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.
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