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Sixteenth century commedia dell’arte actors relied on gaudy costumes, physical humor and improvisation to entertain audiences. the Spieltenor in the modern operatic repertoire has a similar comedic role. Would today’s Spieltenor benefit from consulting the commedia dell’arte’s traditions? to answer this question, I examine the commedia dell’arte’s history, stock characters and performance traditions of early troupes. the Spieltenor is discussed in terms of vocal pedagogy and the fach system. I reference critical studies of the commedia dell’arte, sources on improvisatory acting, articles on theatrical masks and costuming, the commedia dell’arte as depicted by visual artists, commedia dell’arte techniques of movement, stances and postures. in addition, I cite vocal pedagogy articles, operatic repertoire and sources on the fach system. My findings suggest that a valid relationship exists between the commedia dell’arte stock characters and the Spieltenor roles in the operatic repertoire. I present five case studies, pairing five stock characters with five Spieltenor roles. Suggestions are provided to enhance the visual, physical and dramatic elements of each role’s performance. I conclude that linking a commedia dell’arte stock character to any Spieltenor role on the basis of shared traits offers an untapped resource to create distinctive characterizations based on theatrical traditions.

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.

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.