This is an interdisciplinary study that aims to reassess Dante's use of Franciscan sources in the Divine Comedy. Particularly, I focus on two important, yet marginalized, theologians: the Provençal friar Pietro di Giovanni Olivi, and his disciple, Ubertino da Casale. Both are coeval of Dante Alighieri, and served as lectores in Florence. In particular, I examine the eschatological aspects of their works, in an attempt to understand how they contribute to Dante's own eschatological vision. Ubertino and Olivi were extremely interested in understanding history through the dense symbolism of the Apocalypse. Therefore, I inspected their works, particularly Olivi's Lectura Super Apocalipsim (a commentary on the Apocalypse written in 1298, of which there exist no modern editions), and Ubertino's Arbor Vitae Crucifixae Jesu, "The Tree of the Crucified Life of Jesus," a massive work on the life of Christ, composed in 1305, in which the author incorporates and develops large parts of Olivi's commentary. I attempt to disentangle the crossed references that link these two books with Dante's Divine Comedy. I aim to revise our knowledge of Dante's appropriation of these sources, for I believe that scholars have unjustly dismissed Ubertino as an unoriginal mediator, on the ground of his ideological dependence on Olivi. Therefore I propose an amendment in Ubertino's favor. Upon a redefinition of Dante's ideological genealogy, I hope to improve our comprehension of how Dante incorporates the eschatology debate of his time in the sacred poem.

Il presente studio ha posto come obiettivo di delineare gli sviluppi della commedia plautino-terenziana nel periodo post-tridentino esaminando le commedie di Luigi Groto il Cieco di Adria (1541-1585). Il periodo di primo Cinquecento vide il «recupero» e la «reinvenzione» della commedia che partì dal modello plautino, adattando ai bisogni del tempo e del pubblico del Rinascimento. All'inizio del Cinquecento prevalse la commedia «motoria» di Plauto basata sull'intreccio, sulle beffe e sull'azione. quando la struttura della commedia iniziò a irrigidirsi, il modello pralutino venne approfondito usando elementi della «stataria», di modello terenziano, basata sullo studio dei caratteri. Tale cambiamento avvenne anche all'interno di alcuni letterati del secolo, Angelo Beolco e Pietro Aretino, entrambi fondamentali per la presente analisi. Le tre commedie in questione, composte da Luigi Groto sono molto diverse tra di loro. Ogni capitolo del presente studio analizzerà una sola commedia e ciascuna da un solo punto di vista. Il primo capitolo avrà come oggetto la proposta linguistica del Groto presentata nella sua prima commedia, intitolata La Emilia, opera di stampo chiaramente ariostesco. Nel secondo capitolo potremo conoscere il quadro offerto dal confronto di diverse concezioni della donna. Nella seconda commedia del Groto, intitolata Il Thesoro, infatti, saranno confrontate una vasta gamma di personaggi femminili, tra cui la più trasgressiva, Licinia, la giovane malmaritata. Questa commedia, chiaramente, è di stampo aretinesco. Il terzo capitolo esaminerà la struttura «hedonistica» de La Alteria, una metacommedia per eccellenza di stampo formalmente terenziano, ma con influssi dei tre maestri: Ariosto, Beolco e Aretino. / The aim of the present study is to define the development of the comedy of Plauto-Terencian origin after the Council of Trent. It will examine the comedies of Luigi Groto, comparing them with other comedies of the Sixteenth Century. There was a reinvention of the comedy based on the Plautian model in the first half of the Cinquecento. The model (called motoria), which was full of effects and lively with action, was adapted to the needs of the era and the public taste. Subsequently this model was enriched by patterns of the Terencian comedy called stataria. The stataria, differently from the motoria, gave more room to characters and to reflections of the comedy itself. Some playwrights, i.e. Angelo Beolco and Pietro Aretino, both fundamental for the study, followed this development in their plays. The three comedies that we are going to analyse, differ from each other. Every chapter is going to examine only one comedy and only from one point of view. In the first chapter, we are going to analyse the language of comedy that Groto proposed in the La Emilia (1579). This play is based on Ludovico Aroisto's elaboration of Plautus. In the second chapter, we are going to look at different perceptions of female characters in the Il Thesoro (1583), Groto's second comedy. We will see how the change in the importance of women on stage modified the other characters. In the last chapter we are going to interpret how the La Alteria (1587), based on Terence and Aretino, became a pure metacomedy, and how its hedonistic structure was influenced by Ariosto, Aretino and Beolco.

This dissertation is a study of the comic intermezzo’s literary origins and musical practice in the years before Pergolesi’s La serva padrona (1733). It begins with a chronological examination of Italian comic plays and operas written between 1660 and 1723. During these years comic playwrights adopted a style of writing speech from the improvised theatre which makes use of what Richard Andrews (1993) refers to as “elastic gags.” This style of comedy flourished under Medici patronage in Florence in the last decades of the seventeenth century and then spread to Venice, Rome and Naples during the first years of the intermezzo’s development. It is a style of comedy shared with the plays of Molière, and other contemporaneous French authors. This dissertation examines several scenes based on French works which have previously not been identified as having earlier sources. The decision to adapt these earlier sources for the intermezzo did not occur in a vacuum. The practice of comedy in the intermezzo was conditioned by the artistic, social and political climate of Italy. This study investigates the relationship between intermezzos and the milieus which produced them. The success of some intermezzos, like Il marito giocatore (1719), resulted from a combination of their artistic merit and their broad social appeal, while others, like Albino e Plautilla (1723), were musically adept but remained obscure because their humour was specific to the world they satirized. Both intermezzos are indebted to earlier French sources. Many others which are metatheatrical in nature draw on contemporary debates about opera. A final section examines selected arias from the intermezzo repertory using incongruity theory. Comic theory makes clear that the intermezzo’s musical language was not a new development. Just as librettists drew on earlier written traditions to form the literary text of the intermezzo, composers drew on existing musical practices to create humour. The intermezzo was therefore not naively comic—a portrait of the genre which is all too common—but rather a repertory which was thoroughly enmeshed within contemporary artistic practice and a wider social and cultural world.

This dissertation is a study of the comic intermezzo’s literary origins and musical practice in the years before Pergolesi’s La serva padrona (1733). It begins with a chronological examination of Italian comic plays and operas written between 1660 and 1723. During these years comic playwrights adopted a style of writing speech from the improvised theatre which makes use of what Richard Andrews (1993) refers to as “elastic gags.” This style of comedy flourished under Medici patronage in Florence in the last decades of the seventeenth century and then spread to Venice, Rome and Naples during the first years of the intermezzo’s development. It is a style of comedy shared with the plays of Molière, and other contemporaneous French authors. This dissertation examines several scenes based on French works which have previously not been identified as having earlier sources. The decision to adapt these earlier sources for the intermezzo did not occur in a vacuum. The practice of comedy in the intermezzo was conditioned by the artistic, social and political climate of Italy. This study investigates the relationship between intermezzos and the milieus which produced them. The success of some intermezzos, like Il marito giocatore (1719), resulted from a combination of their artistic merit and their broad social appeal, while others, like Albino e Plautilla (1723), were musically adept but remained obscure because their humour was specific to the world they satirized. Both intermezzos are indebted to earlier French sources. Many others which are metatheatrical in nature draw on contemporary debates about opera. A final section examines selected arias from the intermezzo repertory using incongruity theory. Comic theory makes clear that the intermezzo’s musical language was not a new development. Just as librettists drew on earlier written traditions to form the literary text of the intermezzo, composers drew on existing musical practices to create humour. The intermezzo was therefore not naively comic—a portrait of the genre which is all too common—but rather a repertory which was thoroughly enmeshed within contemporary artistic practice and a wider social and cultural world.

This master’s thesis discusses the term physical theatre from a discourse point of view. It also focuses on aspects of power from a field theory perspective. The main theory used is Pierre Bourdieu’s field theory, and I try to apply this onto critical discourse analysis, mainly taken from Michel Foucault. The forms of physical theatre I focus on are mainly commedia dell’arte, theatre forms inspiredby Grotowski and Artaud, as well as mime, performance and contemporary circus. These are all theatre forms that focus especially on the body. My aim is to explore the status and discourse of physical theatre in Sweden today. The thesis is divided into two main parts. First, I present research concerning empirical data, where I search for the term physical theatre, as well as other forms of describing these theatre forms, in magazines, theatre playlists, texts about theatre troups etc. The term physical theatre is not very common in these texts, it is often described as dance-theatre for example. It is also prominent that the view on what physical theatre is has changed, theatre forms which focus on the body and its expression have been incorporated into the major theatre field, and are no longer considered odd or different. Physical comedy, however, still stands out. Although it seems that it has become increasingly popular, it has somewhat moved away from the serious forms of physical theatre. The second part of the thesis approaches the subject from a more theorising point of view, where the discussion itself is the main focus. I start off by discussing the term physical theatre and its aesthetics – how its meaning has changed from being something avant-garde to something that is considered “normal”. Thereafter I discuss the status of the physical theatre forms, and apply them onto Bourdieu’s field theory. Physical comedy has not yet acquired the status of ”high culture”, whereas the serious, more “arty” forms of physical theatre are on different positions in the theatre field, and even on the physical theatre field. I also discuss how this can be transferred to theories about popular culture, and the interesting things that happens when the once very popular, low-status theatre form commedia dell’arte is situated in a high culture theatre house, Kungliga Dramatiska Teatern, in Sweden. I continue to discuss marginalised forms of theatre from a sub-culturalperspective, fighting both against and inside the dominant culture to gain status in the theatre field. After this, I discuss how the physical theatre’s new discourse has changed because of the newly found interest in contemporary circus, research projects in universities as well as higher education in physical art forms. The conclusion is that the term physical theatre still can be useful to describe different forms of theatre, although it is quite vague and has changed significally.

The thesis affirms the relevance of "Theatre for Young Audiences" as a valid and distinctive genre; a performance genre that should entertain, educate and provide meaning in terms of its creative interaction with personal, social, artistic and cultural issues. The practice of playwrighting is removed from the assumption that it relies exclusively on inspiration, intuition and spontaneity; it is placed within a creative, experiential and discursive mode in which dramatic, theatrical, performance and structural issues can be researched, analysed and evaluated culminating in the crafting, making and presentation of innovative and challenging theatre. The research component of the thesis attempts to identify the social and moral responsibility of the playwright writing for young audiences. It is asserted that knowledge about the maturation of young people is crucial in the creative processes of writing plays and making theatre. The second chapter in Part One of the thesis, asserts that knowledge about the physical, emotional and intellectual maturation of the intended audience should clearly impact on the delineation of plot, action, character, language, audience participation, ethics and morality. The thesis clearly identifies the importance of this knowledge for the Arts Educator. However, "Theatre for Young Audiences" does not function solely in the realm of education. The thesis distinguishes this genre from those of "Theatre-in-Education" and "Drama-in-Education". The thesis firmly supports this distinction and affirms the status of "Theatre for Young Audiences" as a performing art. This argument is given further credence by the creative interaction of original scripts with the "living tradition" of the Commedia dell' Arte. The Commedia dell' Arte is examined from an historical perspective; pertinent features are addressed, selected, utilised and transformed into a dynamic theatrical experience for young audiences in contemporary South Africa. The Commedia dell' Arte serves as a theatrical model and becomes a creative device for further and renewed innovation. The inclusion of three original plays in Appendices 1, 2 and 3, plus numerous references to selected, original texts and performances provide an illustration of the concept that playwrighting for young people can effectively and imaginatively transpose theoretical inquiry into imaginative and challenging theatre experience. The thesis attempts to utilise a clear conceptual basis for the development of argument - the educational and psychological perspectives provide a foundation for ideas and critical writing. The theatre heritage becomes a catalyst for innovative and pertinent theatre that affirms the status, purpose and nature of "Theatre for Young Audiences" in contemporary South Africa. / Thesis (Ph.D.)-University of Natal, Durban, 1992.

Submitted by Glauber Assunção Moreira (glauber.a.moreira@gmail.com) on 2018-08-31T13:59:56Z No. of bitstreams: 1 Commedia dell´Arte no sertão da Bahia pdf.pdf: 2888283 bytes, checksum: cb9571caf96d028295de355741c4152a (MD5) / Approved for entry into archive by Ednaide Gondim Magalhães (ednaide@ufba.br) on 2018-09-11T13:21:15Z (GMT) No. of bitstreams: 1 Commedia dell´Arte no sertão da Bahia pdf.pdf: 2888283 bytes, checksum: cb9571caf96d028295de355741c4152a (MD5) / Made available in DSpace on 2018-09-11T13:21:16Z (GMT). No. of bitstreams: 1 Commedia dell´Arte no sertão da Bahia pdf.pdf: 2888283 bytes, checksum: cb9571caf96d028295de355741c4152a (MD5) / O presente trabalho se configura como uma pesquisa-ação realizada com os jovens do Assentamento de Reforma Agrária Poço Longe. Na referida pesquisa, são investigados aspectos da experimentação com elementos da Commedia dell´Arte com os jovens do assentamento, sendo os seguintes elementos escolhidos para orientar a investigação: a construção corporal dos tipos do gênero, a confecção de máscaras e a elaboração de roteiro. Após a aplicação da pesquisa-ação, foi verificado que tais elementos articulam-se e compõem, cada um com sua respectiva especificidade, o trabalho geral em torno das máscaras dell´Arte. A experimentação objetivou explicitar a apropriação e transformações realizadas pelos sujeitos participantes a partir de suas identificações culturais às máscaras trabalhadas. Para a aplicação da experimentação, foi realizada pesquisa teórica em torno de temas relacionados à Commedia dell´Arte, como o contexto histórico social e artístico de seu período, a cultura popular na Idade Média e no Renascimento, a perspectiva do grotesco nesses períodos e a função social do riso e de alguns de seus mecanismos de produção. Os resultados foram analisados pela perspectiva do pesquisador a partir das improvisações, do processo de trabalho, dos depoimentos e avaliações dos jovens e apontaram principalmente para a potencialidade de trabalho com a atualização de alguns elementos da Commedia dell´Arte a partir da imaginação e do contexto específico dos sujeitos participantes. / This study is an action-research accomplished with the young population of Agrarian Reform Settlement Poço Longe. In this research, aspects of experimentation are investigated with elements of Commedia dell'Arte with the young population of the settlement, the following aspects were chosen to guide the research: the corporal construction of genre types, mask making and creation of scripts. After the action-research was applied, it was verified that these elements articulate and make up themselves, each one with its specificity with the general work around the dell'Arte masks. The trial aimed to make explicit the appropriation and changes made by the subjects who participated from their cultural identifications to the masks worked with. In order to apply the experimentation, theoretical research was carried out on themes related to the Commedia dell'Arte such as the historical and social context of its social and artistic period, popular culture in the Middle Ages and in the Renaissance, the perspective of grotesque in those periods and the social function of laugh and some of its mechanisms of production. The results were analyzed through the perspective of the researcher from the improvisations, the work process, the statements and evaluations of the young population and particularly pointed to the potential of working with the update of some elements of Commedia dell'Arte from the imagination and specific context of the subjects who participated.

La seconde moitié du XVIIIe siècle est une période de recherche et d’expérimentation dramatiques qui se traduisent, au sein de la programmation du théâtre de la Comédie-Italienne de Paris, en la conception d’une soixantaine de canevas italiens inédits, mis en scène par les acteurs-auteurs de la troupe italienne du théâtre, entre 1760 et 1779, année de la « suppression » du genre italien. À travers le dépouillement des sources périodiques, contenant les résumés des soirées et les récits des performances, des registres du théâtre, ouvrant l’accès aux effectifs des troupes, cette thèse propose la reconstitution du répertoire de pièces italiennes d’acteur et l’étude de la dramaturgie de ce spectacle parisien durant la seconde moitié du XVIIIe siècle. À partir des années 1760, la pratique de la scène, les modalités créatives et représentatives de la commedia dell’arte migrent vers les dramaturgies adjacentes à l’intérieur d’un répertoire mixte, français et italien, en donnant lieu à des phénomènes d’« hybridation » permettant de pérenniser la dramaturgie italienne et la « pratique » scénique des comédiens italiens, à l’intérieur des comédies des dramaturges français qui écrivent pour ce théâtre : J.-F. Cailhava de l’Estandoux et de J.-P. Claris de Florian. Il sera donc question de relire la « suppression » du genre italien en 1779, en les termes d’une « réexistence », en étudiant la portée globale du répertoire et de la dramaturgie italienne du point de vue de leur évolution, durant la seconde moitié du XVIIIe siècle, au sein du contexte productif et de la palette représentative de la Comédie-Italienne. / The second half of the eighteenth century represents a period of research and experimentation in dramatics that manifest themselves, within the theater’s programs of the Comédie-Italienne. These experimentations materialize in approximately sixty unpublished Italian plots, directed by the actors-authors of the Italian company between 1760 and 1779, year of the “suppression” of the Italian genre. Sorting through periodical sources, that include summaries of the evening performances and performances’s telling, and theater’s registers, which give the access to the acting company, this thesis intends to recreate the company’s repertoire of Italian plays. The intention is also to study the dramatic art of this Parisian show during the second half of the eighteenth century. From the 1760s, the experience of the stage, the creative and representative modalities of the commedia dell’arte slide towards closed dramaturgies inside a mixed repertoire French and Italian. It generates “hybrid” phenomena that give the possibility to preserve the Italian dramatic art and the scenic “technique” of the Italian comic actors, within the plays of French playwrights who have written for this theater: J.-F. Cailhava de l’Estandoux et de J.-P. Claris de Florian. This thesis will provide a rereading of the “suppression” of the Italian genre in 1779, in terms of “rebirth”. Then it will analyze the complete impact of the Italian repertoire and the dramatic art inside the productive context and the representative range of the Comédie-Italienne from the outlook of their evolution during the second half of the eighteenth century. / La seconda metà del XVIII secolo è un periodo di ricerca e sperimentazione drammatica che sfociano,nell’ambito della programmazione del teatro della Comédie-Italienne di Parigi, nella creazione di unasessantina di canovacci italiani inediti allestiti e rappresentati dagli attori-autori della compagnia italiana delteatro, tra il 1760 e il 1779, anno della « soppressione » del genere italiano. Attraverso lo spoglio delle fontiperiodiche, che contengono i riassunti degli spettacoli e i resoconti delle performance attoriali, le ricerched’archivio effettuate nei registri del teatro, che permettono di accedere agli effettivi delle troupes, la tesipropone la ricostituzione del repertorio italiano e lo studio della drammaturgia di questo teatro parigino dellaseconda metà del Settecento. A partire dal 1760 la pratica scenica, le modalità compositive e rappresentativedella commedia dell’arte migrano verso le forme drammaturgiche ad essa vicine all’interno di un repertoriobilingue, francese e italiano dando luogo a fenomeni di « ibridazione » che permettono la fissazione delladrammaturgia italiana e della pratica teatrale degli attori italiani, nella produzione francese degli autori checompogono per questo teatro : J.-F. Cailhava de l’Estandoux e J.-P. Claris de Florian. Lo studio dell’ampiezzadel repertorio e della drammaturgia italiana, considerati dal punto di vista dell’evoluzione che subiscono inseno al contesto produttivo e all’offerta rappresentativa della Comédie-Italienne, permette di rileggere la« soppressione » del genere italiano avvenuta nel 1779 come « riesistenza » e « perennizzazione » di questogenere. / Die zweite Hälfte des 18. Jahrhunderts ist eine von dramaturgischer Forschung und Experimentierfreudigkeitgeprägte Periode, was sich in den Jahren 1760 bis 1779, Jahr der ‚Abschaffung’ des italienischen Genres,innerhalb des Programms des Pariser Theaters Comédie Italienne in der Konzeption von ungefähr 60unveröffentlichten neuen italienischen Kanevas, die von Schauspieler-Autoren der italienischen Truppe desTheaters inszeniert wurden, ausdrückt. Durch die Aufarbeitung publizistischer Quellen, die neben Kritikenund Inhalten dieser Abende auch Theaterregister beinhalten, und somit einen Zugang zum Personalbestandder Truppe eröffnen, wird in der vorliegenden Dissertation eine Rekonstruktion des Repertoires deritalienischen Schauspielerstücke sowie die Untersuchung der Dramaturgie dieser Pariser Vorstellungen derzweiten Hälfte des 18. Jahrhunderts vorgenommen. Ab den 1760er Jahren verlagern sich die Szenenpraxis,die kreativen und repräsentativen Modalitäten der commedia dell’arte hin zu benachbarten Dramaturgieneines gemischten, französisch und italienischen Repertoires hin und machen Platz für hybride Phänomene,was erlaubt, die italienische Dramaturgie und die Bühnenpraxis der italienischen Schauspieler innerhalb derKomödien französischer Dramaturgen, die für dieses Theater schreiben (J.-F. Cailhava de l’Estandoux und J.-P. Claris de Florian), zu einem festen Bestandteil zu machen. Es geht also darum, die „Abschaffung“ desitalienischen Genres 1779 hinsichtlich einer „Reexistenz“ noch einmal zu überdenken, indem man denglobalen Beitrag von „italienischem“ Repertoire und „italienischer“ Dramaturgie aus Sicht ihrer Entwicklungin der zweiten Hälfte des 18. Jahrhunderts im Kontext der Produktion und der Darstellungspalette derComédie Italienne untersucht.

No description available.

This thesis describes how the experimental process of exploring ritual as a foundation for creating contemporary theater can be applied to staging a classical European play, in this case, Molière’s The Imaginary Invalid, adapted by Constance Congdon. Based on research into the influences of Commedia Dell’ Arte in Molière’s plays, the directorial concept of “Mask and Duplicity” influenced all the artistic areas of the production and design (costume, sound, lighting and set). The process described includes the development of a physical vocabulary with the actors, exploring animal movements based on “The Dance of the Deer” (a hunting ritual from the Mayo and Yaqui traditions in Mexico), and Commedia Dell’ Arte character archetypes. In addition, this thesis supports character analysis with research on the phases of Carnival and the structure of rites of passage (separation, transition and reintegration), and how these ritual elements were applied to the blocking and choreography of the play. As a result of the exploration and the use of ritualistic structures, The Imaginary Invalid had two stories happening at the same time: the public story, what the audience gets from the flow of the text; and the private story, a rite of passage that happens within the narrative of The Imaginary Invalid.