File:The commedia dell'arte. a study in Italian popular comedy (1912) (14594679010).jpg

Identifier: commediadellarte00smit (find matches)
Title: The commedia dell'arte. a study in Italian popular comedy
Year: 1912 (1910s)
Authors: Smith, Winifred, b. 1879
Subjects: Commedia dell'arte English drama (Comedy) Literature, Comparative Literature, Comparative
Publisher: New York : Columbia University Press
Contributing Library: Boston Public Library
Digitizing Sponsor: Boston Public Library

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are themost often described and are the most prominentin the frescoes at Schloss Trausnitz where they areportrayed with the Doctor, tb,e Captain, the loversand the servetta grouped about them.15 11 Solerti, Ferrara, etc., xcii. 12 Cf. Ottonelli, Delia Christiana moderatione, etc., II, 37. Barbierisstatement in La Supplica, 105, is the source of later accounts ofGanassa in Spain. Cf. F. Bartoli, Notizie istoriche, I, 248-9. Ganassa was not the first Italian actor in Spain; for others cf. Ken-nert, Spanish Stage, 22 and 29, note 1. 13 Baschet, Comediens it aliens, 42 f. 14 In the second book of his Art poetique, a poem begun in 1574;cited by Baschet, op. cit., 45. 16 Trautmann, Ital. Schauspieler, 193 f. The sixteenth centuryfrescoes at Trausnitz may commemorate the performance of Trojano aplay at Munich, 1568, but more probably they are generalized repre-sentations, having nothing to do with a particular comedy. Easi,Comici italiani, II, 1024, reproduces a small portion of the frieze.
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Pater. MAE CHE COMIQ HE. Voyez-vous ce docteur stir sa dlgne monture,Quaccompagne Pierrot suivi cVautres bouffons,Et qui pour annoncer sa grotesque figure,Eemplit fair cle ses mauvais sous f THE COMMEDIA DELl/ARTE 147 It is perfectly to be expected that the improvisedplays with their bizarre Masks and their lazzi wouldhave been more appreciated in foreign halls than thesometimes tedions regular dramas, yet there is notthe slightest reason to think that the actors confinedthemselves to farces or that they did not play abroadthe varied repertory they gave their home audi-ences. They spoke Italian to be sure, but that lan-guage was as well understood then by educatedpeople as is French to-day, so that at least beforethe courts the strangers could act their literarypieces.16 As Sorel describes the Italians and theirnaive and ridiculous antics he admits an extra-ordinary charm in their plays, even though theyare unable to abstain from mingling buffoonerywith their more serious efforts, for

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