Erith Jaffe-Berg. Commedia dell'Arte and the Mediterranean: Charting Journeys and Mapping "Others." Transculturalisms, 1400-1700. Farnham: Ashgate, 2015. Pp. x + 173. $104.95. With this volume, Erith Jaffe-Berg brings to a wide audience the Mediterranean perspective of Italian Commedia dell'Arte and its civic context. Focusing on Commedia's glory days of the late sixteenth and early seventeenth centuries, Jaffe-Berg highlights its transcultural referents, its many non-Italian and non-Christian characters and settings, the prominence of travel among its themes, and the eclectic social and financial backgrounds of its audiences. By utilizing collections of largely unpublished primary materials, Jaffe-Berg provides the study with an evidentiary base that is broad and strong and offers the elements for important new perspectives, including that Commedia dell'Arte "offers a platform for reflection on power and cultural exchange" (i). Based on the experience of Italian audiences of the continual comings and goings of foreigners, Commedia helped to mediate "intercultural contact among different ethnic communities within the Italian Peninsula" (4). Also noted is the sometimes illusory and always fragile nature of that contact, subject as it was to swiftly changing political, financial, and religious conditions. Particularly important is Jaffe-Berg's delineation of the role of theatre for Mantua's Jewish community and in the relationship between the community and political authority figures. Travel influenced Commedia defl'Arte in its very performance DNA, as troupes, many of which by this time were fully professionalized, often had to travel to provide themselves with sufficient income--although it should be pointed out that others remained in a single locale and supplemented theatrical work, by its nature seasonal, with other jobs. The Italian peninsula being divided into numerous states, even relatively short journeys, such as that from Venice to Ferrara or to Mantua, involved entering a different state with different social, political, and economic circumstances and different traditions. Troupes also traveled outside the peninsula, including to aristocratic and royal festivities. Thanks to their continuous movement among the leadership circles of numerous states, they were in the position of "serving as cultural ambassadors of sorts" (5). Performing both in palaces for elites and in public squares for open audiences, they also functioned as cultural ambassadors across internal social dividing lines, particularly of class and wealth. By including characters of diverse backgrounds and conditions in their scenarios, troupes provided themselves with a means of connecting with diverse components of their audiences, as well as allowing the development of a full range of emotions and social situations on stage and providing work for actors of varied talents. Moreover, as Jaffe-Berg asserts, they "used performance as a site for sharing ideas and innovations that were otherwise restrictive"; as an example, she cites the mixing of the Petrarchan language and elevated love themes of the innamorati characters with Commedia's other, bawdier tropes (5). Another important feature of the study is Jaffe-Berg's articulation of the varied effects of the sea within the plays: it both distances and connects human societies of vastly different ethnic, religious, and social customs. Travel across it destabilizes identity, a process that is accelerated by love. However, as the author shrewdly observes, while both Christian and non-Christian characters travel to the other's locales and fall in love with members of the other population, it is prevalently non-Christians who convert and who remain permanently in the other's locale (46-64). An intriguing view that Jaffe-Berg sets forth is that the Commedia stage served as a kind of map for the audience, reproducing in a small format the locales that a play involved in the same geographical relationship as a map. …

中文翻译：

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Commedia dell'Arte 和地中海：绘制旅程和绘制“其他”。通过 Erith Jaffe-Berg

埃里斯·贾菲-伯格。Commedia dell'Arte 和地中海：绘制旅程和绘制“其他”。跨文化主义，1400-1700。法纳姆：阿什盖特，2015 年。Pp。x + 173。104.95 美元。Erith Jaffe-Berg 通过这本书向广大观众展示了意大利喜剧的地中海视角及其公民背景。Jaffe-Berg 专注于喜剧在 16 世纪末和 17 世纪初的辉煌岁月，突出了其跨文化参照物、许多非意大利和非基督教的人物和环境、旅行在主题中的突出地位以及不拘一格的社会和金融背景它的观众。通过利用大量未发表的原始材料的集合，Jaffe-Berg 为研究提供了广泛而强大的证据基础，并为重要的新观点提供了元素，包括 Commedia dell'Arte“提供了一个反思权力和文化交流的平台”（i）。根据意大利观众对外国人不断进出的经验，Commedia 帮助调解了“意大利半岛内不同种族社区之间的跨文化接触”（4）。还注意到这种接触有时是虚幻的且总是脆弱的性质，因为它受到迅速变化的政治、金融和宗教条件的影响。特别重要的是 Jaffe-Berg 对戏剧在曼图亚犹太社区的作用以及社区与政治权威人物之间关系的描述。旅行在其表演 DNA 中影响了 Commedia defl'Arte，作为剧团，其中许多在这个时候已经完全专业化，经常不得不出差来为自己提供足够的收入——尽管应该指出的是，其他人留在一个地方，并以其他工作补充戏剧工作，因为它的性质是季节性的。意大利半岛被划分为多个州，即使是从威尼斯到费拉拉或曼图亚等相对较短的旅程，也涉及进入具有不同社会、政治和经济环境以及不同传统的不同州。剧团也前往半岛以外的地方，包括参加贵族和皇室的庆祝活动。由于他们在众多国家的领导层中不断流动，他们处于“各种文化大使”的地位（5）。既在王宫为精英表演，又在公共广场为观众表演，他们还充当跨越内部社会分界线的文化大使，尤其是阶级和财富分界线。通过在他们的场景中加入不同背景和条件的角色，剧团为自己提供了一种与观众不同组成部分的联系方式，并允许在舞台上发展全方位的情感和社会情境，并为演员提供工作。多才多艺。此外，正如 Jaffe-Berg 断言的那样，他们“将表演作为分享思想和创新的场所，否则这些想法和创新是有限制的”；作为一个例子，她引用了彼得拉克语和 innamorati 人物的高雅爱情主题与 Commedia 的其他粗俗比喻的混合 (5)。该研究的另一个重要特征是 Jaffe-Berg' 在戏剧中表达了海洋的各种影响：它既使具有截然不同种族、宗教和社会习俗的人类社会保持距离又相互联系。穿越它会破坏身份，而爱会加速这一过程。然而，正如作者精明地观察到的那样，虽然基督徒和非基督徒角色都前往对方的地方并爱上了其他人口的成员，但皈依并永久留在对方的地方的普遍是非基督徒（46 -64）。Jaffe-Berg 提出的一个有趣的观点是，喜剧舞台为观众提供了一种地图，以较小的格式再现了与地图具有相同地理关系的戏剧所涉及的场所。… 宗教和社会习俗。穿越它会破坏身份，而爱会加速这一过程。然而，正如作者精明地观察到的那样，虽然基督徒和非基督徒角色都前往对方的地方并爱上了其他人口的成员，但皈依并永久留在对方的地方的普遍是非基督徒（46 -64）。Jaffe-Berg 提出的一个有趣的观点是，喜剧舞台为观众提供了一种地图，以较小的格式再现了与地图具有相同地理关系的戏剧所涉及的场所。… 宗教和社会习俗。穿越它会破坏身份，而爱会加速这一过程。然而，正如作者精明地观察到的那样，虽然基督徒和非基督徒角色都前往对方的地方并爱上了其他人口的成员，但皈依并永久留在对方的地方的普遍是非基督徒（46 -64）。Jaffe-Berg 提出的一个有趣的观点是，喜剧舞台为观众提供了一种地图，以较小的格式再现了与地图具有相同地理关系的戏剧所涉及的场所。… s 的地区并爱上其他人群的成员，普遍是非基督徒皈依并永久留在对方的地区（46-64）。Jaffe-Berg 提出的一个有趣的观点是，喜剧舞台为观众提供了一种地图，以较小的格式再现了与地图具有相同地理关系的戏剧所涉及的场所。… s 的地区并爱上其他人群的成员，普遍是非基督徒皈依并永久留在对方的地区（46-64）。Jaffe-Berg 提出的一个有趣的观点是，喜剧舞台为观众提供了一种地图，以较小的格式再现了与地图具有相同地理关系的戏剧所涉及的场所。…