The Dramaturgy of Commedia dell'Arte

Cover
Half Title
Title
Copyright
Dedication
Contents
List of figures
Author and contributor biographies
Prologue
1 The founders of Neo-Commedia
	1.1 Context and pre-1945
	1.2 Giorgio Strehler (1921–1997) and Arlecchino Il Servitore di due Padroni (Harlequin, A Servant of Two Masters)
	1.3 Carlo Mazzone-Clementi (1920–2000)
	1.4 Jacques Lecoq (1921–1999)
	1.5 Giovanni Poli (1917–1979)
	1.6 Dario Fo (26 March 1926–13 October 2016)
2 The second and third generation of reinventors
	2.1 Carlo Boso (1946–)
	2.2 Antonio Fava (1949–)
	2.3 The schools of Mazzone-Clementi
3 Commedia archetypes
4 Fixed types and stock roles
	4.1 Masks as embodied locality
	4.2 Masks as embodied positions of power
	4.3 Commedia and Gestus
	4.4 The Commedia Mask set: what we may learn from structuralist anthropology
	4.5 Katrien Van Beurden and Hotel Courage: a case study
	4.6 The Corn Exchange and the Rude Mechanicals: a case study
	4.7 One Man, Two Guv’nors: a case study
5 Actors, parts and roles by Sergio Costola
	5.1 Parts and roles: Commedia dell’Arte
	5.2 The scenarios of the Commedia Dell’Arte
	5.3 The generici or zibaldoni
6 Improvisation and Commedia
	6.1 Definitions and descriptions
	6.2 Rhetoric
	6.3 Women and improvisation
	6.4 Why improvise?
	6.5 Modern improvisation and Commedia
	6.6 Conclusion: a typology of Commedia-related improvisational practices
7 Grammelot and the performance of language (Alt. Grommelot/Grumelot)
8 Neo-Commedia and the ensemble
	8.1 Ensemble or individual?
	8.2 The business of Commedia
	8.3 Ensemble politics
	8.4 Ensemble and family
	8.5 Ensemble performance
	8.6 The Capocomico
	8.7 Ensemble and Clown theory
9 Masks in Neo-Commedia
	9.1 The masked and the unmasked
	9.2 Masks, distributed cognition and agency
	9.3 Masks and neuroscience: why do we react like that?
10 Epilogue
Index