Whenever we find a written script which looks as if it might be informative, then by purist definition it is no longer improvised and therefore no longer .This creates a problem of evidence which in strict logic is insoluble, and throws us back of necessity on various forms of speculation in which instinct, hunch, probability and even practical experience must all play their part.
Whenever we find a written script which looks as if it might be informative, then by purist definition it is no longer improvised and therefore no longer .
These farces arose in Campania, near Atella (today known as Aversa) towards the late Fourth Century BC, and when they were introduced at Rome, it was as a postlude to a tragedy.
From the Atellane, the Commedia dell'Arte took a penchant for the ad lib jest, leavened with obscenity, amusing the public through improvisation.
He's always on the prowl and he could be termed a Beelzebub of sex.
Any woman who happens to cross his path becomes at once an object of winks, leers and nudges...
The Etruscans held a rustic festival (i fescennini, ancient Italic songs typical of the city of Fescennio), based on the coarse pranks the gleaners and harvesters would play on one another.
The Festival's traits are very like what later became the Atellane: crude farces and political satire, improvised on a sketchy scenario, and often recited by one actor, whilst another would illustrate the events in mime.Licensed under GNU Free Documentation License" data-lightbox="media-gallery-1567845248" Personnage de la commedia dell'arte.Petite statue en plâtre peint (environ 100 cm) provenant du Théâtre Séraphin installé au Palais-Royal à la fin du XVIIIe siècle et conservée au musée Carnavalet à Paris (série de quatre pièces : Arlequin – Pantalone – by Wikipedia.His signature props are a gold chain hung around his neck with a large medallion as well as a dagger and a money pouch.He also carried a ubiquitous handkerchief and used a walking cane. Petite statue en plâtre peint (environ 100 cm) provenant du Théâtre Séraphin installé au Palais-Royal à la fin du XVIIIe siècle et conservée au musée Carnavalet à Paris (série de quatre pièces : Arlequin – Pantalone – by Wikipedia.The teatro fliacico too was based on a dispute between stock characters - the miserly old man, the cunning servant, the idle lout, the ne'er-do-well.Through contact with the Hellenic world, that intensified after Rome conquered Magna Grecia in the Third Century BC, plays of the Greek type began to be put up at Rome.Besides the stock characters of the Atellan farce were monstrous beings: Lamia, the gossipy intrigant, Manducus, the glutton, who is related, in part, both to Plautus' Miles Gloriosus (boastful soldier) and to the Capitan in the Commedia dell'Arte (Duchartre).Like other Atellan stock characters, both Pantalone and Scaramuccia occasionally wear a phallus, while Arlecchino and Pulcinella defend themelves with a bludgeon.We have to decide empirically, not logically, what can rank in any dramatic script as ‘evidence’ of the influence of non-scripted performing practice, and in our present context what might constitute ‘evidence’ of influence on English Renaissance theatre or any other theatre of the period.This article proposes, on the basis of hunch, probability and some limited experience, that a part of the evidence which might be considered, alongside many other features, is the structuring of dialogue in a certain identifiable way which could be called ‘modular’.