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HUZ Commedia dell´Arte

Music: Quadro Nuevo, Luna Rossa Graphics: HUZ The commedia dell'arte developed in Italy in the 16th century from the traditional groupings of fairground artists of various professions as buffoni or Ciarlatani (collectively referred to as "arte giullaresca"). Here especially the Venetian actor Angelo Beolco, called Il Ruzzante ("the raucous players"), and his troops are considered owners. They recorded, in Paduanischem dialect and disguised as peasants who Fairs, but already the courtyards, as the Duke of Mantua. They peaked in the 17th and came to an end in the 18th century. In this case, this form of theater first developed in the two strongholds Venice (the northern commedia dell'arte) and in Naples (southern commedia dell'arte). Usually she was, unlike the former scholarly prose theater (Commedia erudita) whose performers were amateurs, operated by professional actors who acted in the family. "Professional" means here that they occurred for the purpose of making money, living together in community and were involved in the revenue. Also here were already women play what was to them, except in the opera, banned at the time. The commedia dell'arte was spread by itinerant troupes such as the I Gelosi throughout Europe. The center of the commedia dell'arte was in the 18th century no longer Italy, but Paris, Europe's largest city. There she was seen at the Paris fair theaters and the Comédie-Italienne in. During the French Revolution was the commedia dell'arte in France, where she had a permanent place since Louis XIV., Prohibited. Various sources report but about the fact that this form of theater was like themselves already at the court in disgrace, it is because a piece was not acceptable, it is because a malicious remark of an actor on a present for nobles aroused the displeasure of the king should be. The group retreated to the Paris Fairs, where the word to them was banned soon. Thereafter, the commedia dell'arte had virtually nothing to do with her Italian origins. Not later than in the time of Napoleon, this once dominant European theatrical form had virtually disappeared. Next it existed only as so-called Pantomime on the ballet stage. Its history is closely linked with the ensemble again and this closely with the actors. After they had reached a perfection within the framework of their characters, these were increasingly devoid of content, while the increasingly demanded by the censor fixation of texts resulted in a routine. Also, the subsequent contact with the upper middle class and the nobility, which was contrary to the original character of a popular comedy, as well as the strengthening of the court theater may have contributed to the decline. In the 20th century the commedia dell'arte was rediscovered in many different forms throughout Europe and invigorated.