SABBATICAL ADVENTURES

One of the main objectives of my sabbatical research is the creation of a new theatre course on Commedia dell'arte. Using the many resources I was able to find, the information I was able to collect, and the different theatre productions I was able to read, as well as other available academic sources regarding the subject matter, a class on commedia has been developed and submitted to the proper channels for evaluation and approval.  Once the class is approved, the class will be offered to the students, mainly to Drama majors and those interested in the theatre arts.  This class will have two main objectives: One of the goals will be to offer a history account of the development of Commedia dell'arte, from its origins to the present, while analyzing its influence on modern comedy. The other goal will give students the opportunity to explore physical movement and mask work in order to familiarize themselves with commedia dell'arte characters and physical comedy in general....

The following conversation with Tony Fuemmeler (interim head of training programs) took place over zoom. The content has been edited for clarity and space. --What can you tell me about Physical Theatre training for the actor? In general, physical theatre offers a lot through the play of mask, a sense of specificity and clarity for the actor. Whether or not they (actors) play directly in the mask, or whether they ever find a mask again, physical theatre offers a window into physical storytelling, and also just an interest of the human condition and the human comedy. How we might understands some modes of the play for the actor as driven by the body and driven by a very visceral idea rather than by emotions or by a psychological idea. In commedia, it isn’t the psychology that drives the play, it is actually elemental forces, the drives and contradictions of human nature, which play at full force and rhythm, then collide and give us an opportunity to laugh at ourselves. --Let’s talk about...

I'm starting this post with a disclaimer. There is place in the Bergamo region that claims to be "Arlecchino's House" and also "Arlecchino's Museum." This place is known as "Casa Museo di Arlecchino."   The "house/museum" is located in the village of Oneta (San Giovanni Bianco), in the province of Bergamo. Oneta is located 35 miles north of Bergamo and one can either reach the village in a private car or by bus. By bus it takes 1 hr 40 minutes one way, so the total traveling time is 3 hrs 20 minutes. Because the house/museum is so far away, it is only open for a few hours on specific days and by appointment only.  The house/museum is located inside the Palazzo Grataroli. The palace, who is known by the locals as "Casa di Arlecchio" is linked to the Renaissance actor Alberto Naselli, who represented the Zanni and Arlecchino's characters in the main European courts, and whom, according to tradition, stay at the Palazzo. Ho...

By the time I arrived in Bergamo I knew two things: 1) Arlecchino and Brighella are the two commedia dell'arte characters with roots in the city, and 2) somewhere in the city of Bergamo a statue to Arlecchino exist.  What I didn't know was that my arrival to Bergamo coincided with the 2023 Bergamo Brescia Italian Capital of the World Culture Festival. As soon as I knew of it, I quickly set out to figure out what theatre events, especially in relation to commedia dell'arte were happening. My search brought me to "The Puppet Theatre Museum," better known as "Il Museo del Burattino."  Here, I had the opportunity to learn the history of, and admire the many different types of hand puppets that had been created in the Bergamo region, along with learning about the invited Italian guests' collections representing China and Japan. The museum exists mainly thanks to La Fondazione Benedetto Ravasio and the collaboration of five other families from the Bergamo ...

One of the most entertaining commedia dell'arte characters who is also less known to most people is Il Capitano (The Captain.) Like Pulcinella, Il Capitano was born in Naples, although Napoletani don't pay homage to him the way they do to Pulcinella. There are several reasons for this.  First, Il Capitano Matamoros was created by Silvio Fiorillo, based on the main character created by Plautus in his play "Miles Glorious."  Il Capitano Matamoros is a caricature of Spanish soldiers, hence his name "Mata-Moros" (Kill Moors) in reference to Spaniards fighting the Muslins during the "Reconquista" (8 c. -1492). Il Capitano is a braggart soldier, just like Miles Glorious, but unlike him, Il Capitano is also a cowardly soldier who spoke with an undefined language, which was a mix of Spanish, Latin, and Neapolitan lingo.  Second, as an actor, Fiorillo left the military and joined different acting troops, traveling to the northern part of Italy such as Flore...

I knew I was going to see a sign of Pulcinella before arriving to Naples. After all, I was aware that somewhere in the city there is a statue dedicated to this commedia dell'arte character.   What I didn't know was how Napoletani (Neapolitans) truly embraced this zanni character. And they do it to the fullest in ways I could not imagine, even more than Venetians embrace Pantalone.   First, there is the famous bust of Pulcinella, located in the infamous "Vico del Fico al Purgatori" (The Alley of the Fig Tree of Purgatory.) And then there is the hundreds and hundreds of Pulcinella images, figurines, paintings, posters, logos, refrigerator magnets, souvenirs, ornaments, t-shirts, commercial signs, and masks. There is also a hiking trail known as "Capello di Pulcinella," (capello = a single hair, symbolic for "a trail") and once you reach the top of the mountain, you are in the "Capuccio di Pulcinella," (Pulcinella's hood.) There is so mu...

Pulcinella has always been associated with Naples. And as I mentioned in my previous post, this commedia dell'arte character is a symbol of the city and it's embedded in the cultural fabric of the Napoletani. It is logical then, that I've always believed Pulcinella was born in Naples. However, I've come to find out that Pulcinella's birth isn't as clear-cut as I thought. About 15 miles northeast from Naples, there is a small town named Acerra. It is a town with about 60,000 residents and two "castles" to its name: Il Castello dei Conti di Acerra and Il Castello Baronale di Acerra, now both museums. It is in the latter that "Il Museo di Pulcinella, del Folklore e della Civiltà Contadina" is found, and i t is here where I learned several things about the Pulcinella.  Pulcinella was born in Acerra in a small house closed to the walls of the town in the district of La Maddalena. The house overlooked the town's square and it was decorated and ...

Museo Internazionale della Maschera Within the region of Veneto, in the province of Padova (Pauda) in Italy, there is a small town named Abano Terme. Most people know the town for its hot springs and mud baths, which is an important economic resource. I, on the other hand, know it because the "Museo Internazionale della Maschara Amleto e Donato Sartori" (founded in 2004) can be found in this small town.  The ride from Venice to Abano is about 50 minutes by train. And from the train station to the Museum the distance is less than 1/2 mile. Needless to say, during my stay in Venizia, I visited the museum.   Amleto Sartori (from the internet) Amleto Sartori was a sculpture who, after WWII, studied the commedia dell'arte masks. He created wooden molds and used them to make the first leather commedia dell'arte masks ever. With time, he perfected the skill and soon his masks became known, first all over Italy, and then the world.  He befriended Jacques Lecoq, a French artis...