http://www.loc.gov/mods/v3 http://www.loc.gov/standards/mods/v3/mods-3-2.xsd
This book examines Commedia dell'Arte as a performative genre, and one that should be analyzed through the framework of dramaturgy and dramaturgical practice. This volume examines the way Commedia has been explored in the C20th and C21st centuries, and details its reinventors' dramaturgic approaches, both focusing in on specific examples such as Jacques Lecoq, Dario Fo and Antonio Fava, and also suggesting how modern discoveries may aid the study of historical performance practice. It also discusses how audiences read and receive masks, the relationship between the different masked and unmasked roles, the range of performance activities that come under the umbrella term 'improvisation,' the performative construction of a role performed 'live' from a scenario, the role of language and embodied locality in performance and the performative relationship between performative commedia and literary tragicomedy. Its focus is dramaturgy, and so may be read both as a text describing various theatrical practices from 1946 onwards, but also as way of creating one's own contemporary Commedia Practice. It is an important read for any student or scholar of Commedia dell'Arte and theatre historians grappling with the status of this unique and influential performance form.
The founders of neo-commedia -- The second and third generations of reinventors -- Commedia archetypes -- Fixed types and stock roles -- Actors, parts and roles / by Sergio Costola -- Improvisation and commedia -- Grammelot and the performance of language -- Neo-commedia and the ensemble -- Masks in neo-commedia -- The epilogue.
Includes bibliographical references and index.