the Italian commedia dell’arte and its offshoots, Columbine or Colombina ("Little Dove") was a dancing character, often the daughter of Pantaloon and the wife or sweetheart of Harlequin.

The commedia dell’arte was a popular theater tradition originating in 16th-century Italy and spreading thereafter in variant forms to other parts of Europe, especially France and England. Article History Corrections? Updates? Help us improve this article! Contact our editors with your feedback. MEDIA FOR: You have successfully emailed this. Error when sending the email. Try again later. Edit Mode Submit Tips For Editing We welcome suggested improvements to any of our articles. You can make it easier for us to review and, hopefully, publish your contribution by keeping a few points in mind. Encyclopædia Britannica articles are written in a neutral objective tone for a general audience. You may find it helpful to search within the site to see how similar or related subjects are covered. Any text you add should be original, not copied from other sources. At the bottom of the article, feel free to list any sources that support your changes, so that we can fully understand their context. (Internet URLs are the best.) Your contribution may be further edited by our staff, and its publication is subject to our final approval. Unfortunately, our editorial approach may not be able to accommodate all contributions. Submit Thank You for Your Contribution!

Our editors will review what you've submitted, and if it meets our criteria, we'll add it to the article. Please note that our editors may make some formatting changes or correct spelling or grammatical errors, and may also contact you if any clarifications are needed. Uh Oh There was a problem with your submission. Please try again later. Close Date Published: July 20, 1998 URL: Access Date: January 19, 2017 Share Commedia Stock Characters Columbina Personal Maid to the prima donna innamorata. – Rudlin The Perky servant, the soubrette. – Rolfe The Maid of one of the Old Men or the wife of Arlecchino. – Gordon Costume Better dressed than male servants since she is a lady’s maid. Mob cap and apron, wearing a ‘folly’ dress underneath. Skirts usually fell just below the knee. Neckline of bodice low and often frilled. Several colors of material. – Rudlin Dressed like her mistress or Arlechinno, but always had a small apron.

- Gordon The Soubrette wore a large, wide apron, and her personable figure refused all persuasions of a corset. Her costume was that of a woman of the people. -Duchartre The cut and quality of the costume should correspond with her counterpart, usually Arlechinno or Harlequin. The coloring could go in different ways depending on her relationships in the ensemble or scenario. She can be in a similar scheme to Arlechinno (where she is sometimes known as Arlechinna with similar diamonds and triangles), or if she is assigned to a rival family of Arlechinno's, she can be in that scheme. In cases where she is an independent character, she can be in blacks and whites in the spirit of a French Maid. -Shane Origin (History) Le ballerine and/or le cantarine (French chanteuses) – with a tambourine provided entr’acte entertainment before women were allowed into the stage action proper. Here, for once, there is an indisputable link with Roman theatre. Its relatively late development meant that the role, unlike the male Masks derived from Carnival, was much more dependent on the character of the performer herself and on the taste of the audience.

The early street performers (who were more often called Franceschina, Smeraldina, etc.) were older, lustier and more buxom than the later seventeenth and eighteenth century Colombinas, who as well as being younger and more graceful and engaging, were less overtly sexual. In borrowing from the commedia erudita, which had a tradition of the maid appearing in place of her mistress, the servetta would have had a lot to do. But once the Lovers actually appeared, the role was reduced to confidant and message carrier. Later she became the counterpart of Zanni in function and the reflection of her mistress in manner and mood. - Rudlin The servants of the 16th Century went by such engaging names as Francesquina, Licetta, Tiffia, Gitta, Betta, Gneva, and Nina. The grandmother of Catherine Biancolelli had been a Columbine, as was her daughter after her. The Columbine they interpreted, in fact, became the standard type: she was rather French in character and noted for her coquetry. -Duchartre Physical Appearance Initially strong and attractive like a circus artist, later petite and pretty.

– Rudlin Mask Unmasked, but the eyes wide and well made-up. – Rudlin As she is not considered a part of the Innamorati, she often wears a mask that usually just covers her eyes. - Shane Signature Often carries a basket. - Rudlin Usually has an apron, a basket, and a tambourine. - Shane Stance One knee bent, the other leg extended. Slight forward tilt from the hips to show best features. Tiny waist and wide hips. – Rudlin Walk Little flick of the foot at end of grand zanni walk. - Rudlin Poses All the learned and worked ballet positions with the focus being directed to the next speaking character. A variation of the ballet positions with the body either erect or bent. In Colombina’s case, a great display of cleavege should be incorporated into the poses as often as possible. – Tatiana Marciel 1.) A cross between laying down and sitting, usually with one knee up and one leg extended flat. 2.) Hip cocked outward, bust out, and hands extended behind back. 3.) Leaning forward, hands together with arms extended accenting cleavage with the upper part of the arms.

4.) Wrapping leg around a male performer. 5.) Stand upright and "perky" and arms at sides and palms parallel to the ground. 6.) Profile with weight shifted back on hip with arms folded under cleavage. Movements All zanni movements, in any combination. Movement continues during speaking, shifting balance from one foot to the other and moving the head sharply as if searching for someone other than the person being addressed. Fast and nimble in order to escape unwanted attentions or butt in, then escape from a situation. - Rudlin She is happy and carefree, yet when assigned a task moves with speed and efficency. This is one of her strongest traits in being a good servant. - Shane Gestures Hands either on hips, holding apron or making significant gestures. When excited she throws her hands up as if still dancing with the tambourine. A good mimic. - Rudlin Speech Sharp, gossipy, with frequent variations of pitch. Originally Tuscan, but could be any other dialect. – Rudlin Specially entertaining and attractive if it is a Portuguese one. – Marciel Animal Loves Arlecchino, but sees through him.

Feels a need to look after him, educate him in the hope that he too can break the bounds of being a fixed type. She therefore scolds him, punishes him, deserts him, takes him back, but in the end he does not change and she has to accept him for what he is, which is still more lovable than Il Dottore, Pantalone , Il Capitano, etc. She can be very affectionate to other characters as well, and her affections seem to flow through her physically, but she always holds something back. As a result she is pestered by other men, especially Il Capitano and Pantalone. She is always ready to help the Lovers, perhaps through natural sympathy with their plight. - Rudlin The maid of one of the Old Men or the wife of Arlechinno. - Gordon She was the constant friend and companion of Harlequin, eternally in love either with the rascally valets or Lelio. - Duchartre Relationship to Audience Collusive - she is a spectator herself. Very strong relationship with the audience, almost confidential in the sense that she too can see what fools the rest of them are.

Flirts with spectators moving closer so they can see her eyes, but not too close. – Rudlin Occaisonally flirts with the audience. - Shane Frequent Plot Function The still centre of the turning wheel, in on everything that is going on, she exerts a benevolent influence on the outcome. – Rudlin Characteristics A guide to Commedia dell'Arte from Crossref-it.info Recognising Commedia dell’Arte Definition Commedia dell’Arte can be translated as: ‘theatre of the professional artist’ or ‘the comedy of skills’. Its full name is commedia dell'arte all'improvviso ('comedy through the art of improvisation') and it is also known as ‘Italian comedy’ Origins Commedia began in Italy during the Renaissance in the sixteenth century, but there is some evidence that its origins are in ancient Greek and Roman theatre. From the first performances in Italy around 1570, Commedia quickly spread throughout Europe. It is a colourful and extremely theatrical art form, based on the interaction of traditional stock characters in improvised scenarios that drive a comic plot towards a humorous climax. The legacy of Commedia includes the first incorporated (i.e.

professional) theatre companies, the first European actresses and many of the themes and storylines still enjoyed by audiences today. Performance style Accessible improvisation Commedia troupes consisted of twelve or so professional performers, each a specialist in his or her stock character. There were no playwrights or directors. The company manager (capocomico) would announce the title and theme of an evening’s performance, making a scenario or canovaccio available to the performers. The scenarios were approximately three pages long and described the basic plot points of the story with character entrances and exits. The dialogue was never scripted and the actors would collaborate together to improvise a unique performance at every show. Performances were accessible to all social classes because the actors used mime, stereotyped stock characters, traditional lazzi's (signature stunts, gags and pranks) broad physical gestures, improvised dialogue and clowning. Each performance was a showcase of skilful technique; carefully rehearsed physical comedy routines and live improvisation. Props, costumes and masks Commedia troupes travelled with everything they needed; costumes, props and portable staging that could be set up in any outdoor public space.

Even successful troupes with wealthy patrons and indoor performing spaces kept props and scenery to a minimum to keep the focus on performance skills, rather than spectacle. Props included animals, food, furniture and weapons. The character Arlecchino (Harlequin) carried two sticks tied together, which made a great noise on impact. This gave birth to the word ‘slapstick.’ Commedia performers wore masks with exaggerated comic features to draw attention to themselves and to complement their physical and acrobatic skills. Masks forced actors to project their characters' emotions through the body. Leaps, tumbles, stock gags (burle and lazzi) and obscene gestures were incorporated into their acts. Plots All Commedia plots were simple; two young lovers (the innamorati) were kept apart by the old men (il vecchi) who were either fathers, guardians or elderly suitors. The servants (zanni) helped to outwit the old men and bring the lovers together. Stock characters Types The actors of the Commedia represented fixed stereotypes (tipi fissi), for example, foolish old men, devious servants, or military officers full of false bravado.

A Commedia actor usually played the same stock character for most of his or her career. The main characters were as follows: Il vecchi (the old men) Master characters who were noblemen: Pantalone — The master A wealthy, miserly old man from Venice, who was always being cuckold ed. (picture) In many storylines, his aim was to control his daughter and protect his money from thieving servants, but he was always thwarted. Costume: Tight-fitting long red trousers or red breeches and stockings, a short, tight-fitting jacket, a loose long black cloak with plain sleeves, red-woollen skull-cap and yellow Turkish slippers. He wore a money purse on his belt and carried a huge dagger Mask: a large hooked nose, wrinkled face and bushy eyebrows Examples: See Shakespeare’s As You Like It (Act 2 sc 7) ‘the lean slipper’d pantaloon / With spectacles on nose and pouch at side’. Il Dottore — The Doctor Pantalone’s middle-aged neighbour from Bologna was a know-it-all, who claimed to be educated and spoke fake Latin .

(picture) He was either Pantalone’s devoted friend or bitter enemy, and he was always jealous of Pantalone’s success. Sometimes he was the father of one of the lovers. Costume: Black academic dress, satirising Bolognese scholars. A long jacket and a black coat to his heels, black shoes, stockings, breeches and a black skull-cap Mask: Covered the nose and forehead only. The actor’s cheeks were revealed and often reddened to show Il’ Dottore’s fondness for alcohol. Il Capitano — The Captain This character was a boastful, arrogant soldier often portrayed as a Spaniard. (picture) He tried to impress people with stories of his bravery in battle, but he was a coward at heart. Easily frightened, he would scream like a girl if he was surprised. He was often the butt of the jokes and the target of the lazzi.

Costume: A very fancy exaggerated military uniform, with a plumed hat and a very long sword Mask: A very long nose, wide eyes and sometimes a big handlebar moustache Examples: See Armano in Shakespeare’s Loves Labours Lost and Pistol in Henry IV Part 2 Usually Pantalone and Il Dottore worked as a pair and Il Capitano played the new face in town. Il zanni (the servants) Zanni is a diminutive form of the name Giovanni and is common to Bergamo, in Lombardy, where the zanni character originated. The English word ‘zany’ is derived from the antics of these Commedia characters. Zanni were male servants, clowns and jacks-of-all-trades. They enjoyed practical jokes and intrigue but could be quarrelsome, cowardly, and treacherous. Dei Zanni (‘the zanni’) was also a generic term for the Commedia dell'Arte itself. Arlecchino (‘Harlequin’) The main comic figure and the most popular and famous character of Commedia dell’ Arte. A tricky servant, usually to Pantalone, but also frequently Il’ Capitano, or Il’ Dottore.

He was the second zanni if Brighella or Pasquariello were in the company, otherwise he was the most important. Harlequin was not too bright and often resorted to agility and acrobatics to get out of sticky situations; failing that, he always carried around a slapstick with which to hit people. He was a central figure in Goldoni’s Commedia-based plays written in the first half of the eighteenth century. Costume: Tight fitting tunic and pants patterned with multi-coloured, triangular patches Mask: A sly, cat-like face, with a blunt, black nose. Columbina (also ‘Columbine’ or ‘little dove’) The only female servant character, she was Arlecchino’s female opposite and sometimes his sweetheart. (picture) She was impudent but often very charming and one of the few genuinely intelligent characters on stage. As confidante of the leading lady (inamorata), she was often employed by the lovers to help them convince their feuding parents to let them marry. This character type was originally called sobretta and the French translation soubrette is still in use in opera and musical theatre.

Costume: Dressed like her mistress or in the same pattern of material as Arlechinno, but always wore a small apron to show she was a servant. She often carried a tambourine or a basket Mask: Sometimes wore a small half mask, but often appeared unmasked. Brighella Arlecchino's older brother or his dishonest, rascally friend. He played a high status servant, a bartender, innkeeper or shopkeeper. He was a cowardly villain who would do anything for money. He was thieving, mean-spirited, and occasionally violent, especially to characters who had a lower social position. Costume: His wore white outfits with a green trim. (picture) His main prop was a knife which he used not to stab others, but to cut the strings of their money bags to steal their money. Sometimes, like Arlecchino, he carried a slapstick Mask: A green half mask. Pulcinella (‘Mr Punch’) Pulcinella’s character was directly descended from classical Roman theatre characters called Bucco and Maccus and he would identify himself with either one or the other in performance. His character changed with the locale and the actor portraying him.

Generally Pulcinella represented the poor worker from Naples, the man with very little to lose. He often had nothing to do with the plot, but provided an external source of comedy. Pulcinella was always self-centred; either stupid but pretending to be clever, or clever yet pretending to be stupid. He loved to pick a fight and then to shed blood. He talked about himself in the third person and was unable to keep a secret. Physically portrayed as a potbellied hunchbacked wife beater, with a distinctive voice sounding like a chicken squawk, he became the ‘swazzle’ voice used in Punch and Judy shows. Costume: He generally wore a long baggy white blouse, tied around the waist with a leather belt; baggy white trousers and white sugar-loaf hat or a white skull cap. He carried a large club and a purse and had a hump on his back and a huge pot belly. Mask: Pulcinella’s mask was dark brown or black, with a worried, wrinkled brow, many warts, and a very large, parrot-like nose.

Other zanni Pedrolino – A comic servant or clown (Pierrot in French and English) often pining with unrequited love for Columbina Mezzetino – A male comic servant Scapino – A male comic servant who flits from one idea/activity to the next, creating confusion Scaramuccia – A male comic servant (Scaramouche in French) often affecting high flown language Coviello – A similar character to Pulcinella. He could also be a friend of the Capitano. Tartaglia – An older man, often a friend of Il Dottore Rosetta - A female servant, a maid or the wife of Pulcinella. Gli inamorati — The young lovers These characters were usually the daughters and sons of the vecchi, and thus enjoyed a high status in society. They almost always illustrated the play’s dilemma — whether to follow their hearts or obey the wishes of their parents. They were more serious than the other characters and did not wear masks. They were always youthful, argumentative, scheming and either handsome or beautiful.

They could be (and often were) children of other principal characters They were expert in the arts of courtship and loved to write sonnets They fell madly in love, then into despair, and were suspicious and jealous They argued, made up and, in the end, flew into each other’s arms on their way toward an ideal marriage A male lover (innamorato) usually had a romantic name like Flavio, Lelio or Ottavio The lady (innamorata) was the ‘beloved’ with a name like Isabella, Flaminia, Vittoria or Lavinia. Costume: Whether male or female, the lovers are always dressed in the height of fashion Mask: Because the greatest appeal of the lovers was their beauty, they did not wear masks Examples: Romeo in Shakepeare’s Romeo and Juliet and Claudio in Much Ado About Nothing start out as typical inamorato. Physical and situational comedy The lazzi Many of the Commedia scenarios reference ‘lazzi’ or an individual ‘lazzo’; a comedic routine that was well rehearsed and known to the individual actors portraying the characters.

These routines often needed to be very well rehearsed, because otherwise someone could get hurt, as the routines involved a lot of physical comedy. Some typical lazzi were: Lazzo of the chase: With a drawn sword, the Captain chases Coviello. They remain on the stage in a stationary position as they mime running, each slightly out of reach of the other. As they run, each begins to acknowledge the audience’s response Lazzo of the chairs: Brandino is guarding Ottavio as they both sit in chairs. Attempting to escape, Ottavio moves his chair slightly. Brandino follows. Ottavio drags his chair halfway across the stage with Brandino in pursuit. They smile at each other as the bid to escape continues Lazzo of the luggage: Arriving in the city, the Captain and Burattino both carry heavy luggage. The Captain asks Burattino if he can hold onto his luggage for a minute and starts to walk away. Burattino replies that he has to tie his shoe and gives the Captain all the luggage, who promptly throws it back at Burattino Lazzo of looking everywhere and finding nothing: Zanni is asked to find an object or person right in front of him.

Looking everywhere but at that spot, Zanni announces that it’s not there Lazzo of learning French: The inamorata is learning French (or any other language) from an instructor, and every word which she is taught sounds like a swear word, appalling her. Shakespeare used this lazzo in Henry V Act 3 Sc 4 where the French Princess Katharine is learning English and is offended at being taught words like 'foot' and 'gown' which sound obscene in her own language. The influence of Commedia dell’arte The influence of Commedia has been widespread throughout European performing arts.

The characters and theatrical styles of Commedia can still be seen in: Theatre (Shakespeare’s The Tempest, Much Ado About Nothing; Servant of Two Masters by Carlo Goldoni; One Man, Two Guvnors by Richard Bean; Les Fourberies de Scapin by Molière, The Figaro plays of Pierre Beaumarchais, Steven Berkoff's adaptation of Franz Kafka's The Metamorphosis) Opera (Mozart’s Cosi fan tutte, Le Nozze de Figaro, Don Giovanni and Leoncavallo's tragic melodrama Pagliacci) Ballet (Igor Stravinsky's Petrushka and Pulcinella) Contemporary musical theatre (The Rocky Horror Picture Show, Sweeney Todd) Television sit-coms (Blackadder, Fawlty Towers) Improvisational comedy (Whose Line is it Anyway?) Silent films of the 1920s (Charlie Chaplin, Buster Keaton, Harold Lloyd, Laurel and Hardy) British Carry On films from the 1950s-70s Pantomime Lazzi - La Commedia dell'Arte La Commedia dell'Arte This site is a member of WebRing. To browse visit Here .

Lazzi Lazzi are essentially "gags" or stock jokes which can be added into a commedia dell'arte play or performance in order to ensure the comic action keeps pace. Traditionally the writers and actors in a troupe would have lazzi memorized so that they could insert them where needed. This trick kept up in theater into the motion picture era, and some film and TV writers still use stock jokes to enhance their work. These are commedia dell'arte lazzi collected from various sources. Several come from Mel Gordon's lovely book of Lazzi, which can be bought here. ACROBATIC LAZZI Running-Around-The-Balcony Lazzo Arlecchino, pursued, or to prove his identity as Arlecchino, leaps from the stage to the first spectator box and runs around the railing or the three sets of balconies. Lazzo of Unspilled Wine Startled, Arlecchino, holding a full glass of wine, executes a complete backward somersault without spilling the wine. Slapping Lazzo A Zanni, with either his hands bound or holding plates of food, slaps another character in the face with his foot.

VIOLENT LAZZI Innocent Bystander Lazzo Arlecchino and Pedrolino meet each other face-to-face and are armed to the teeth. They heap abuse on each other, relying on others to hold them back physically. Finally, when the Captain seeks to separate them, they strike out at each other with the Captain receiving most of the blows. "Defend Me" Lazzo The inamorata takes offense at something and demands that other characters should duel to protect her honor. Shield Lazzo Arlecchino, about to be hit, grabs the nearest other character to use as a shield. Revival Lazzo Woman pretends to faint or die. Zanni enters and suggests that the way to revive her is pull her hair or twist her limbs. Undead Lazzo A zanni has either been mistaken for dead or has deliberately feigned death. When he gets up, other characters believe he's a zombie or a vampire and try to kill him. Chair Lazzo Arlecchino (or Pierrot) pulls the chair away from the Captain just before he is to sit down. Or the Captain's cape is pulled, so he is forced from the chair.

LANGUAGE LAZZI Lazzo of Latin The Doctor attempts to conjugate English words as if they are Latin (e.g. complaining he’s been attacked by “hoodla” instead of “hoodlums” or speaking of going “inside and exside.”) Lazzo of the Foreign Language Covielle (or any other Zanni) pretending to have met a foreign nobleman, quotes him by using made-up words or words associated with whatever culture the made-up nobleman is supposed to have come from. (“Dirka-dirka mohammed jihad!”) He then gives ridiculous and improbable translations for these phrases. Lazzo of La Fontaine’s Fable Using a mixture of Italian and French, Arlecchino manages to tell in a ridiculous and obscene manner the story of La Fontaine’s “ The Miller, The Son and The Ass ” Lazzo of Greeting Pulcinella greets the Captain or another character with apparent reverence. “Son of Jove, new moon, twice the last name of Alexander!” Then, Pulcinella explains, “The son of Jove is Bacchus. Bacchus is a goat.

The new moon is horned, and the last name of Alexander is Magno, which, when taken twice, becomes magno-magno. Thus the whole greeting becomes: ‘Manga-manga, becco cornuto!’” (Eat it up, eat it up, you horned goat <cuckold>) Learning French Lazzo The inamorata is learning French (or any other language) from an instructor, and every word which she is taught sounds like a swear word, appalling her. Shakespeare did this lazzo as a French woman learning English, offended at being taught words like 'foot' [foutre - fuck] and 'gown' [con - cunt.] Lazzo of the List German innkeeper (or any character with an accent) reads from a shopping list. Everything is mispronounced, so “four chickens” becomes “four broken pillars” and so forth. FOOD LAZZI Water and Wine Lazzo Turchetta faints. Coviello goes to fetch water for her. When Turchetta comes to, Fedelindo faints as he calls for water. At this point Coviello decides to faint and calls for wine.

Barber's Water Lazzo Disguised as a barber, Arlecchino pours the dirty and soapy water into the Doctor's drinking glass as he shaves him. Tasting Lazzo A zanni is cooking a pot of something for dinner. He continually seasons the dish, then tastes it, then adds more seasoning, tastes again, and this goes on until there is no food left in the pot. Cherries Lazzo While Scapino is speaking, Arlecchino shows his indifference by taking imaginary cherries out of his hat, eating them, and throwing the pits at Scapino. Fire Lazzo At the beginning of the meal, Harlequin arrives in a panic, saying that the kitchen is on fire. Don Juan and all the valets run there. In the meantime, Harlequin sits down and eats all he can. Optionally, when the others return complaining that there was no fire, Harlequin replies: “I said THE kitchen was on fire. I didn’t mean YOUR kitchen was on fire.” Doggie Treat Lazzo Brighella (or Columbina) offers Arlecchino food, which he eats with great enthusiasm.

Brighella then pulls out more food, making whistling/calling noises as for a dog, then tosses the food across the stage. Arlecchino runs after the food and eats it off the floor. PROP LAZZI Hat Lazzo Male character is glared at or otherwise given a seductive glance by female character. The look is so powerful that it causes his hat to fly off. Glassware Lazzo While spying or dancing, Arlecchino tips over a basket of glassware or dishes, breaking them. Straw Lazzo Arlecchino uses a long straw to steal drinks of another character's beverage. Stolen Silverware Lazzo A zanni stands still while an entire banquet's worth of stolen silverware falls from his clothing, where he's hidden them. The last item that falls out is a coffeepot or centerpiece. This is best done at a time in the play when the zanni is swearing to his honesty or innocence. SEX/SCAT LAZZI Chamber Pot Lazzo As Pantalone (or the Captain) serenades Isabella, the servant girl empties a chamber pot out the window, hitting him with the contents.

Rising Dagger Lazzo Hearing about the physical perfections of a certain woman, Pantalone's (or the Captain's) dagger begins to rise between his legs. Slime Lazzo Every time Ruffiana has sat on something, other characters complain about the spot being slimy. Hiding Lazzo Arlecchino (or Pedrolino) and Isabella (or Columbine) are alone in her room when knocking is heard. She tells Arlecchino to hide, since the knock can only belong to Pantalone. Finding no place to hide, Arlecchino is persuaded to become a chair (or statue.) Throwing a sheet over Arlecchino, who's arms form the arms of the chair and his knees a seat, Isabella calls in Pantalone. Unheeding of Isabella's warning, Pantalone sits in the Arlecchino-chair but jumps up, citing a pin in the seat. Pantalone assures Isabella that he is fine since the pin was so small. Fainting Lazzo The inamorata faints. Zanni revives her by peeing on her. Kiss and Puke Lazzo One of the women is obligated to kiss the vecchio.

Pantalone announces that his eyes are closed and that he expects a big, wet, sloppy one. The first woman (obligated to do the kissing) shoves the second woman toward Pantalone while moving away to puke at the thought of kissing the vecchio. The second woman (equally disgusted) blows a kiss at the vecchio. The vecchio feels the blown kiss and is enraptured (he should be cued audibly). The second woman joins the first in puking. The vecchio notices the first woman puking, brags on his sexual prowess being to much for her, and performs some lewd physical action. The first woman rises/turns just in time to see the vecchio performing the lewd action, is disgusted again, and returns to puking. Alternately, when the vecchio performs the action, he dislocates his hip. Doctor's Pee Lazzo Another character visits the Doctor with some ailment. The Doctor prescribes the patient to drink urine.

Patient is appalled: "You want me to drink my own urine?" The Doctor shakes his head and tells him not at all -- it can't be the patient's own urine, it has to be the Doctor's urine, and he charges $40 a bottle for the stuff. Bed Lazzo A Zanni complains to the Inamorato about the bed(s) the Inamorato broke when alone with the Inamorata. Butt Lazzo Harlequin performs some activity that would normally be done using hands (such as sealing a letter or carrying a tray) with his butt. CLASS REBELLION LAZZI Spitting Lazzo One of the zanni asks his master for permission to spit. The master agrees on condition that he not spit on anything important. The zanni proceeds to spit on another zanni or vecchio. Lazzo of Silence Pedrolino (or Pulcinella) becomes dumbfounded when his master shouts at him for doing what he thought was a duty that his master requested. Other characters enter the stage, each with a ridiculous reason for scolding Pedrolino. All this time, Pedrolino is silent.

When the Captain pinches Pedrolino to see if he is awake, he gives out a frightened cry that scares away the other characters, and calmly exits. Wine Lazzo Mezzetino serves wine at a dinner, but keeps drinking it all himself before/between filling the cups of the guests. He feigns shock at the empty bottle, apologizes and runs off to get more wine; and the lazzo repeats. Shut-Up! Lazzo Pulcinella interrupts his master's discourse. Three times his master tells him "Shut up!" Later, the master calls Pulcinella who shouts back to him "Shut up!" three times. Fly Lazzo Pulcinella has been ordered to guard his master's house. When the master returns and asks if there is anyone in the house, Pulcinella attests: "Not a fly!" But his master enters and finds hoards of people. He scolds Pulcinella, who replies: "Well, you didn't find a fly. Just people." Why Don't You? Lazzo Coviello is ordered to do something difficult by the Captain, like capture a robber in the dark or enter a cave.

Coviello continually replies, "Why don't you?" STAGE/LIFE LAZZI Lazzo of the Inside To create the illusion of ferociousness, Pulcinella, hidden from the Captain by a door, speaks in several fake voices, such as servants begging Pulcinella not to beat them anymore. Psychic Lazzo A character makes an obvious error about the historical era they're in, such as mentioning an event that takes place several hundred years in the future. Another character acts amazed that first character has suddenly become psychic, and demands fortune telling services. (A rumpology reading is particularly suitable.) This is a good cover-up lazzo for improvised shows where an actor makes a mistake that is unfunny and would risk confusing the audience. STUPIDITY LAZZI Cowardice Lazzo Pantalone and Zanni search for the man who has beaten them. They practice dueling. But when the Captain appears, they suddenly forget how to hold their swords in their fright. Pantalone and Zanni try to persuade each other to fight, pushing the other toward the Captain.

Illiteracy Lazzo An illiterate zanni is given a letter and a basket of 12 figs by his master, and told to deliver it to the Doctor (or some other character.) Zanni eats several of the figs before making the delivery. The Doctor reads the letter, which says how many figs should be in the delivery, and points out that the number is wrong, because "The letter says there should be 12." Zanni calls the letter a liar. Doctor commands the zanni to come back with the right number of figs. Zanni goes home, gets more figs. He proceeds to eat several again but makes a particular point of hiding the letter while he does so, so it won't witness the act this time. Insult Lazzo The Doctor mispronounces Pantalone's name in stupid and embarrassing ways and then asks for sexual favors from his wife or daughter. Leeches Lazzo An inamorato or vecchio, or a smart zanni like Brighella, reluctantly goes to the Doctor as a patient. The Doctor promises to offer his best remedy. Patient: "Let me guess.

Leeches?" Doctor: "Oh, I didn't know you were a medical man!" Forgotten Name Lazzo First character begins to speak to second but cannot remember the second character's name. ("Lee..." "Leandro." "Leo..." "Leandro." "La..." "Leandro." "Leandro, right.") Stupid Discovery Lazzo The Doctor, seizing upon some trivial and well-known fact, pretends that he has made the discovery, which is of the utmost importance. Lazzo of Paying Homage to All Their Names Pulcinella meets a number of characters. In an attempt to ingratiate himself with them, he begins to praise their names in ridiculously insulting and long-winded fashions. Suicidal History Lazzo Harlequin has been rejected by his beloved, and threatens suicide. He begins comparing his situation to those of famous people who committed suicide, but misremembering all the information: "Did not the Roman Lucrece kill herself for Mark Antony, Cleopatra for Tarquin? Did not Aristotle die for Galen?" TRANSFORMATION LAZZI Yes and No Lazzo Zanni attempts to play a ruse on another character. When the other character asks a question, Zanni answers yes.

But when the ruse is about to be exposed, Zanni suddenly changes his mind about the answer and replies no. This yes and no routine continues through a whole battery of questions. Lying Lazzo Zanni makes up lies and lies, each more stupid than the last. Optionally, the stupidest lie he thinks of is what convinces the others of his honesty. Movie Quotes Lazzo The inamorata or inamorato quotes famous lines from movies in a romantic, classical Shakespearean style. (e.g. "You talkin' to me? Well, who the hell else you talkin' to? &c. &c." recited in the approximate tone of "O Romeo, Romeo, wherefore art thou Romeo?") The more vulgar or violent the line recited, the better. Laughter and Tears Lazzo Arlecchino begins to laugh hysterically. Slowly, his laughing turns to weeping and tears. TRICKERY LAZZI Tart Lazzo Pantalone’s wife puts a basket over his head, promising him a tart. As Pantalone bargains, his wife’s lover slips out.

Stopped Music Lazzo Lindor (the Inamorato) is disguised as a music teacher in order to see Rosine (the Inamorata.) The Doctor boredly supervises the singing lesson, but begins to fall asleep. Once the Doctor is quite unconscious, Lindor begins to kiss Rosine, which makes the singing stop. This causes the Doctor to wake up, and the Inamoratti must quickly reset to their original positions. This continues several times. Monosyllable Lazzo Weeping, Arlecchino enters the stage. The Doctor and Trivellino question him as to his behavior, but Arlecchino only answers in monosyllables. Or, Arlecchino’s master questions him while Arlecchino eats. Concerned about a widow, the master asks increasingly complicated questions about her, while Arlecchino always manages to answer in monosyllables as he gobbles down the food. Lazzo of Cussing Out the Master Zanni #1 tells zanni #2 that his master (one of the vecchi) had treated him poorly so he cussed him out.

Zanni #2 is surprised that he got away with it, and runs off to see if he too can get away with insulting the vecchio. Zanni #2 can be heard offstage insulting the vecchio and then crying out as he's being beaten in retaliation. Zanni #1 admits to the audience, that while he had cussed out the vecchio, he had not done so to his face. Harlequin Doctor Lazzo Harlequin disguises himself as a doctor, and prescribes ridiculous and obviously lethal remedies to his patients. Lazzo of Pantalone’s Story Pantalone begins to tell ridiculous and impossible stories about adventures he has supposedly had with well-known figures from medieval/ancient history. PLOT DEVELOPMENT LAZZI Sack Lazzo A popular routine where the victim is either secreted or tricked into a cloth sack: A) Zanni (or Arlecchino) hides in the sack which the Captain (or Scaramouche) trips over and begins to beat in anger.

B) Hoping to be sneaked into his beloved's house or a room full of riches, the Captain (or Pantalone) is tricked into hiding in a sack; The Captain is then delivered into a pork butcher's hands, whose sounds of delight and knife flourishing frightens the Captain. C) Several Commedia characters are fooled into hiding in sacks; confused over the others' identities, they alternately attempt to beat and seduce each other. Gun Lazzo Cola (or Pedrolino) hired to murder the Captain (or Zanni) fires his gun, but after the smoke clears, his intended victim walks away. Realizing that he forgot to put a bullet in the gun, he jumps on it and walks away. Lazzi of Nightfall As total darkness overtakes the scene, the characters grope around the street, climb ladders into various houses, falling, bumping into objects and people, discovering what they think are bloody corpses, putting their hands inadvertently down other characters' pants and blouses, mistaking identities and conversations. Recognition Lazzo Often a concluding lazzo, this involves the exaggerated and frantic scene of sudden recognitions between several pairs of characters.

Comedia dell arte | Article about Comedia dell arte by The Free Dictionary Comedia dell arte | Article about Comedia dell arte by The Free Dictionary Also found in: Dictionary , Thesaurus , Wikipedia . commedia dell'arte (kōm-mā`dēä dĕl-lär`tā), popular form of comedy employing improvised dialogue and masked characters that flourished in Italy from the 16th to the 18th cent. Characters of the Commedia Dell'Arte The characters or "masks," in spite of changes over the years, retained much of their original flavor. Most important were the zanni, or servant types; Arlecchino, or Harlequin, was the most famous. He was an acrobat and a wit, childlike and amorous. He wore a catlike mask and motley colored clothes and carried a bat or wooden sword, the ancestor of the slapstick. His crony, Brighella, was more roguish and sophisticated, a cowardly villain who would do anything for money. Figaro and Molière's Scapin are descendants of this type.

Pedrolino was a white-faced, moon-struck dreamer; the French Pierrot Pierrot [Fr.,=little Peter], character in French pantomime. A buffoon, he wore a loose white tunic with big buttons, balloon sleeves, and white pantaloons. His face was painted white. A creation of Giuseppe Giaratone or Geratoni (fl. ..... Click the link for more information. is his descendant. Pagliaccio, the forerunner of today's clown, was closely akin to Pedrolino. Pulcinella, as seen in the English Punch and Judy Punch and Judy, famous English puppet play, very popular with children and given widely by strolling puppet players, especially during the Christmas season. It came to England in the 17th cent. ..... Click the link for more information. shows, was a dwarfish humpback with a crooked nose, the cruel bachelor who chased pretty girls. Pantalone or Pantaloon was a caricature of the Venetian merchant, rich and retired, mean and miserly, with a young wife or an adventurous daughter.

Il Dottore (the doctor), his only friend, was a caricature of learning—pompous and fraudulent; he survives in the works of Molière. Il Capitano (the captain) was a caricature of the professional soldier—bold, swaggering, and cowardly. He was replaced by the more agile Scarramuccia or Scaramouche, who, dressed in black and carrying a pointed sword, was the Robin Hood of his day. The handsome Inamorato (the lover) went by many names. He wore no mask and had to be eloquent in order to speak the love declamations. The Inamorata was his female counterpart; Isabella Andreini Andreini, Isabella Canali , 1562–1604, Italian actress. Beautiful, elegant, and well-educated, she was one of the most famous performers of her time. She joined the Gelosi troupe, becoming a leading player, and married the troupe's manager, Francesco Andreini, in 1578. ..... Click the link for more information. was the most famous. Her servant, usually called Columbine, was the beloved of Harlequin.

Witty, bright, and given to intrigue, she developed into such characters as Harlequine and Pierrette. La Ruffiana was an old woman, either the mother or a village gossip, who thwarted the lovers. Cantarina and Ballerina often took part in the comedy, but for the most part their job was to sing, dance, or play music. None of the women wore masks. Influence The impact of commedia dell'arte on European drama can be seen in French pantomime and the English harlequinade. The ensemble companies generally performed in Italy, although a company called the comédie-italienne was established in Paris in 1661. The commedia dell'arte survived the early 18th cent. only by means of its vast influence on written dramatic forms. Bibliography See K. M. Lea, The Italian Popular Comedy (2 vol., 1934, repr. 1962); W. Smith, Commedia Dell'arte (rev. ed. 1964); P. L. Duchartre, The Italian Comedy (tr. 1928, repr. 1965); A.

Nicoll, The World of Harlequin: A Critical Study of the Commedia dell'Arte (1987).

Question: Which Commedia dell'arte character was servant to the Inamorata, and the daughter of Pantaloon and courted by Harlequin?
Answer: Columbine