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Innamorati
''Gli Innamorati'' (, meaning "The Lovers") were stock characters within the theatre style known as commedia dell'arte, who appeared in 16th century Italy. In the plays, everything revolved around the Lovers in some regard. These dramatic and posh characters were present within ''commedia'' plays for the sole purpose of being in love with one another, and moreover, with themselves. These characters move elegantly and smoothly, and their young faces are unmasked unlike other commedia dell'arte characters. Despite facing many obstacles, the Lovers were always united by the end.Eick, JustiCommedia dell'Arte Origins The name ''Innamorati'' is the Italian word for "Lovers".Rudlin, John. ''Commedia dell'Arte, An Actor's Handbook''. Routledge, London, 1994, pp.106 The dramatists of the Italian Renaissance borrowed ideas from early Roman playwrights, such as Plautus and Terence, whom the theater style known as ''commedia erudita'' was inspired by. The "lovers" are the first actor, firs ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Commedia Dell'arte
(; ; ) was an early form of professional theatre, originating from Italian theatre, that was popular throughout Europe between the 16th and 18th centuries. It was formerly called Italian comedy in English and is also known as , , and . Characterized by masked "types", was responsible for the rise of actresses such as Isabella Andreini and improvised performances based on sketches or scenarios. A , such as ''The Tooth Puller'', is both scripted and improvised. Characters' entrances and exits are scripted. A special characteristic of is the , a joke or "something foolish or witty", usually well known to the performers and to some extent a scripted routine. Another characteristic of is pantomime, which is mostly used by the character Arlecchino, now better known as Harlequin. The characters of the usually represent fixed social types and stock characters, such as foolish old men, devious servants, or military officers full of false bravado. The characters are exaggerated " ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Isabella (commedia Dell'arte)
Isabella is a stock character used in ''commedia dell'arte'', in the class of innamorata (female lover). In the ''commedia dell'arte'', the relationship of the ''innamorati'', or lovers, is often threatened by the '' vecchi'' (old men) characters, but they are reunited in the end. In his 1929 book ''The Italian Comedy'', Pierre Louis Duchartre writes that Isabella changed from being mainly tender and loving in the 16th century to a more flirtatious and strong-willed woman with a "lively, picturesque wit" by the end of the 17th century. Although actress Vittoria degli Amorevoli also played an inamorata named Isabella in the 16th century, the character Isabella is named in honor of the actress and writer Isabella Andreini of the commedia troupe I Gelosi I Gelosi (; "the Zealous Ones") was an Italian acting troupe that performed commedia dell'arte from 1569 to 1604. Their name stems form their motto: , long thought to mean "Virtue, fame and honour made us jealous", or "We are jea ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Pantalone
Pantalone , spelled Pantaloon in English, is one of the most important principal characters found in . With his exceptional greed and status at the top of the social order, Pantalone is "money" in the commedia world. His full name, including family name, is ''Pantalon de' Bisognosi'', Italian for "Pantalone of the Needy".Robert Henke ''Performance and literature in the commedia dell'arte'', Improvisation and characters, Individual roles, pp. 19–24 Character Pantalone originated as part of a master/servant duo and was the original il Magnifico stock character. Carlo Goldoni, in his memoirs, named Pantalone as one of the four primary Commedia dell'Arte characters. Among other things, Pantalone is a character of Venetians; one theory is that his name derives from Saint Pantaleon (''San Pantalone''), a popular saint in Venice. Another theory is that his name derives from Venetian merchants who were called Piantaleoni. While the theories of the St Pantaleone and the lion of St Mark ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Lélio (Commedia Dell'arte)
Lélio is a stock character of the ''commedia dell'arte''. Lélio represents the happy ''innamorati'', loved by the woman he loves (often Isabella), always friendly, gay, cheerful, with a hint of comic. Several actors played the role in Paris, particularly Luigi Riccoboni who gained great successes with the part due to his talent, grace, elegance and happy countenance, as well as his son Antoine-François Riccoboni, called "Lélio fils". Molière introduced the figure of Lélio in two of his comedies, '' l'Étourdi'' and ''The Imaginary Cuckold''. Marivaux used it in his '' Surprise de l'amour'' and his '' Prince travesti''. Being of aristocratic rank, his outfit is highly sought as a court dress. See also * Pantalone * Vecchio Sources * Arthur Pougin Arthur Pougin ( 6 August 1834 – 8 August 1921) was a French musical and dramatic critic and writer. He was born at Châteauroux ( Indre) and studied music at the Conservatoire de Paris under Alard (violin) and Reber ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Romance Characters
Romance (from Vulgar Latin , "in the Roman language", i.e., "Latin") may refer to: Common meanings * Romance (love), emotional attraction towards another person and the courtship behaviors undertaken to express the feelings * Romance languages, a subgroup of the Italic languages ** Romance studies, an academic discipline studying the languages, literatures, and cultures of areas that speak a Romance language Places * Romance, Arkansas, U.S. * Romance, Missouri, U.S. * Romance, West Virginia U.S. * Romance, Wisconsin, U.S. Arts, entertainment, and media Film * Romance film, a genre of film of which the central plot focuses on the romantic relationships of the protagonists ** Romantic comedy ** Romantic thriller * ''Romance'' (1920 film), silent film, directed by Chester Withey * ''Romance'' (1930 film), starring Greta Garbo * ''Romance'' (1936 film), an Austrian film starring Carl Esmond * ''Romance'' (1983 film), a Bollywood film produced and directed by Ramanand Sagar * ' ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Commedia Dell'arte Characters
Commedia may refer to: * ''Divine Comedy'', a 1321 epic poem by Dante Alighieri, sometimes called the ''Commedia'' * ''Commedia dell'arte'', a professional form of theatre that began in Italy in the mid-16th century * ''La Commedia ''La Commedia'' is an opera in five parts composed by Louis Andriessen. A retelling of Dante's ''Divine Comedy'', the multi-language libretto was constructed by Andriessen using extracts from Dante's poem as well as several other sources including ...'', an early theatre in Naples * ''Deceit'' (1999 film), a 1999 Italian mystery film whose working title was ''Commedia'' See also * Comedia (other) {{disambiguation ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Vittoria (commedia Dell'arte)Vittoria
Vittoria may refer to: People * Vittoria (name), an Italian female given name, including a list of people * Tomás Luis de Victoria or da Vittoria (c. 1548 – 1611), Spanish composer * Alessandro Vittoria (1525–1608), Italian sculptor Places ;Australia * Vittoria, New South Wales * Vittoria, Western Australia ;Canada * Vittoria, a community in Norfolk County, Ontario ;Italy * Vittoria, Sicily, Italy Other uses * ''Vittoria'' (ship), the name of several vessels * , two Royal Navy ships * ''Vittoria'', an 1867 novel by George Meredith * Vittoria Coffee, an Australian manufacturer of coffee products * Vittoria S.p.A., an Italian bicycle tire manufacturer * Vittoria Vetra, an ''Angels & Demons'' character * A.S.D. Calcio Club Vittoria 2020, an Italian football club, based in Vittoria, Sicily See also * Vitoria (other) * Vittorio Vittorio is an Italian male given name which has roots from the Byzantine-Bulgarian name Victor. People with the given name Vittorio ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Virginia Ramponi-Andreini
Virginia Ramponi-Andreini, also known by her stage name "La Florinda" (1583 – c.1630) was a celebrated Italian actress and singer. She was known for her performances in ''commedia dell'arte'' plays, many of them written for her by her husband Giambattista Andreini, and for having created the title role in Claudio Monteverdi's lost opera ''L'Arianna''. She was born in Northern Italy in either Milan or Genoa. The exact date and place of her death are unknown. Early life: becoming "La Florinda" Born Virginia Andrea Ramponi, she has been described by her contemporaries in poems and letters as originating from either Milan or Genoa, depending on the source. The first secondary source to record her life in any detail was an entry in Francesco Bartoli's two volume biographical dictionary of Italian actors, ''Notizie istoriche de comici italiani'', published in 1781. Little is known about her life prior to her marriage in 1601 to the Florentine actor and playwright Giambattista Andr ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Elena Balletti
Elena Balletti, Elena Riccoboni or Flaminia (27 April 1686 – 29 December 1771) was an Italian actress, poet, woman of letters, playwright and writer. Personal life Elena Virginia Balletti was born in Ferrara to a family of actors. Her parents were Francesco and Giovanna Benozzi, with the Francesco Calderoni company. She inherited the stage name Flaminia from her grandmother Agata Calderoni, as the name was passed down through the family. She was the second wife of the director of her theatre company, fellow actor Luigi Andrea Riccoboni. They were married in 1706. Their son was actor Antoine-François Riccoboni. Her brother Guiseppi Balletti remained in the company and travelled to France with her. Career She learned Latin, Greek, Spanish and French and was considered culturally well educated. She was admitted to the Pontifical Academy of Arcadia as a poet. She wrote under the name ''Mirtinda Parraside''. Balletti was also a member of the academies of Ferrara, Bologna and Venic ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Conceit
An extended metaphor, also known as a conceit or sustained metaphor, is the use of a single metaphor or analogy at length in a work of literature. It differs from a mere metaphor in its length, and in having more than one single point of contact between the object described (the so-called tenor) and the comparison used to describe it (the vehicle). These implications are repeatedly emphasized, discovered, rediscovered, and progressed in new ways. History of meaning In the Renaissance, the term (which is related to the word concept) indicated the idea that informed a literary work--its theme. Later, it came to stand for the extended and heightened metaphor common in Renaissance poetry, and later still it came to denote the even more elaborate metaphors of 17th century poetry. The Renaissance conceit, given its importance in Petrarch's ''Il Canzoniere'', is also referred to as Petrarchan conceit. It is a comparison in which human experiences are described in terms of an outsized met ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Prosopopoeia
A prosopopoeia ( grc-gre, προσωποποιία, ) is a rhetorical device in which a speaker or writer communicates to the audience by speaking as another person or object. The term literally derives from the Greek roots "face, person", and "to make, to do;" it is also called personification. Prosopopoeiae are used mostly to give another perspective on the action being described. For example, in Cicero's Pro Caelio, Cicero speaks as Appius Claudius Caecus, a stern old man. This serves to give the "ancient" perspective on the actions of the plaintiff. Prosopopoeiae can also be used to take some of the load off the communicator by placing an unfavorable point of view on the shoulders of an imaginary stereotype. The audience's reactions are predisposed to go towards this figment rather than the communicator himself. This term also refers to a figure of speech in which an animal or inanimate object is ascribed human characteristics or is spoken of in anthropomorphic language. Q ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
