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The Art of Commedia
A Study in the Commedia dellâArte 1560â1620 with Special Reference to the Visual Records
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Italian comedians attracted audiences to performances at every level, from the magnificent Italian, German and French court festival appearances of Orlando di Lasso or Isabella Andreini, to the humble street trestle lazzi of anonymous quacks. The characters they inspired continue to exercise a profound cultural influence, and an understanding of the commedia dellâarte and its visual record is fundamental for scholars of post-1550 European drama, literature, art and music. The 340 plates presented here are considered in the light of the rise and spread of commedia stock types, and especially Harlequin, Zanni and the actresses. Intensively researched in public and private collections in Oxford, Munich, Florence, Venice, Paris and elsewhere, they complement the familiar images of Jacques Callot and the Stockholm Recueil Fossard within a framework of hundreds of significant pictures still virtually unknown in this context. These range from anonymous popular prints to pictures by artists such as Ambrogio Brambilla, Sebastian Vrancx, Jan Bruegel, Louis de Caulery, Marten de Vos, and members of the Valckenborch and Francken clans. This volume, essential for commedia dellâarte specialists, represents an invaluable reference resource for scholars, students, theatre practitioners and artists concerned with commedia-related aspects of visual, dramatic and festival culture, in and beyond Italy.
"[a] very important volume, a milestone in commedia dellâarte scholarship."
â in: Renaissance Quarterly 60.1 (2007)
"Katritzkyâs study is impressively wide-ranging, and systematically treats in meticulous detail many aspects of the Italian playersâ beginnings and early heyday through to 1620." â in: Theatre Research International 33/3 (2008)
"Katritzkyâs monographs opens a new door to commedia dellâarte scholarship. It is required reading for anybody who is interested in the topicâ¦"
â in: Arbitrium 2 (2008)
â in: Renaissance Quarterly 60.1 (2007)
"Katritzkyâs study is impressively wide-ranging, and systematically treats in meticulous detail many aspects of the Italian playersâ beginnings and early heyday through to 1620." â in: Theatre Research International 33/3 (2008)
"Katritzkyâs monographs opens a new door to commedia dellâarte scholarship. It is required reading for anybody who is interested in the topicâ¦"
â in: Arbitrium 2 (2008)
Acknowledgements
Foreword
Introduction
I The commedia dellâarte
I.i The rise and spread of professional acting and
commedia dellâarte troupes in sixteenth century Italy
I.ii A case study in early patronage and geographic
spread: the Munich wedding performance of 1568
I.iii Stock types and players of the commedia dellâarte
II Art-historical analysis: some case studies
II.i The Recueil Fossard
II.ii Inspiration and imitation. The progressive
stereotyping of shared artistic motifs: Antonio
Tempesta and some Flemish carnival paintings
II.iii Sterlingâs âEarly paintings of the commedia dellâarte
in Franceâ reconsidered
III Theatrical interpretation: some case studies
III.i Scenery, settings and stages
III.ii Zanni and Pantalone
III.iii Some further comic types
III.iv Composite, multiple and serial images
Conclusion
Bibliography
Index
Plates 1â340
Foreword
Introduction
I The commedia dellâarte
I.i The rise and spread of professional acting and
commedia dellâarte troupes in sixteenth century Italy
I.ii A case study in early patronage and geographic
spread: the Munich wedding performance of 1568
I.iii Stock types and players of the commedia dellâarte
II Art-historical analysis: some case studies
II.i The Recueil Fossard
II.ii Inspiration and imitation. The progressive
stereotyping of shared artistic motifs: Antonio
Tempesta and some Flemish carnival paintings
II.iii Sterlingâs âEarly paintings of the commedia dellâarte
in Franceâ reconsidered
III Theatrical interpretation: some case studies
III.i Scenery, settings and stages
III.ii Zanni and Pantalone
III.iii Some further comic types
III.iv Composite, multiple and serial images
Conclusion
Bibliography
Index
Plates 1â340