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Commedia dell'Arte in Context ed. by Christopher B. Balme, Piermario Vescovo, and Daniele Vianello (review)
Bulletin of the Comediantes Pub Date : 2021-02-06 , DOI: 10.1353/boc.2020.0007
Erith Jaffe-Berg

In lieu of an abstract, here is a brief excerpt of the content:

Reviewed by:

  • Commedia dell’Arte in Context ed. by Christopher B. Balme, Piermario Vescovo, and Daniele Vianello
  • Erith Jaffe-Berg
Christopher B. Balme, Piermario Vescovo, and Daniele Vianello, editors.
Commedia dell’Arte in Context.
LIVERPOOL UP, 2018. 327 PP.

THIS IMPORTANT NEW VOLUME BRINGS TOGETHER European and North American commedia dell’arte scholars in order to provide varied perspectives on the last three decades of research of this important art form. The volume focuses on the professional, improvisation-based theater that emerged in Italy in the 1540s and, in turn, influenced the early modern theater of Italy, Spain, England, and France, among many other countries. Commedia dell’arte’s innovations included its introduction of women as actors on stage; the use of half masks to signal character types; a reliance on a physical performance style; the incorporation of various dialects or languages within a single performance; the inclusion of a panoply of characters, each representing a distinctive region; and its use of improvisation rather than a fully scripted text. In many ways, commedia dell’arte influenced what European theater is and, therefore, its importance to contemporary theater is immense. For that reason, Commedia dell’Arte in Context is a welcome addition to a number of recently published books on commedia. One of the main contributions of the book is the inclusion of scholars working in English as well as those working in Italian, who may be less familiar to an English, monolingual reader. In addition, the book draws not only on noted theater scholars but also on literary scholars and musicologists, an important interdisciplinarity because the commedia dell’arte performers worked in many genres and performance styles.

Acknowledging the important contribution of Kenneth and Laura Richards’s The Commedia dell’Arte: A Documentary History (Blackwell, 1990), which is still essential reading for any student of the commedia dell’arte, as well as the presence of the recently published and highly [End Page 135] comprehensive The Routledge Companion to Commedia dell’Arte (edited by Judith Chaffee and Olly Crick, Routledge, 2014), the editors of the volume under review chose a different approach, creating a nonchronological and more thematically based organization. As Vianello explains in the opening chapter: “The main purpose of this book is to retrace the history of the improvvisa in light of its legendary past, with special focus on the theatrical practices and theoretical deliberations in the century which has just ended” (1). The book, then, engages with the last several decades of materially and historically based scholarly research and does not include perspectives from theater practitioners, such as actors and directors (who make up a large number of contributors to The Routledge Companion). The editors lament their inability, for logistical reasons, to include images, which, considering the rich iconography of commedia dell’arte, is a loss. However, they compensate by investing in fluid and approachable translations into English of chapters that would otherwise have been inaccessible to an English readership. Notably, important scholars such as Ferdinando Taviani, Mirella Schino, Paolo Puppa, or Siro Ferrone—who normally publish in Italian—for the first time become accessible to English readers as well. This is important, as the book is intentionally oriented to experts and nonexperts alike. Thereby, the editors make it possible to use the book both in the undergraduate classroom and for scholarly purposes.

The volume’s thematic rather than chronological organization makes sense because the book intentionally highlights rather than surveys the study of commedia dell’arte. With the exception of the introductory essay, the rest of the chapters do not explicitly refer to one another, making the book as a whole less cohesive than it might otherwise have been. Nevertheless, the arrangement of each part is evocative, and the individual contributions are rich in scholarly depth and expertise. As Vianello writes in the introduction, “Commedia dell’Arte: History, Myth, Reception”: “This work aims to provide a thorough—albeit not necessarily exhaustive—reconstruction of a phenomenon that has significantly affected world theatre” (1). In terms of overall structure, the book is divided into five parts: the first four parts explain the elements of the commedia dell’arte and detail historical developments from the sixteenth to the eighteenth centuries...



中文翻译:

情境中的Commedia dell'Arte ed。克里斯托弗·B·巴尔姆(Christopher B.

代替摘要,这里是内容的简要摘录:

审核人:

  • 情境中的Commedia dell'Arte ed。克里斯托弗·B·巴尔姆(Christopher B.
  • 埃里斯·贾菲·伯格
编辑克里斯托弗·B·巴尔姆(Christopher B. Balme),皮尔马里奥·维斯科沃(Piermario Vescovo)和丹妮尔·维安内洛(Daniele Vianello)。
语境中的Commedia dell'Arte
LIVERPOOL UP,2018. 327页。

这个重要的新内容共同带来欧洲和北美的commedia dell'arte学者为了对这一重要艺术形式的最近三十年研究提供不同的观点。该书重点介绍了1540年代在意大利兴起的基于即兴演奏的专业剧院,进而影响了意大利,西班牙,英国和法国等许多国家的早期现代剧院。Commedia dell'arte的创新包括将女性引入舞台演员;使用半掩膜来指示字符类型;对身体表现风格的依赖;在一次表演中结合各种方言或语言;包含一大堆字符,每个字符代表一个独特的区域;及其即兴使用的形式,而不是完整的脚本文字。在许多方面,commedia dell'arte影响了什么是欧洲戏剧,因此,它对当代戏剧的重要性是巨大的。是因为,Context中的Commedia dell'Arte是最近在commedia上出版的许多书籍的受欢迎的补充。本书的主要贡献之一是吸收了以英语工作的学者和以意大利语工作的学者,这些人可能对英语为英语的单语读者不太熟悉。此外,这本书不仅借鉴了著名的戏剧学者,还借鉴了文学学者和音乐学家,这是一个重要的交叉学科,因为喜剧演员的表演风格和表演风格多种多样。

认识到肯尼斯和劳拉·理查兹(Kenneth and Laura Richards)的著作《 Commedia dell'Arte:纪录片史》(Blackwell,1990年)的重要贡献,这对任何Commedia dell'arte的学生来说都是必不可少的读物,而且最近出版并受到高度关注[结束第135页]全面的Routledge Commedia dell'Arte伴侣(由Judith Chaffee和Olly Crick编辑,Routledge,2014年),本卷的编辑选择了不同的方法,从而创建了一个非按时间顺序,更基于主题的组织。正如Vianello在开头一章中解释的那样:“这本书的主要目的是追溯即兴创作的历史。根据其传奇的过去,特别关注刚刚结束的本世纪的戏剧实践和理论思考”(1)。然后,该书将涉及过去几十年基于物质和历史的学术研究,而不包括剧院从业者的观点,例如演员和导演(他们是The Routledge Companion的大量撰稿人))。出于后勤原因,编辑们为无法包含图像而感到遗憾,考虑到漫画的丰富图像,这是一种损失。但是,他们通过投资于英语读者无法访问的章节的流畅,通俗易懂的英语翻译来进行补偿。值得注意的是,重要的学者,如费迪南多·塔维阿尼(Ferdinando Taviani),米雷拉·希诺(Mirella Schino),保罗·帕帕(Paolo Puppa)或西罗·费罗内(Siro Ferrone),通常以意大利语出版,这也是第一次使英语读者也能接触到它们。这很重要,因为本书有针对性地面向专家和非专家。因此,编辑人员可以在大学教室和学术目的中使用该书。

该卷的主题性而非按时间顺序组织是有道理的,因为该书有意强调而不是概述对commedia dell'arte的研究。除介绍性文章外,其余各章均未明确提及彼此,这使该书整体上的凝聚力不如以前。但是,每个部分的安排都令人回味,并且个人贡献具有丰富的学术深度和专业知识。正如Vianello在导言中写道:“ Commedia dell'Arte:历史,神话,接待”:“这项工作旨在彻底(虽然不一定是详尽无遗)重建对世界剧院有重大影响的现象”(1)。从总体结构上看,本书分为五个部分:

更新日期:2021-03-16
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