History Main / CommediaDellArte

13th Apr '16 6:18:22 PM capretty
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* ''MoulinRouge'' is an example with Christian and Satine as the innamorati, The Duke and, to a lesser extent, Zidler, as the Old People trying to keep them apart, and Toulouse and the Bohemians as the Servants trying to keep them together. The difference is that The Lovers are the ones clearly driving the plot while the Servants are more sidelined. [[spoiler: It also does not have a happy ending.]]
10th Jan '16 9:36:53 PM 10-13-2
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Added DiffLines:

See VillainousHarlequin for a more contemporary depiction of this genre's most famous character.
28th Nov '15 7:39:44 AM Divra
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** ''Theatre/RomeoAndJuliet'' has its eponymous innamorati, Friar Lawrence the tartaglia (with the subversion that he's sort of right about everything), Lord and Lady Capulet (the pantalone and the signora), and Tybalt the capitano, with Mercutio as Arlecchino.

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** ''Theatre/RomeoAndJuliet'' is, if anything, a deconstruction. It has its eponymous innamorati, Friar Lawrence the tartaglia (with the subversion that he's sort of right about everything), Lord and Lady Capulet (the pantalone and the signora), and Tybalt the capitano, with Mercutio as Arlecchino.Arlecchino and Benvolio as Pierrot. However, the ZanyScheme doesn't work out, the innamorati don't get a HappilyEverAfter, and a lot of people die.
19th Nov '15 11:24:26 AM FF32
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* Commedia dell'Arte motifs figure in the later JerryCornelius stories by Creator/MichaelMoorcock, particularly ''The Condition of Muzak'' and ''The Entropy Tango''.

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* Commedia dell'Arte motifs figure in the later JerryCornelius [[Literature/TheCorneliusChronicles Jerry Cornelius]] stories by Creator/MichaelMoorcock, particularly ''The Condition of Muzak'' and ''The Entropy Tango''.
24th Oct '15 4:23:58 PM nombretomado
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** At least one version of ''Theatre/TheTamingOfTheShrew'', produced for television in the '70s by [[{{PBS}} WNET New York]], is explicitly Commedia, down to the costumes and presentation style.

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** At least one version of ''Theatre/TheTamingOfTheShrew'', produced for television in the '70s by [[{{PBS}} [[Creator/{{PBS}} WNET New York]], is explicitly Commedia, down to the costumes and presentation style.
1st Aug '15 9:49:35 AM Prfnoff
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** Other Shakespeare plays play this straight, sometimes so straight as to be more dramatic than comedic. ''Theatre/RomeoAndJuliet'' has its eponymous innamorati, Friar Lawrence the tartaglia (with the subversion that he's sort of right about everything), Lord and Lady Capulet (the pantalone and the signora), and Tybalt the capitano, with Mercutio as Arlecchino. ''Theatre/TheMerchantOfVenice'' has Portia and Bassanio the innamorati, as well as Shylock the Pantalone. And of course, Touchstone, Bottom, Gratiano, and many others are perfect arlecchini. ''The Merry Wives of Windsor'' has Innamorati, a foolish doctor and a priest with a "speech impediment" (actually an outrageous Welsh accent), and Falstaff of all people as a sleazy Pantalone-type.

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** Other Shakespeare plays play this straight, sometimes so straight as to be more dramatic than comedic. ''Theatre/RomeoAndJuliet'' has its eponymous innamorati, Friar Lawrence the tartaglia (with the subversion that he's sort of right about everything), Lord and Lady Capulet (the pantalone and the signora), and Tybalt the capitano, with Mercutio as Arlecchino. Arlecchino.
**
''Theatre/TheMerchantOfVenice'' has Portia and Bassanio the innamorati, as well as Shylock the Pantalone. And of course, Touchstone, Bottom, Gratiano, and many others are perfect arlecchini. ''The Merry Wives of Windsor'' arlecchini.
** ''Theatre/TheMerryWivesOfWindsor''
has Innamorati, a Fenton and Anne as the innamorati, the foolish doctor and a Caius, Evans as the priest with a "speech impediment" (actually an outrageous Welsh accent), and Falstaff of all people as a sleazy Pantalone-type.
3rd Jun '15 4:32:08 AM Vandegraff1
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* Partly-inverted in the ''Literature/JeevesAndWooster'' series of Creator/PGWodehouse. On the one hand, the manservant [[TheJeeves Jeeves]] is always ready with a ZanyScheme to help his social betters work their way around a ParentalMarriageVeto or some other such problem. But on the other hand, he - and most other servants - are portrayed as highly dignified characters, with all of the real clowning done by the upper classes, with his master, Bertie Wooster, as a rare aristocratic ''Arlechhino''. That said, many of the upper class characters fit these archetypes pretty well, despite not being servants, with Bertie's aunts Dahlia and Agatha representing different takes on the ''Signora'' (as Bertie puts it in a moment of hyperbole, Agatha eats broken bottles and turns into a werewolf by the full moon, while Dahlia is the sort of werewolf whom it is a pleasure to know), the constantly-infatuated Bingo Little is an ''innamorato'' (with the tendency to fall in love with barmaids; rather appropriate, given the class inversion at play here), the drippy newt-enthusiant Gussy Fink-Nottle is a ''Pierrot'', Madeleine Basset (who believes every time a fairy blows its nose, a baby is born) is a comedic take on the ''innamorata'', the unscrupulous bookmaker Rupert Steggles is ''Brighella'', and the paranoiac nerve-specialist Sir Roderick Glossop is ''Il Dottore''. Likewise, there's always a violent ''Pulcinella'' figure on hand to threaten Bertie with bodily harm, most notably the hot-tempered Tuppy Glossop and the would-be fascist dictator Roderick Spode.

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* Partly-inverted in the ''Literature/JeevesAndWooster'' series of Creator/PGWodehouse. On the one hand, the manservant [[TheJeeves Jeeves]] is always ready with a ZanyScheme to help his social betters work their way around a ParentalMarriageVeto or some other such problem. But on the other hand, he - and most other servants - are portrayed as highly dignified characters, with all of the real clowning done by the upper classes, with his master, Bertie Wooster, as a rare aristocratic ''Arlechhino''. ''Arlecchino''. That said, many of the upper class characters fit these archetypes pretty well, despite not being servants, with Bertie's aunts Dahlia and Agatha representing different takes on the ''Signora'' (as Bertie puts it in a moment of hyperbole, Agatha eats broken bottles and turns into a werewolf by the full moon, while Dahlia is the sort of werewolf whom it is a pleasure to know), the constantly-infatuated Bingo Little is an ''innamorato'' (with the tendency to fall in love with barmaids; rather appropriate, given the class inversion at play here), the drippy newt-enthusiant newt-enthusiast Gussy Fink-Nottle is a ''Pierrot'', Madeleine Basset (who believes every time a fairy blows its nose, a baby is born) is a comedic take on the ''innamorata'', the unscrupulous bookmaker Rupert Steggles is ''Brighella'', and the paranoiac nerve-specialist Sir Roderick Glossop is ''Il Dottore''. Likewise, there's always a violent ''Pulcinella'' figure on hand to threaten Bertie with bodily harm, most notably the hot-tempered Tuppy Glossop and the would-be fascist dictator Roderick Spode.
9th May '15 9:36:54 PM JulianLapostat
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* Creator/JeanRenoir's ''The Golden Coach'' is a 1952 film {{Homage}} to Commedia'dell Arte, bringing the style to cinema with legendary actress Anna Magnani playing Colombina
26th Apr '15 8:16:14 AM Veanne
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* ''Literature/{{Zemsta}}'' has:
** Wacław - ''inamorato''
** Klara - ''inamorata/colombina''
** Papkin - ''il capitano''
** Rejent - ''il dottore/pantalone'' (more of ''il dottore'')
** Cześnik - ''il dottore/pantalone''
** Podstolina - ''la segnora''
10th Dec '14 10:32:40 PM Prfnoff
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* In the Music/GiacomoPuccini opera ''Gianni Schicchi'', much of the characterization is in the commedia dell'arte tradition. Rinucchio and Lauretta are obviously the ''innamorati'', with nothing much to do while most of the ''vecchi'' are trying to keep them apart. Maestro Spinelloccio is ''il Dottore'', complete with Bolognese accent. The title character combines the mercuriality of Arlecchino with the greedy scheming of Brighella, and is the father of the ''innamorata''.

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* In the Music/GiacomoPuccini opera ''Gianni Schicchi'', much of the characterization is in the commedia dell'arte tradition. Rinucchio and Lauretta are obviously the ''innamorati'', with nothing much to do while most of the ''vecchi'' are trying to keep them apart. Maestro Spinelloccio is ''il Dottore'', complete with Bolognese accent. The title character combines the mercuriality of Arlecchino with the greedy scheming greed and magnificent duplicity of Brighella, and is the father of the ''innamorata''.
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