The Routledge Companion to Commedia dell'Arte

Judith Chaffee is Associate Professor of Theatre at Boston University, and head of movement training for actors. She trained in Commedia with Antonio Fava, Julie Goell, Stanley Allen Sherman, and Carlos García Estévez. Olly Crick is a performer, trainer and director, having trained in Commedia under Barry Grantham and Carlo Boso. He is founder of The Fabulous Old Spot Theatre Company.

Introduction; Part 1 The Defining Features; Actors; Chapter 1 The Pre-Eminence of the Actor in Renaissance Context, Scott McGehee; Scenarios; Chapter 2 Form and Freedom, Robert Henke; Chapter 3 Parallel Processing, Tim Fitzpatrick; Troupes; Chapter 4 The Commedia dell’Arte Acting Companies, Kenneth Richards; Stock Characters; Chapter 5 You Must have Heard of Harlequin…, Michele Bottini, Samuel Angus McGehee, Michael J. Grady; Chapter 6 Pantalone and Il Dottore, Peter Jordan; Chapter 7 The Young Lovers, Richard Stockton Rand; Chapter 8 Reading and Interpreting the Capitano’s Multiple Mask-Shapes, Mace Perlman; Chapter 9 Le Servette in Commedia dell’Arte, Julie Goell; Chapter 10 Carnival, Comedy and the Commedia, Stephen P. J. Knapper; Chapter 11 Official Recognition of Pulcinella, Antonio Fava, Mace Perlman; Chapter 12 The Many Faces of Brighella, Artemis Preeshl; Masks; Chapter 13 A Mask Maker’s Journey, Stefano Perocco di Meduna, Brenda O’Donohue; Chapter 14 Mask Performance for a Contemporary Commedia dell’Arte, Carlos García Estévez; Chapter 15 New Roles for the Mask in Twentieth Century Theatre, Donato Sartori, Peter Jordan; Language; Chapter 16 Grommelot, John Rudlin; Lazzi; Chapter 17 Lazzi, Mel Gordon; Chapter 18 Principles of Comedy for Commedia dell’Arte, Brian Foley; Chapter 19 Slapstick and Comic Violence in Commedia dell’Arte, Dr Louise Peacock; Part 2 Historical Context; Chapter 20 Aristocratic Archeology, Paul Monaghan; Chapter 21 The Rise of Commedia dell’Arte in Italy, Kate Meehan; Chapter 22 The Great Ruzante, Linda L. Carroll; Chapter 23 The Coming Together, Olly Crick; Chapter 24 Stages and Staging Practices in Early Commedia dell’Arte, Franklin J. Hildy, Matthew R. Wilson; Chapter 25 Commedia dell’Arte and the Spanish Golden Age Theatre, Nancy L. D’Antuono; Chapter 26 Celestial Sirens of the Commedia dell’Arte Stage, Anne E. MacNeil; Chapter 27 Incidental Music in Commedia dell’Arte Performances, Thomas F. Heck; Chapter 28 Meetings on Naxos, Roger Savage; Chapter 29 Classical Ballet and the Commedia dell’Arte, Barry Grantham; Chapter 30 Images of the Commedia dell’Arte, M. A. Katritzky; Chapter 31 The Old Man’s Spectacles, Andrew Grewar; Chapter 32 Shakespeare’s Clown Connection, Sara Romersberger; Chapter 33 Writing for the Elite, Elizabeth C. Goldsmith; Chapter 34 Goldoni and Gozzi, Mike Griffin; Chapter 35 Commedia dell’Arte as Grotesque Dance, Domenico Pietropaolo; Chapter 36 The Myth of Pierrot, Mark Evans; Chapter 37 Speechless Spectacles, Matthew R. Wilson; Chapter 38 From Meyerhold to Eisenstein, J. Douglas Clayton; Chapter 39 Giorgio Strehler’s Arte, Mace Perlman; Chapter 40 Giovanni Poli, Giulia Filacanapa, Eileen Cottis; Chapter 41 Arlecchino Appleseed, Joan Schirle; Part 3 Alive and Well and Living in…; Chapter 42 Despite Everything, Commedia dell’Arte is Alive in Italy, Fabio Mangolini; Chapter 43 Dario Fo and the Commedia dell’Arte, Antonio Scuderi; Chapter 44 Carlo Boso, Anna Cottis; Chapter 45 Antonio Fava, John Rudlin; Chapter 46 Happy Bedfellows, Claudia Orenstein; Chapter 47 Commedia in Gloucestershire, Olly Crick; Chapter 48 I Sebastiani, Judith Chaffee; Chapter 49 Commedia Women on Stage—and in the Wings, Joan Schirle; Chapter 50 Commedia CounterPart s, Kathy Foley; Chapter 51 Commedia for the Contemporary Theatre Maker, Davis Robinson; Chapter 52 Roots and Routes, Didi Hopkins; Chapter 53 Commedia in a New World Context, Katrien van Beurden; Part 4 Commedia dell’Arte Bibliography; Chapter 54 Bibliography of Generally Accepted Commedia dell’Arte Literature;