The Farce Element in Moliere
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The Italian Comedians Probably 1720 Oil on Canvas Overall: 63.8 × 76.2 Cm (25 1/8 × 30 In.) Framed: 94.62 × 107 × 13.65 Cm (37 1/4 × 42 1/8 × 5 3/8 In.) Samuel H
National Gallery of Art NATIONAL GALLERY OF ART ONLINE EDITIONS French Paintings of the Fifteenth through Eighteenth Centuries Antoine Watteau French, 1684 - 1721 The Italian Comedians probably 1720 oil on canvas overall: 63.8 × 76.2 cm (25 1/8 × 30 in.) framed: 94.62 × 107 × 13.65 cm (37 1/4 × 42 1/8 × 5 3/8 in.) Samuel H. Kress Collection 1946.7.9 ENTRY Numerous paintings with figures in theatrical costume attest to Jean Antoine Watteau’s interest in the theater. In The Italian Comedians, however—as in others of his works in this genre—the identity of some of the characters remains uncertain or equivocal because he sometimes reused the same model for different figures and modified standard costumes according to his whim. Pierre Rosenberg has drawn attention to the announcement in the Mercure de France of the 1733 print after The Italian Comedians [fig. 1] by Bernard Baron (1696–1762): “These are almost all portraits of men skilled in their art, whom Watteau painted in the different clothing of the actors of the Italian Theatre.” [1] It would seem, then, that the painting does not record an actual performance; and we lack evidence as to who these individuals might actually be. It was Baron’s print (included in the Recueil Jullienne, the compendium of prints after Watteau’s work) that gave The Italian Comedians its title. The scene appears to represent a curtain call of the Comédie Italienne, the French version of the commedia dell’arte, which presented stock characters in predictably humorous plots. A red curtain has been drawn aside from a stage where fifteen figures stand together. -
Screwball Syll
Webster University FLST 3160: Topics in Film Studies: Screwball Comedy Instructor: Dr. Diane Carson, Ph.D. Email: [email protected] COURSE DESCRIPTION: This course focuses on classic screwball comedies from the 1930s and 40s. Films studied include It Happened One Night, Bringing Up Baby, The Awful Truth, and The Lady Eve. Thematic as well as technical elements will be analyzed. Actors include Katharine Hepburn, Cary Grant, Clark Gable, and Barbara Stanwyck. Class involves lectures, discussions, written analysis, and in-class screenings. COURSE OBJECTIVES: The purpose of this course is to analyze and inform students about the screwball comedy genre. By the end of the semester, students should have: 1. An understanding of the basic elements of screwball comedies including important elements expressed cinematically in illustrative selections from noteworthy screwball comedy directors. 2. An ability to analyze music and sound, editing (montage), performance, camera movement and angle, composition (mise-en-scene), screenwriting and directing and to understand how these technical elements contribute to the screwball comedy film under scrutiny. 3. An ability to apply various approaches to comic film analysis, including consideration of aesthetic elements, sociocultural critiques, and psychoanalytic methodology. 4. An understanding of diverse directorial styles and the effect upon the viewer. 5. An ability to analyze different kinds of screwball comedies from the earliest example in 1934 through the genre’s development into the early 40s. 6. Acquaintance with several classic screwball comedies and what makes them unique. 7. An ability to think critically about responses to the screwball comedy genre and to have insight into the films under scrutiny. -
Scaramouche and the Commedia Dell'arte
Scaramouche Sibelius’s horror story Eija Kurki © Finnish National Opera and Ballet archives / Tenhovaara Scaramouche. Ballet in 3 scenes; libr. Paul [!] Knudsen; mus. Sibelius; ch. Emilie Walbom. Prod. 12 May 1922, Royal Dan. B., CopenhaGen. The b. tells of a demonic fiddler who seduces an aristocratic lady; afterwards she sees no alternative to killinG him, but she is so haunted by his melody that she dances herself to death. Sibelius composed this, his only b. score, in 1913. Later versions by Lemanis in Riga (1936), R. HiGhtower for de Cuevas B. (1951), and Irja Koskkinen [!] in Helsinki (1955). This is the description of Sibelius’s Scaramouche, Op. 71, in The Concise Oxford Dictionary of Ballet. Initially, however, Sibelius’s Scaramouche was not a ballet but a pantomime. It was completed in 1913, to a Danish text of the same name by Poul Knudsen, with the subtitle ‘Tragic Pantomime’. The title of the work refers to Italian theatre, to the commedia dell’arte Scaramuccia character. Although the title of the work is Scaramouche, its main character is the female dancing role Blondelaine. After Scaramouche was completed, it was then more or less forgotten until it was published five years later, whereupon plans for a performance were constantly being made until it was eventually premièred in 1922. Performances of Scaramouche have 1 attracted little attention, and also Sibelius’s music has remained unknown. It did not become more widely known until the 1990s, when the first full-length recording of this remarkable composition – lasting more than an hour – appeared. Previous research There is very little previous research on Sibelius’s Scaramouche. -
Uniting Commedia Dell'arte Traditions with the Spieltenor Repertoire
UNITING COMMEDIA DELL’ARTE TRADITIONS WITH THE SPIELTENOR REPERTOIRE Corey Trahan, B.M., M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS May 2012 APPROVED: Stephen Austin, Major Professor Paula Homer, Committee Member Lynn Eustis, Committee Member and Director of Graduate Studies in the College of Music James Scott, Dean of the School of Music James R. Meernik, Acting Dean of the Toulouse Graduate School Trahan, Corey, Uniting Commedia dell’Arte Traditions with the Spieltenor repertoire. Doctor of Musical Arts (Performance), May 2012, 85 pp., 6 tables, 35 illustrations, references, 84 titles. Sixteenth century commedia dell’arte actors relied on gaudy costumes, physical humor and improvisation to entertain audiences. The spieltenor in the modern operatic repertoire has a similar comedic role. Would today’s spieltenor benefit from consulting the commedia dell’arte’s traditions? To answer this question, I examine the commedia dell’arte’s history, stock characters and performance traditions of early troupes. The spieltenor is discussed in terms of vocal pedagogy and the fach system. I reference critical studies of the commedia dell’arte, sources on improvisatory acting, articles on theatrical masks and costuming, the commedia dell’arte as depicted by visual artists, commedia dell’arte techniques of movement, stances and postures. In addition, I cite vocal pedagogy articles, operatic repertoire and sources on the fach system. My findings suggest that a valid relationship exists between the commedia dell’arte stock characters and the spieltenor roles in the operatic repertoire. I present five case studies, pairing five stock characters with five spieltenor roles. -
The English-Speaking Aristophanes and the Languages of Class Snobbery 1650-1914
Pre-print of Hall, E. in Aristophanes in Performance (Legenda 2005) The English-Speaking Aristophanes and the Languages of Class Snobbery 1650-1914 Edith Hall Introduction In previous chapters it has been seen that as early as the 1650s an Irishman could use Aristophanes to criticise English imperialism, while by the early 19th century the possibility was being explored in France of staging a topical adaptation of Aristophanes. In 1817, moreover, Eugene Scribe could base his vaudeville show Les Comices d’Athènes on Ecclesiazusae. Aristophanes became an important figure for German Romantics, including Hegel, after Friedrich von Schlegel had in 1794 published his fine essay on the aesthetic value of Greek comedy. There von Schlegel proposed that the Romantic ideals of Freedom and Joy (Freiheit, Freude) are integral to all art; since von Schlegel regarded comedy as containing them to the highest degree, for him it was the most democratic of all art forms. Aristophanic comedy made a fundamental contribution to his theory of a popular genre with emancipatory potential. One result of the philosophical interest in Aristophanes was that in the early decades of the 18th century, until the 1848 revolution, the German theatre itself felt the impact of the ancient comic writer: topical Lustspiele displayed interest in his plays, which provided a model for German poets longing for a political comedy, for example the remarkable satirical trilogy Napoleon by Friedrich Rückert (1815-18). This international context illuminates the experiences undergone by Aristophanic comedy in England, and what became known as Britain consequent upon the 1707 Act of Union. -
Scaramouche: a Romance of the French Revolution Online
3ulya (Free download) Scaramouche: A Romance of the French Revolution Online [3ulya.ebook] Scaramouche: A Romance of the French Revolution Pdf Free Rafael Sabatini DOC | *audiobook | ebooks | Download PDF | ePub Download Now Free Download Here Download eBook #10929160 in Books Sabatini Rafael 2016-06-12Original language:English 9.00 x .64 x 6.00l, .84 #File Name: 1534609687282 pagesScaramouche A Romance of the French Revolution | File size: 18.Mb Rafael Sabatini : Scaramouche: A Romance of the French Revolution before purchasing it in order to gage whether or not it would be worth my time, and all praised Scaramouche: A Romance of the French Revolution: 0 of 0 people found the following review helpful. "There is no worse hell that that provided by the regrets for wasted opportunities."By Don KidwellRelive the French Revolution together with many remarkable passages like "For government by any one class is fatal to the welfare of the whole" and "You must change man, not systems." Good book by itself or do yourself one better and grab it as part of a collection for even a better bargain.1 of 1 people found the following review helpful. One of the Best Sabatini novels!By David N. KrafchickIf you have not seen the film with Stewart Granger, Janet Leigh and Mel Ferrer, then sit down for one the best read in the tradition that this writer established on his own. It is broken 9n to 3 books. I would have made into 3 plays if it ever gets adapted. Sabatini is the master of the traditional Swashbuckler. -
Melodic Speech Patterns in the Traditional Japanese Kyogen Theatre: a Strategy of Contrasting Structures
Spring 2001 97 Melodic Speech Patterns in the Traditional Japanese Kyogen Theatre: A Strategy of Contrasting Structures Zvika Serper To Nomura Mansaku, the greatest living kyogen actor Kyogen are comic short plays that serve as interludes between the serious no dramas, together comprising the nogaku, the Japanese traditional aristocratic theatre. They can be farce, satire, tragi-comedy, etc., dealing with the daily life of the lower and middle classes. Relationships between an ordinary man and his wife or lover, and those between a master and his servant are the most common themes in kyogen, in contrast with the more serious super-human appearances of ghosts, gods, and demons in no. Kyogen can be considered as the realistic antithesis of no not only on the dramatic level, but as regards the acting too.1 Vocal expression in kyogen, as in no, consists of both speech and singing, although the proportions differ completely in the two styles, with far more speech than singing in kyogen. Similar to the other traditional theatre arts in Japan, the art passes from father to sons or disciples, and the acting patterns accumulate and crystallize throughout the generations, including the melodic speech patterns. There is no notation of these patterns in the professional texts, and to date no analysis has been attempted of these traditional speech patterns. The kyogen speech served as one of the main sources for the speech of kabuki, the traditional popular theatre that developed later, and therefore it embodies the nucleus of the presentational speech art of all Japanese traditional theatres. In the present analysis of the principles and aesthetic of the kyogen speech patterns I hope to shed some light on these Japanese theatrical speech patterns and provide greater insight into their complexity. -
THIS ISSUE: Comedy
2014-2015 September ISSUE 1 scene. THE JOURNAL OF THE INTERNATIONAL SCHOOLS THEATRE ASSOCIATION THIS ISSUE: Comedy www.ista.co.uk WHO’S WHO @ ISTA… CONTENTS Patron 2 Connections Professor Jonothan Neelands, by Rebecca Kohler National Teaching Fellow, Chair of Drama and Theatre Education in the Institute of Education 3 Comedy d’un jour and Chair of Creative Education in the Warwick Business School (WBS) at the University of by Francois Zanini Warwick. 4 Learning through humour Board of trustees by Mike Pasternak Iain Stirling (chair), Scotland Formerly Superintendent, Advanced Learning Schools, Riyadh. Recently retired. 8 Desperately seeking the laughs Jen Tickle (vice chair), Jamaica by Peter Michael Marino Head of Visual & Performing Arts and Theory of Knowledge at The Hillel Academy, Jamaica. 9 “Chou” – the comic actor in Chinese opera Dinos Aristidou, UK by Chris Ng Freelance writer, director, consultant. 11 Directing comedy Alan Hayes, Belgium by Sacha Kyle Theatre teacher International School Brussels. Sherri Sutton, Switzerland 12 Videotape everything, change and be Comic, director and chief examiner for IB DP Theatre. Theatre teacher at La Chataigneraie. grateful Jess Thorpe, Scotland by Dorothy Bishop Co Artistic Director of Glas(s) Performance and award winning young people’s company 13 Seriously funny Junction 25. Visiting. Lecturer in the Arts in Social Justice at the Royal Conservatoire of Scotland. by Stephen Finegold Honorary life members 15 How I got the best job in the world! Dinos Aristidou, UK Being a clown, being a -
Contentious Comedy
1 Contentious Comedy: Negotiating Issues of Form, Content, and Representation in American Sitcoms of the Post-Network Era Thesis by Lisa E. Williamson Submitted for the Degree of Doctor of Philosophy The University of Glasgow Department of Theatre, Film and Television Studies 2008 (Submitted May 2008) © Lisa E. Williamson 2008 2 Abstract Contentious Comedy: Negotiating Issues of Form, Content, and Representation in American Sitcoms of the Post-Network Era This thesis explores the way in which the institutional changes that have occurred within the post-network era of American television have impacted on the situation comedy in terms of form, content, and representation. This thesis argues that as one of television’s most durable genres, the sitcom must be understood as a dynamic form that develops over time in response to changing social, cultural, and institutional circumstances. By providing detailed case studies of the sitcom output of competing broadcast, pay-cable, and niche networks, this research provides an examination of the form that takes into account both the historical context in which it is situated as well as the processes and practices that are unique to television. In addition to drawing on existing academic theory, the primary sources utilised within this thesis include journalistic articles, interviews, and critical reviews, as well as supplementary materials such as DVD commentaries and programme websites. This is presented in conjunction with a comprehensive analysis of the textual features of a number of individual programmes. By providing an examination of the various production and scheduling strategies that have been implemented within the post-network era, this research considers how differentiation has become key within the multichannel marketplace. -
Bamcinématek Presents Stephen Chow: the King of Comedy, Oct 6—12
BAMcinématek presents Stephen Chow: The King of Comedy, Oct 6—12 “The reigning king of Hong Kong comedy.”—J. Hoberman Co-presented with the Hong Kong Economic and Trade Office in New York. The Wall Street Journal is the title sponsor for BAM Rose Cinemas and BAMcinématek. Brooklyn, NY/Sep 8, 2014—From Monday, October 6 through Sunday, October 12, BAMcinématek presents Stephen Chow: The King of Comedy, an eight-film retrospective of the Hong Kong actor, writer, and director. Chow’s audaciously anarchic comedies combine surreal sight gags, non sequiturs, extensive pop culture quoting, and gravity-defying martial arts to sublimely silly effect. Endlessly inventive, the reigning king of Hong Kong mo lei tau (―nonsense comedy‖) yields unfiltered cinematic pleasure. Initially prominent as a children’s television star, Chow became synonymous with mo lei tau, a style of film comedy in which traditional melodramas and kung fu tales are peppered with rapid- fire, fourth-wall-breaking slapstick bits and corny puns. A bigger box-office draw in his homeland than Jackie Chan or Jet Li, Chow—who cites Spielberg and Kubrick, along with Jim Carrey, as influences—has used his clout in recent years to fashion himself as an auteur, scripting, editing, and directing a series of high-budget, homage-filled blockbusters. Typical of Chow’s earliest hits, Johnnie To’s Justice, My Foot! (1992—Oct 8) casts the actor as a fast-talking lawyer whose mouth gets him into trouble, and whose kung fu-fighting wife gets him out of it—one of many tough, smart heroines Chow uses as foils for his feckless alter egos. -
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A Genealogy of the Music Mockumentary
Sheridan College SOURCE: Sheridan Scholarly Output, Research, and Creative Excellence Faculty of Humanities & Social Sciences Books & Chapters (FHASS) 5-8-2019 It’s Such a Fine Line Between Stupid and Clever: A Genealogy of the Music Mockumentary Michael Brendan Baker Sheridan College, [email protected] Peter Lester Follow this and additional works at: https://source.sheridancollege.ca/fhass_books Part of the Music Commons SOURCE Citation Baker, Michael Brendan and Lester, Peter, "It’s Such a Fine Line Between Stupid and Clever: A Genealogy of the Music Mockumentary" (2019). Books & Chapters. 9. https://source.sheridancollege.ca/fhass_books/9 This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 4.0 License. This Book Chapter is brought to you for free and open access by the Faculty of Humanities & Social Sciences (FHASS) at SOURCE: Sheridan Scholarly Output, Research, and Creative Excellence. It has been accepted for inclusion in Books & Chapters by an authorized administrator of SOURCE: Sheridan Scholarly Output, Research, and Creative Excellence. For more information, please contact [email protected]. 29 “It’S SUCH A FINE LINE BETWEEN STUPID AND CLEVER” A Genealogy of the Music Mockumentary Michael Brendan Baker and Peter Lester Imitation is the sincerest [form] of flattery. —Charles Caleb Colton, 1820 In 1934, on the Aran Islands off the western coast of Ireland, pioneering filmmaker Robert Flaherty and his crew were collecting material for a feature-length nonfiction film documenting the premodern conditions endured by residents of the rough North Atlantic outpost. Discussing the ways in which Flaherty prearranged character interactions and informally scripted many of the scenarios that would ultimately feature in his films, camera assistant John Taylor later recalled for filmmaker George Stoney that he wrote in his notebooks at the time the word “mockumentary” to describe this creative treatment of the nonfictional material How( ).