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1	A Fool's Journey: An Exploration of Physical Comedy in Theory and Practice Pinkham, Bryce Allen January 2005 (has links) Thesis advisor: Scott T. Cummings / My Senior Honors Thesis may be understood as a two-part investigation that addresses both theoretical and practical concerns of physical comedy and the language of gesture. I will first present some of my more general findings about comedy in order to more accurately zero in on the figure of 'the Fool.' I will thereafter investigate the function of the Fool in society and report on two of his most definitive iterations: Arlecchino, of the Italian Commedia dell'Arte and Bill Irwin of the contemporary stage. These theoretical components will eventually serve as a foundation for the practical side of my project- the creation of my own physical performance piece. In the final part of this document I will outline the process of conceiving and developing a physical comedy performance all my own, referring to my research whenever possible. My hope is that this paper will serve as both an informational document about some of the most important historical influences on physical comedy and the language of gesture, as well as relate how those influences affected me in the process of imagination and creation that is the joy of theatre. / Thesis (BA) — Boston College, 2005. / Submitted to: Boston College. College of Arts and Sciences. / Discipline: Theater. / Discipline: College Honors Program. Theater Comedy Commedia dell'Arte Bill Irwin Arlecchino Mime Fool
2	Arlecchino's Journey: Crossing Boundaries Through La Commedia Dell'arte Sobeck, Janine Michelle 15 August 2007 (has links) (PDF) La commedia dell'arte is a recognized, vibrant theatrical form that emerged in Italy during the Renaissance. However, while great attention has been given to the particulars of the genre (performance techniques, important troupes, leading players), there lacks a study behind the reasoning for its vast international popularity. In this thesis, I explore why this particular genre was able to cross cultural and linguistic boundaries, finding a dedicated and enthusiastic following in most European countries for over 200 years. After analyzing commedia dell'arte's original development in the Italian peninsula, examining the predominating Carnival ideology and the ability of the troupes to establish both regional and national symbols through the creation of specific stock characters, I will concentrate on the international tours and performances. By looking at the adaptive qualities of the troupes, and specifically their ability to play off of Europe's lack of national identity and Northern European's fascination with their exotic southern neighbor, I will discuss the reaction of Northern Europe with the Italian theatre, with a detailed look into the success of the troupes abroad. The popularity of the troupes will also be explored through the unique adaptation, assimilation and adoption of commedia dell'arte techniques and characters into developing national theatres of the other countries. I will conclude with a look of how commedia dell'arte has been and can continue to be effectively used in today's theatre. The examination of what drew both native and foreign audiences to the commedia dell'arte performances opens up possibilities for modern practitioners who wish to capitalize on the ability of the troupes to successfully play to a wide spectrum of people. commedia dell'arte Italian theatre renaissance international theatre masks stock characters improvisation carnival lazzi Vsevolod Meyerhold Dario Fo San Francisco Mime Troupe Jacques Copeau Edward Gordon Craig Arlecchino Pantalone Dottore Pulcinella Pierrot Punch Ganassa Bottarga Film and Media Studies Theatre and Performance Studies

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A Fool's Journey: An Exploration of Physical Comedy in Theory and Practice

Arlecchino's Journey: Crossing Boundaries Through La Commedia Dell'arte