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Este estudo aborda o processo criativo da encenação A Princesa Turandot, texto de Carlo Gozzi, realizada por Evguiêni Bagratiónovitch Vakhtângov, no Terceiro Estúdio do Teatro de Arte de Moscou, em 1922. A pesquisa centra-se no entendimento da improvisação teatral como metodologia utilizada para criar e estruturar o referido espetáculo. Inicialmente, são apresentadas as experimentações artísticas de Vakhtângov em suas encenações, e a influência que a redescoberta da Commedia dellArte exerceu em sua trajetória artístico-pedagógica. Para tanto, as principais características da Commedia DellArte são resgatadas como importantes recursos, usados por encenadores russos do início do século XX, aqueles que visavam uma transformação da arte teatral neste período. / This research presents an analysis of the creative process of Princess Turandot, by Carlo Gozzi, directed by Evguiêni Bagratiónovitch Vakhtângov at the Third Studio of Moscows Art Theatre. The main focus falls on the understanding of theatrical improvisation as a specific methodology applied in the creation and structuring of theatrical performances. Thus, Vakhtângovs artistic experiments are discussed, as well as the influence of the rediscovery of Commedia DellArte on his pedagogical trajectory. In that respect, Commedia Dell´Arte is seen as a source of elements which were of great value for Russian directors of the beginning of 20th Century, particularly those who were interested in the renovation of theatre.

Diss. Univ. Bern, 2002.

Este estudo aborda o processo criativo da encenação A Princesa Turandot, texto de Carlo Gozzi, realizada por Evguiêni Bagratiónovitch Vakhtângov, no Terceiro Estúdio do Teatro de Arte de Moscou, em 1922. A pesquisa centra-se no entendimento da improvisação teatral como metodologia utilizada para criar e estruturar o referido espetáculo. Inicialmente, são apresentadas as experimentações artísticas de Vakhtângov em suas encenações, e a influência que a redescoberta da Commedia dellArte exerceu em sua trajetória artístico-pedagógica. Para tanto, as principais características da Commedia DellArte são resgatadas como importantes recursos, usados por encenadores russos do início do século XX, aqueles que visavam uma transformação da arte teatral neste período. / This research presents an analysis of the creative process of Princess Turandot, by Carlo Gozzi, directed by Evguiêni Bagratiónovitch Vakhtângov at the Third Studio of Moscows Art Theatre. The main focus falls on the understanding of theatrical improvisation as a specific methodology applied in the creation and structuring of theatrical performances. Thus, Vakhtângovs artistic experiments are discussed, as well as the influence of the rediscovery of Commedia DellArte on his pedagogical trajectory. In that respect, Commedia Dell´Arte is seen as a source of elements which were of great value for Russian directors of the beginning of 20th Century, particularly those who were interested in the renovation of theatre.

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.

Commedia all'italiana, a genre of Italian film satires that emerged in the late 1950s and sustained through the late 1970s, is primarily understood through its close relationship to Italian culture. The evolution of the genre appears to be less tied to the revision of iconography and narrative codes of previous films than it is to the trajectory of Italian society during its years of prominence. The following thesis will attempt to find a definition of commedia all'italiana that is discrete from the genre's strong link to Italian culture by isolating the films' common narrative strategies. The aim in constructing this definition, which will be called the "commedia all'italiana narrative methodology," is to negotiate the possibility of formal elaboration upon the genre by a modern filmmaker, even outside of the strictly Italian context of the films in question. The viability of this endeavor will be put to the test in the final chapter, a plot outline for a feature film, entitled Commedia Vasca, that emulates the narrative approaches assembled in the commedia all'italiana narrative methodology. This thesis begins by presenting the common understanding of commedia all'italiana, with a particular focus on the genre's close connection to Italian society. The second chapter tracks the formation of the commedia all'italiana narrative methodology by isolating and analyzing distinct and adaptable narrative strategies at play among the films of commedia all'italiana. Then the thesis changes course to set up the creative experiment in narrative adaptation, Commedia Vasca, which will engage with Basque culture, rather than Italian. The plot outline for the film is preceded by a short summary of relevant Basque history and the ways the cultural specificities of the Basque Country influenced the process of utilizing and adapting the commedia all'italiana narrative methodology.

This work analyzes the impact of cognizance of the evolution of dramatis personae of Commedia dell’arte in XVII – XX c Western European fine arts upon the sphere of interests of future theatre art specialists. The impact of such cognizance upon professional competence of would-be actors and theatre, cinema and music managers is being discussed as well. The first part deals with the importance of universal artistic training in order to broaden interest of artistic cognizance of would-be art specialists on the background of analysis of literature. The preconditions of formation of interest to acquire artistic cognizance are discussed in the first part. It is noted that positive esthetical attitude of mind would inspire the interest to cognize the depths of an art object which is essential to education of would-be art specialists. The second part analyzes educative and professional opportunities of artistic integration. The third part deals with particularities of education of would-be art specialists at a higher school. It is stressed that the academy must prepare not only specialists of narrow specialization but also of broad humanitarian background, who is able to orient in himself/herself diverse modern cultural life and who is distinguished for erudition supporting vivid imagination of an artist. The second part is based upon the assumption that the cognizance of fine arts as a sister branch of art is one of the conditions of professional perfection. Analysis of the... [to full text]

The research field addressed by this thesis is the commedia dell'arte and its iconography in the period preceding Callot's Balli di Sfessania engravings of c. 1621. Its main aim is to provide a broad overview of the surviving early pictures in order to contribute towards a more detailed understanding of the history of the commedia deH'arte in the opening decades of its existence, 1560-1620, by using late renaissance pictures as a documentary source. My research method has three main steps. These are firstly, the identification of relevant pictures, on the basis of a detailed understanding of the early history of the commedia dell'arte, and taking a deliberately inclusive approach; secondly, the classification of such pictures according to art-historical methods, in order to associate them with specific named artists so that they can be placed in the context of an oeuvre and place of production; thirdly, interpretation of their theatrical content. Integral to the thesis are the 340 plates. Many feature pictures which were anonymous or implausibly attributed, and unknown to theatre historians, before they appeared here or in my publications. My inclusive approach has contributed towards the marked rehabilitation of carnival pictures which is evident in the most recent scholarship in this area. My new discoveries, and attributions and re-attributions of some of the 340 plates, summarized in the plate list, have enabled me to identify significant bodies of commedia-related pictures by a number of named late renaissance artists not previously associated with theatre iconography, and provide a broad overview of the early stock types, their costumes and settings; contributions which are stimulating further research in this area. Section I summarises the rise and spread of professional acting in sixteenth century Italy, some forerunners of the commedia dell'arte, and its early stock types. It also presents new documentary material, discovered in the course of my archival researches, which is relevant to the earliest commedia performance for which a comprehensive description survives, staged in Munich in 1568. Section II presents art-historical analyses of three groups of prints in Stockholm, and six paintings which are the subject of an article published in 1943. It also presents an overview of a large group of Flemish pictures whose relation to two Italian prints demonstrates the progressive stereotyping of commedia-related motifs which was already occurring around 1600. Section III offers theatrical interpretations of the pictures, concentrating on scenery, set and stages; actresses; a selection of stock characters, including Harlequin, Zanni and Pantalone, and also some less wellknown figures such as tedescos and matachins; and multiple and serial images. The renaissance Italian comedians' multiple roots in amateur humanist comedy, professional entertainment and popular carnival ritual gave them their early creativity and wide appeal, and left their mark on the iconography which, by the seventeenth century, like the commedia dell'arte itself, was, for the most part, settling into a predictable routine based on precedents and conventions.

Originally presented as the author's Thesis (doctoral--Universität Zürich, 1991). / Includes bibliographical references (p. [668]-680).

Published also as Thesis (Ph. D.)--Columbia University, 1912. / Appendix A: Scenarios; Appendix B: Relations between English and Italian drama in the 16th, 17th and 18th centuries. Bibliography: p. 255-279.