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Ortensio Faà Di Bruno
(; ) 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 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. Origins The name is the Italian word for 'lovers'. The dramatists of the Italian Renaissance borrowed ideas from early Roman playwrights, such as Plautus and Terence, whom the theater style known as was inspired by. The lovers are the first actor, first actress, second actor, and second actress. Characteristics and dramatic function The comedy of the lovers is that they are ridiculous and over the top about everything, but they are completely sincere i ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Antithesis
Antithesis (: antitheses; Greek for "setting opposite", from "against" and "placing") is used in writing or speech either as a proposition that contrasts with or reverses some previously mentioned proposition, or when two opposites are introduced together for contrasting effect. Antithesis can be defined as "a figure of speech involving a seeming contradiction of ideas, words, clauses, or sentences within a balanced grammatical structure. Parallelism of expression serves to emphasize opposition of ideas". An antithesis must always contain two ideas within one statement. The ideas may not be structurally opposite, but they serve to be functionally opposite when comparing two ideas for emphasis. According to Aristotle, the use of an antithesis makes the audience better understand the point the speaker is trying to make. Further explained, the comparison of two situations or ideas makes choosing the correct one simpler. Aristotle states that antithesis in rhetoric is similar to ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Commedia Dell'arte
Commedia dell'arte was an early form of professional theatre, originating from Theatre of Italy, 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 Theatre mask, masked "types", was responsible for the rise of actresses such as Isabella Andreini and Improvisational theatre, improvised performances based on Sketch comedy, sketches or scenarios. A , such as ''The Tooth Puller'', contains both scripted and improvised portions; key plot points and characters' entrances and exits are scripted, but the actors may otherwise be expected to improvise new gags on stage. 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 Mime artist, pantomime, which is mostly used by the character Harlequin, Arlecchino, now better known as H ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Isabella (commedia Dell'arte)
Isabella is a stock character used in ''commedia dell'arte Commedia dell'arte was an early form of professional theatre, originating from Theatre of Italy, Italian theatre, that was popular throughout Europe between the 16th and 18th centuries. It was formerly called Italian comedy in English and is a ...'', 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 innamoratta named Isabella in the 16th century, the character Isabella is named to honour the actress and writer Isabella Andreini of th ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Virginia Ramponi-Andreini
Virginia Ramponi-Andreini, also known by her stage name "La Florinda" (January 1, 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 Florence, Florentine actor and playwrigh ... [...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 Veni ... [...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 and 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] |
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 ''conceit'' (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 a ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Prosopopoeia
A prosopopoeia (, ) is a rhetorical device in which a non-human element speaks or is spoken to as a human. The term derives from the Greek words () and (). 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. Quintilian writes of the power of this figure of speech to "bring down the gods from heaven, evoke the dead, and give voices to cities and sta ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Metaphor
A metaphor is a figure of speech that, for rhetorical effect, directly refers to one thing by mentioning another. It may provide, or obscure, clarity or identify hidden similarities between two different ideas. Metaphors are usually meant to create a likeness or an Analogy, analogy. Analysts group metaphors with other types of figurative language, such as antithesis, hyperbole, metonymy, and simile. According to Grammarly, "Figurative language examples include similes, metaphors, personification, hyperbole, allusions, and idioms." One of the most commonly cited examples of a metaphor in English literature comes from the "All the world's a stage" monologue from ''As You Like It'': All the world's a stage, And all the men and women merely players; They have their exits and their entrances And one man in his time plays many parts, His Acts being seven ages. At first, the infant... :—William Shakespeare, ''As You Like It'', 2/7 This quotation expresses a metaphor because the w ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Irony
Irony, in its broadest sense, is the juxtaposition of what, on the surface, appears to be the case with what is actually or expected to be the case. Originally a rhetorical device and literary technique, in modernity, modern times irony has also come to assume a metaphysical significance with implications for the correct human attitude towards life. The concept originated in ancient Greece, where it described a dramatic character who pretended to be less intelligent than he actually was in order to outwit boastful opponents. Over time, ''irony'' evolved from denoting a form of deception to, more liberally, describing the deliberate use of language to mean the opposite of what it says for a rhetorical effect intended to be recognized by the audience. Due to its double-sided nature, irony is a powerful tool for social bonding among those who share an understanding. For the same reason, it is also a source of division, sorting people into insiders and outsiders depending upon w ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Invocation
Invocation is the act of calling upon a deity, spirit, or supernatural force, typically through prayer, ritual, or spoken formula, to seek guidance, assistance, or presence. It is a practice found in numerous religious, spiritual, and esoteric traditions, where it serves to establish a connection between the human and the divine or metaphysical realms. Invocation can be directed toward a singular deity, multiple deities, spirits, or abstract forces, and may involve formal liturgies, spontaneous prayers, chants, or symbolic actions. Unlike evocation, which is generally understood as calling a spirit to appear outside the practitioner, invocation often implies inviting the entity to be present within or to closely align with the practitioner. The purpose of invocation varies across cultural and religious contexts. In many traditions, it is used to request divine intervention, protection, wisdom, or blessings in personal or communal matters. Invocation may also serve to con ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
