A look at the Artistic Movement: Comedy Dell Art
Introduction.
The question to be treated and the most important is the comedy of the art and the influences that it has produced in different arts such as literature, scenery, painting and art that will be developed throughout the defense of this work. We will also comment on the origins, we will deepen a little more in this theatrical form and finally we will conclude with what seems most important on the preferential issue.
Developing.
We do not conceive a world without the theater being present and as has been demonstrated throughout history, the theater has played an essential role in this world. How we know, comedy Dell’arte has its origins in the Greco -Roman comedy and in its transformation and vulgarization, some as well known as those of Plauto, Terencio and Seneca. We also know that it borrows elements of:
- The mythology. We refer specifically to the cult of Dionisio and the myths surrounding this god. Born twice, first of his mother Sémele, encouraged by Hera and his jealousy and then Zeus, seeing that Sémele gave birth to his son prematurely, he sewn the fetus to his thigh and Dionisio was born again.
- That is why the twice born evokes the arrival of spring, airs of renewal and different perspectives and was manifested through the festivals held in his name. In the same way, it is also worth mentioning that there are issues that we will see in the comedy of Dell’Arte that are extracted from the eclogues and pastoral novels.
- The tragedy. The Dell’arte comedy takes elements of the ancient Greco -Roman tragedies such as Iliad, Odyssey, Euripides, the numerous tragedies of Sophocles and Esquilo, thus establishing a third actor and a scenario where they can represent the work. To participate in the Festival to Dionisio it was necessary for the author’s repertoire to contribute three tragedies and a small fragment of a satirical nature, thus producing a great development to this art. This was thanks to Tespis’s work that according to Aristotle was the legitimate creator of the Attic tragedy.
- Tespis introduced and raised in the Greek tragedy the mastery of the personification, as the mask thus introducing, so that the result was even more moving, as Bortsting explains: the masks helped them represent different characters. Finally, there came to thirty different types of masks, which distinguished the old man from the old man, the friendly person. There were also masks of female characters that represented an old man, a young virgin or an experienced courtesan.
- The medieval drama: that it was totally related to the Church, treating only the representations of the medieval mysteries and grouping the people to participate in the religious trades, where the word, music and song come into play so that they penetrate more in thementality of the people, everything is related to the same history, the New Testament and the same character, in this case Christ. The ideal scenario where the work was represented was in the Church, during the Mass, representing as a drama and being the officer the main actor so that this story was counted to a didactic purpose and to demonstrate that the mysteries of the Christian faith: theRedemption and resurrection were still in force. Some authors such as Kantor or Boadella declare that this is so.
- The profane theater of the medieval era: hypotheses mentioned by César Oliva and Francisco Torres Monreal are also considered in the book Basic History of Performing Art.
- A hypothesis as we have previously appointed, is the evolution and vulgarization of the comedies of Terencio and Plauto giving the clergy a free interpretation of the texts.
- Another hypothesis places this origin in involuntary relief or about the producers of religious theater.
- We must also mention, we would see an evolution in the public forms of Latin theater, the pamper or the jaculatory.
- The constituent from the carnival can also be pointed out. Serve as an example masks from this party, attaching the ritual festivities that are found in it. Nor should we stop passing the clothing and costumes of the characters that will be of vital importance.
- Boccaccio and work El Decamerón: This work is fundamental because it influences the creation of comedy Dell’arte, where we see a great variety of themes. And although the frequent issue is love also contains notes of masochism and sadism. All this somehow invite it to relate to mercantilism and its appearance, as Bouorthin affirms the epic of merchants and teaches the art of living well and demonstrates it in their stories, pointing out everything that can be obtained using a resolvedKnowledge, malicious expression linked to acuity and with liveliness of the Plaza del Mercado, an entire atmosphere of the most regional;Baltasar de Castiglione points out the new comedy also born with a new declared Boccacciesca vocation.
- In the prologue of the work La Calandria one of the first represented. As Professor Gallegos de la Cruz Castiglione quotes in the prologue the use of prose instead of the verses used by the Greek and Latin poets and also praises the modernity of the matter.››;also adding that characters and environments of the decameron will be seen in this type of theater. It is necessary to mention, in addition the change that occurred when moving from the poetic verses to the prose in the dialogues, since these were exempt from being written and where the figure of the decameron and the same Boccaccio, have, as we have already remarked previously,Weight in this change.
- Public: When marketing arrives, a new social figure bursts into the medieval society, totally hierarchical, we talk about the figure of the bourgeois accompanying and the new social class, the bourgeoisie. The farce of the sacred representations, the social art of fashion at the time, followed by this recent social class and the ancient nobility;They stood out markedly with an easy to follow organization, where we could find: half courtship, half performances linked to songs and dances, on the tablados, here we can glimpse the first outline of what in the near future would be comedy dell’arte.
Returning to the issue we will indicate the appearance of public space, which predicts the arrival of another new phenomenon, product of the contradictions of the new society, as Gallegos de la Cruz points out. This phenomenon, the public, only when there is a general market and the notorious recognition of the market becomes possible. The action that a subject acquires something in the market and can judge its quality, then, it is possible.
All the works of the Elizabethan theater are changes that circulate approximately to the value of virtue. In this way we will evoke the terms of virtue and moral, essential in this theater. When we talk about the term of morality, it concerns in its entirety in the behavior of society, reflected in the theater through the characters.
Conclusions.
As we have said previously this concept is related to that of virtue, referring to values attributed to the characters, and the theater itself, trying to transfer them to make them reach the public, somehow the theater approached life, where languageis the one who plays a fundamental conductive role. At the same time it is raised as a public condition is an obvious collision between the values of public and private space, something totally opposed to the medieval concept, since we would not have seen any glimpses of anything that was considered public.
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