Home / Commedia / La escenografía en la Commedia dell’Arte: El espacio. or The scenery in the Commedia dell’Arte: The space (Eglish translation).

La escenografía en la Commedia dell’Arte: El espacio. or The scenery in the Commedia dell’Arte: The space (Eglish translation).

English translation:

Hello welcome. If you want to follow us … Today we will talk about space in the comedy of art, and we will also give you some suggestions on how to pose the scenography and attrezzo in your shows. As you know, the Comedia del Arte was born in the 16th century. Most of the theatrical companies of this time are nomads, as had been minstrels in the Middle Ages. The stage and the curtain become the comedian’s attribute.

With the stage and the curtain, a space of three dimensions is created constructed with two two-dimensional planes: one horizontal and one vertical. Thus, a corner appears in the middle of the square, a fold of the world to speak of the world. The poverty of means of the first troops causes the scenario to show a very simple expression. The curtain serves to hide the interpreters who are not in scene and to evoke the implicit space;

The unseen, the rest of the world. Over time, the curtain becomes a curtain designed to place the public in the place of action; And this place is usually a square or the view of a street. Painters, architects and scenographers of the Renaissance, invent the new laws of perspective to represent a city ideal. The most restless theater companies do not go unnoticed by the novelty. Artists like Mantegna, Leonardo da Vinci or Rafael, made sketches of theater curtains. Each house is associated with a family made up of several characters: the family of Don Pantalone, the Dottore … in realta attori di questa epoch, the prime thing … Forgiveness … Actually, the actors of this era, The first thing they learn is the distribution of the houses of each family. Over time, the sophistication of actions requires a richer relationship with space, which creates the corporeal scenery, in which actors can get their head out the windows, enter and exit with comic actions through the doors or appear and Disappear by the corners of the houses.

The architect Serlio, inspired by Vitruvio, was one of the first who began to mix decorations painted with body decorations in a sophisticated game of perspective. And perspective, in the service of comedy, evokes private homes, balconies and windows. In the seventeenth century, with the Baroque, they used great tricks of tramoya. Many comedies are distorted with rare mythological themes to exhibit such spectacular effects. It is the time of the great scenographers like the Bibiera. But with the reform of the comedy that promotes Goldoni, the action leaves the street and enters the interior of the houses in a reflection of the new bourgeois world. Thanks to the mobile curtains, the public can move from one house to another without moving from the armchair.

As found on Youtube

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