(This is a 70's version that researched how the play would have been staged in Shakespeare's time. It uses the Comedia del Arte masks we learned about last year)
Watch the play while reading along to help comprehension.
The renaissance valued dance a LOT!
We've already seen how it symbolizes unity and order.
It is often used as a dramatic device - The dance will let you know something about the characters or the plot.
Leonato,
a kindly, respectable nobleman, lives in the idyllic Italian town of Messina.
Leonato shares his house with his lovely young daughter, Hero, his playful,
clever niece, Beatrice, and his elderly brother, Antonio (who is Beatrice's
father). As the play begins, Leonato prepares to welcome some friends home from
a war. The friends include Don Pedro, a prince who is a close friend of
Leonato, and two fellow soldiers: Claudio, a well-respected young nobleman, and
Benedick, a clever man who constantly makes witty jokes, often at the
expense of his friends. Don John, Don Pedro’s illegitimate brother, is
part of the crowd as well. Don John is sullen and bitter, and makes trouble for
the others.
When
the soldiers arrive at Leonato’s home, Claudio quickly falls in love with Hero.
Meanwhile, Benedick and Beatrice resume the war of witty insults that they have
carried on with each other in the past. Claudio and Hero pledge their love to
one another and decide to be married. To pass the time in the week before the
wedding, the lovers and their friends decide to play a game. They want to get
Beatrice and Benedick, who are clearly meant for each other, to stop arguing
and fall in love. Their tricks prove successful, and Beatrice and Benedick soon
fall secretly in love with each other.
But
Don John has decided to disrupt everyone’s happiness. He has his companion
Borachio make love to Margaret, Hero’s serving woman, at Hero’s window in the
darkness of the night, and he brings Don Pedro and Claudio to watch. Believing
that he has seen Hero being unfaithful to him, the enraged Claudio humiliates
Hero by suddenly accusing her of lechery on the day of their wedding and
abandoning her at the altar. Hero’s stricken family members decide to pretend
that she died suddenly of shock and grief and to hide her away while they wait
for the truth about her innocence to come to light. In the aftermath of the
rejection, Benedick and Beatrice finally confess their love to one another.
Fortunately, the night watchmen overhear Borachio bragging about his crime.
Dogberry and Verges, the heads of the local police, ultimately arrest both
Borachio and Conrad, another of Don John’s followers. Everyone learns that Hero
is really innocent, and Claudio, who believes she is dead, grieves for her.
Leonato
tells Claudio that, as punishment, he wants Claudio to tell everybody in the
city how innocent Hero was. He also wants Claudio to marry Leonato’s “niece”—a
girl who, he says, looks much like the dead Hero. Claudio goes to church with
the others, preparing to marry the mysterious, masked woman he thinks is Hero’s
cousin. When Hero reveals herself as the masked woman, Claudio is overwhelmed
with joy. Benedick then asks Beatrice if she will marry him, and after some
arguing they agree. The joyful lovers all have a merry dance before they
celebrate their double wedding.
Everyone must read page 3-4 up until the Knight's entrance.
After that, each student will read their own section and enter information on their character in Google Classroom.
Make notes on the character's physical, mental and social state.
Decide whether the character is good, bad or neutral and have a text-based reason for why.
Decide whether the character belongs to the 1st, 2nd or 3rd estate and back it up from the text.
Be prepared to discuss this with the class.
Go to Google Classroom assignment to enter in your information.
An annotation is a summary and/or evaluation; a bibliography is a list of sources (books, journals, web sites, newspapers, etc.) one has used to research a topic. Thus, an annotated bibliography is a list of sources that includes summary and/or evaluation.
To learn about your topic: Writing an annotated bibliography is excellent preparation for a research project. Just collecting sources for a bibliography is useful, but when you have to write annotations for each source, you're forced to read each source more carefully. You begin to read more critically instead of just collecting information.
To help you formulate a thesis: Every good research paper is an argument. The purpose of research is to state and support a thesis. So a very important part of research is developing a thesis that is debatable, interesting, and current. Writing an annotated bibliography can help you gain a good perspective on what is being said about your topic. By reading and responding to a variety of sources on a topic, you'll start to see what the issues are, what people are arguing about, and you'll then be able to develop your own point of view.
How do I make an annotated bibliography?
As the Purdue OWL has made clear, the first step is research:
You must research, read, ponder, research some more, and read again. Once you have the sources for your annotated bibliography, putting one together is a relative snap.
Format of citations:
Create an MLA-style Works Cited list. For more information about MLA style, please consult a handbook.
Content of annotations:
Insert your summary/evaluation of a source immediately after its MLA-style entry.
In general annotations condense the substance of a source by reducing it to its main points, which are summarized in a few sentences.
How should my annotated bibliography look when it's done? Example
1. The heading with your name and class information appears on the first page only. Subsequent pages contain a header with your surname and the page number. 2. Give the annotated bibliography a title that identifies the common topic(s) that all the sources share. Note that you do not need to nor should you label this "Annotated Bibliography" since it's obvious from looking at the page that it is, in fact, an annotated bibliography. 3. Sources appear in alphabetical order by author surname or title. Note well that each entry begins with an MLA-style works cited citation. 4. Annotations vary in length depending on the complexity of the source; however, annotations of even the longest sources are brief, as in the Bradford example. Check the content information above for more details about what to include in your annotations. You will mark each entry 'read', 'to read' or 'partially read' - depending on how much time you've spent with the information. 5. Note the "inverse paragraph" format: The first line of each entry is flush left while subsequent lines are indented 1 to 1.5 inches. The right margin is not justified. The entire document is double spaced from the title to the last line. 6: A minimum of 20 sources must be cited and analyzed. You may add your three scholarly journals and your four literary texts. All info belongs to Jonathan Ausubel, Ph.D
Lazzi (sing. Lazzo) are stock visual or spoken jokes that every theatre troupe has on hand. They are not a part of the plot but used to keep the audience entertained.
Lazzo of the Fly: (17th century Italy) Servant stock character tells master that there is "not a fly" in his home. Master enters to find it is full of people. Servant insists that there are still "no flies."
Lazzo of Water: (17th century Italy): The mistress has fainted. Female servant asks the male servant, usually an Arlecchino or Pulcinella, to fetch water. After splashing many kinds of water on her face, the male servant splashes his own urine on the fainted mistress, and she is revived.
Lazzo of Begging: (17th century Italy) A servant character/low status stock character pretends to be a beggar by hiding his limbs from passers-by.
Lazzo of the School of Humanity: (17th century Italy) Harlequin, Arlecchino, or other servant stock character insists that female relative runs a "school of humanity." The female relative is a prostitute.
Lazzo of the Barber: (17th century Paris) Clown/servant stock character shaves male character of higher status and replaces fresh drinking water with the contaminated shave remnants.
Lazzo of Eating Oneself: (18th century Paris) Clown/servant stock character, who is traditionally always hungry, eats himself.
Lazzo of the Straw: (17th century Paris) A high status character pours wine into a glass while his servant empties the cup through a straw.
The following descriptions are intended to help people understand the traditional appearance of the characters, and how their personality should be played or written. Traditional commedia dell'arte is not about realism or creating well-rounded, three-dimensional characters, so most of the roles only have a couple traits to them around which the whole personality is defined. They rarely ever have any complex or sympathetic reasons for their behavior, and anything they do or feel, they do or feel to extremes.
John Vorhaus's book The Comic Toolbox offers some excellent methods for creating a comic character and analyzing what makes a joke funny; I've tried to sum up each role's "comic perspective" around which most of the humor will be based, through listing the character's primary and secondary comic traits.
Brighella, Brigella, or Brighelle.
An ill-tempered but intelligent zanni, he is known to be dangerous and may even commit murders or other violent crimes. He is selfish and opportunistic -- as is the case with many of the stock characters -- but unlike the other zanni who are often stupid or at least gullible, Brighella is cunning and can manipulate circumstances in ways that would be beyond the other characters; any failure of his schemings will usually be due to bad luck on his part, rather than any real problem with his plan. He traditionally shows no real sense of honor, and will rob his dearest friend if he finds the chance; and only demonstrates loyalty to others if he discovers it to be to his own best advantage. His name comes from an old Italian word that means "brawl" and so in English his name could be rendered as Brawley. His costume was usually white with green trimmings, and his mask an olive-color or (less-commonly) brown, with a hooked nose. Duchartre describes his traditional hat as a toque with a green border, though most illustrations seem to show Brighella with a peasant's bonnet sometimes called a "muffin hat", similar to what most other zanni commonly wear. A modern Brighella-type character can be found in Edmund Blackadder of the Blackadder series.
PRIMARY COMIC TRAIT: Malicious intelligence, manifesting as insults, trouble-making, schemes, and brawls.
Burrattino; or Burattino or Burratino.
One of the zanni, with an extremely good nature -- obviously trustworthy enough that in Fortunata Isabella, the inamorata chooses him as her sole companion on a cross-country trip. He's not usually shown to be particularly smart, and he, like many zanni, is often inclined toward gluttony and lust. He is easily brought to tears by any kind of bad news (such as discovering he's eaten all the macaroni) and can lament these things at length. Illustrations show his costume to be a slightly baggy shirt and pants, decorated with small bows or ribbons, and wearing a collar. His hat is a kind of flat-cap with a narrow brim. The name Burrattino means little-donkey. A modern version of Burrattino can be found in the character of Burton "Gus" Guster on the show Psych.
PRIMARY COMIC TRAIT: Soft-hearted to excess.
Captain; or Capitano.
Unusually, the character of the Captain can fall into both the zanni and the vecchi categories, and can even fill the part of the inamorato on occasion. He is opportunistic and greedy, and in many scenari he is revealed to have never been a captain at all; and if he does have legitimate claim to the title he only earned it through deception and bravado. The other characters may or may not be fooled by his claims, depending on the needs of the story. He usually wears a fancy version of a period military uniform, and may or may not have a mask. If he is masked, it is usually flesh-colored with a long nose and mustache that turns up at the corners. He also is frequently portrayed as wearing glasses -- in past times these would have been a fashion accessory, akin to sunglasses today. He is usually played as being an extreme coward behind his bravado, though once in a while the character is known to demonstrate true courage; nevertheless, even when he does, it is so ineptly applied that his action is still a miserable failure. A modern example of a character in the style of the Captain is the title role of the show Invader Zim, an arrogant and exceedingly self-centered alien who earned a high military ranking simply because his superiors wanted to put him “in charge” of the most distant planet they could think of, so they'd never have to see him again.
PRIMARY COMIC TRAIT: Egotism.
SECONDARY COMIC TRAIT: Cowardice or ineptitude, in contrast to his primary trait.
Cietrulo; or Cetrulllo.
Not a well-documented character, he turns up in the early 17th century Feather-Book of Dionisio Minaggio. The illustration shows the character to bear a strong resemblance to Scaramouch, and so is likely a variant on either him or on the Captain, and this is further supported in that the illustration appears to portray him threatening to pull his sword on another zanni; butAllardyce Nicoll in his book The World of Harlequin speculates he might be a variant on the character Coviello. The name Cietrulo is clearly meant to be a play on the Italian word citrulo, which means idiot, and gives some more insight as to the character's personality. He is apparently an unmasked character, but with such a name is definitely a zanni or a vecchio, rather than an inamorato.
PRIMARY COMIC TRAIT: Probably a short temper; see also Captain, Scaramouch, and Coviello.
Cola; or Colafronio.
Usually a zanni, but sometimes classed as a vecchio and occasionally even an inamorato; he is depicted as well-dressed and wearing glasses, suggesting he might be a variant on the Captain, who has similar versatility. See also: Pasquariello.
Columbine, Colombine; or Columbina.
First appears in the seventeenth century, as a variation of the soubrette or maid, who were the female counterparts of the zanni. Columbine is usually amorous and is often in love with someone or another in any scenario, most typically Harlequin. She may be variously prim and dainty, or she may be bold and uncouth; but she's never as crude or vulgar as Francesquina or Ruffiana due to her intelligence and legitimate affection for others. Modern commedie often use her to provide a voice of reason in the show and utilize her more as a straight-man for the other characters. As is usual for the female roles, her costume tends to vary by the fashions of the day, and at times can be as elaborate as that of the inamorata, and at other points may be ragged and drab. Her outfit became somewhat standardized in the nineteenth century as a gown, usually white in color, frozen in the fashion of the previous century. She frequently wears no mask at all, though sometimes she may have a small eye-mask. A modern character somewhat in the style of Columbina can be found in Babs Bunny from the Tiny Toons cartoon series, in the way she often has small romantic troubles and indulges in girly activities.
PRIMARY COMIC TRAIT: The antics of love/lust. She can also be a straight man, meaning she has no primary comic trait and instead serves mainly to set up jokes for other characters.
His name is a double-diminutive of the name Giacomo. Callot's illustrations show his mask to possess an extremely long nose, protruding as far as the elbow of his outstretched arm, and he usually wears a plumed hat or headdress as part of his costume. Colors of his mask can vary but seem to usually have red in the cheek area. He falls into the category of the zanni —though he appears to have some common lineage with the Captain — and has a stronger popularity in earlier plays. The character was well-known enough in Italy that 'coviello' became a term for a boastful idiot. His actual character can be variable, and many traditional scenarios and plays portray him as quite smart. His primary qualities are conceit and bluntness — he never fears to call a spade a spade.
PRIMARY COMIC TRAIT: Bluntness.
SECONDARY COMIC TRAIT: See Capitano.
Doctor.
Common names for the Doctor are Graziano Baloardo and Spaccastrummolo, which roughly translate in English, respectively, as Dr. Gratian Stoupide and Dr. Hack-and-Bandage. According toDuchartre, the character first appears during the sixteenth century, he is summarized as having “spent his whole life learning everything without understanding anything.” The Doctor is one of thevecchi, and is therefore by demand of the type prone to commit all seven of the deadly sins. He has an unusual mask that covers only the nose and forehead, either black or flesh-tone, and dresses in black. Early doctors wore caricatures of the medical robes of their era, but in the mid-seventeenth century the costume was modified to a jacket of Louis XIV style, extremely wide hat, breeches, and a ruff collar. He is rarely shown as being even remotely competent in his profession, and common sources of humor stem from his low cure rates and the bizarre (and obviously useless) treatments he administers. A modern version of this character can be found in the form of Professor Farnsworthon Futurama — an extremely elderly, amoral, senile and deranged scientist who appears to spend most of his time inventing useless and ridiculous devices and ordering around his employees.
PRIMARY COMIC TRAIT: Egotism and pride; often conflicting with his actual stupidity and ineptitude.
SECONDARY COMIC TRAIT: Old man -- see Pantalone.
Franceschina; or Francesquina.
A soubrette, with a particularly libidinous nature. She's a bit too skanky to come off as truly sexy, but she's good enough for the likes of most zanni and vecchi. If she's unmarried, she doesn't care; and if she's married, she still doesn't care. A series of illustrations from the Recueil Fossard show her with a rather Rubenesque figure, gushing out of her corset and with the spiral lacing on her dress ready to burst. Her costume is of a low-class servant.
PRIMARY COMIC TRAIT: Slut.
Geronte; or Gerontes.
A French version of Pantalone. Though still old, he is usually portrayed as less mean or miserly and instead more ignorant. 19th century costume designs show him as an old man dressed as a gentleman of the late 17th or early 18th century, but with flamboyantly bright red rolled stockings and a variety of unfashionable hats. He does not appear to wear a mask. His name is from a Greek word meaning elder or old man.
PRIMARY COMIC TRAIT: Ignorance/stupidity.
Harlequin; or Arlequin or Arlecchino.
Perhaps the most popular and definitely best-known of the commedia characters. There are many dubious etymologies of his name, often linking him to mythical beings or spirits, but no one can say for sure whence the word originates. My own best guess, based on information available to me, is that it comes from Frankish karalchin, or "little man" (cognate to the names Karl and Charles.) Harlequin's early costume was a kind of unitard or jumpsuit decorated with patches, meant to indicate a garment so ragged it was more patches than real material. Over time it evolved into the diamond or triangle pattern that has come to distinguish him. Later versions show him in a two-piece outfit made from a shirt and pants. Interestingly, his outfit has always been belted around the hips, instead of at the waist. Harlequin is traditionally portrayed by a physically agile actor and makes use of slapstick and stunts. His character is often not particularly bright though the extremes to which this is taken vary by the scenario. He wears a dark brown or black colored mask, sometimes with a beard or mustache attached. Old style Harlequins often wore a hat made from a dead animal, though from the eighteenth century on a bicorn or tricorn hat has become traditional. Another attribute of Harlequin is a wooden prop -- usually a wooden sword or a wooden stick (originally a slapstick, but later evolutions show it as just a walking stick or cane.)
PRIMARY COMIC TRAIT: Making a nuisance of himself.
Mezzetino; or Mezzetin.
A variant on Brighella, he's a bit (but only a bit) less violent than the big brawler and instead is more interested in the ladies. Mezzetino's name suggests that alcohol is also another of his interests (frommezzeta meaning a wine-measure or a pint, according to John Florio's dictionary of 1611 -- though Lynne Lawner in Harlequin on the Moon claims the name actually refers to the character's role as a middle-man or "go between.") He is smart but often seems to make a poor impression on others -- Duchartre even gives an example where he's downright creepy, flirting with a girl by explaining how he has murdered his last wife and will murder his current wife to be with her. Overall, it seems, he is a slightly less-capable Brighella. Mezzetino's costume began as a baggy white costume like that of the generic zanni, but later evolved to a kind of livery or else a tunic and breeches, usually striped. Watteau shows Mezzetin in pink stripes or in pink, yellow and blue pastel stripes, and Maurice Sand shows red and white stripes. Brunelleschi shows purple and white stripes. Mezzetino usually is shown wearing cape or tabaro and a ruff or clown collar. He has a tradition of being unmasked. A bonnet or muffin hat finishes the costume. The character of Chico Marx is a Mezzetin-like character.
PRIMARY COMIC TRAIT: See Harlequin or Brighella.
Pantalone; or Pantaloon.
A vecchio, and one of the older characters of the commedia, both historically and in canon. In fact, the older the age given for the character of Pantalone, the better. He is usually portrayed as being of the merchant class though he may or may not be wealthy; if he is, it doesn't matter as he's usually so averse to spending any of his money that his lifestyle is almost that of a beggar. His costume consists of pants and a shirt or else a jumpsuit, usually red in color, with a long black coat or a cape thrown over. His mask is meant to portray an ancient old man, very wrinkled, with a large, long nose. Pantalone's traditional costume of long trousers, which was his attribute even before they were fashionably worn, resulted in the term “pants” “pantaloons” and so on becoming the name for such garments. His actual name may be from Greek Pantaleon, a clown mentioned by the ancient author Athenaeus, suggesting his origins to be quite old indeed. Modern Pantalone-like characters includeMr. Burns on The Simpsons (whose face is even drawn in such a way as to resemble Pantalone's mask)and Robert "Granddad" Freeman on Boondocks.
PRIMARY COMIC TRAIT: Greed and stinginess -- usually of money but can apply it to women, power, food, or whatever else captures his fancy.
SECONDARY COMIC TRAIT: Old man. Jokes about prostate troubles, broken hips, and 'back in my day we wore an onion on our belt' will abound.
Pasquariello, Paschiarello; or Pasquariel.
A Capitano variant, usually a zanni but sometimes a vecchio or inamorato. His costume is shown as a tabaro, jacket, and breeches with decorative garters. On his head appears to be a skullcap, and he looks to be unmasked. Later versions replace the tabaro with a clown-collar and add stripes to the design. Had acrobatic tendencies.
Pierrot; Pedrolino; Peterkin.
Ranks with Harlequin among the most popular characters of the commedia. He particularly took off in English-speaking countries after the character was revamped during the late seventeenth century to be more innocent and romantic. An indication of his popularity comes in the works of Wodehouse, who declares that for costume parties, every well-bred Englishman dresses as Pierrot. This costume consists of a white, baggy jumpsuit, or else loose trousers and a button-down shirt, sometimes with overly-long sleeves. A ruff or a clown collar around the neck is almost always worn, and the actor leaves the face unmasked and made-up with white powder. A skullcap is worn on the head to hide the hair, sometimes topped with another wider-brimmed hat. Occasionally he can be found wearing a bonnet or a tall toque. A Pierrot-like character can be found in the roles favored byBuster Keaton during his heyday (Bertie in The Saphead, Johnnie in The General, etc.)
PRIMARY COMIC TRAIT: Originally tended to play pranks and insult other characters for humor; later came to be known for innocence and dreaminess.
Purricinella; or Pulcinella, Polichinelle, Punchinello, &c.
Pot-bellied and hunchbacked zanni, his shape is somewhat like that of a chicken, and this is probably the origin of his name (from medieval Italian pollicino, a young pullet or chicken.) His mask is formed to have a long, hooked, beak-like nose, and his costume usually includes a tall hat of some form. His actual garments are similar to Pierrot's. Pulcinella's primary trait is a tendency toward malice and selfishness which is usually covered by an ignorance — or pretense thereof — as to the harm he's causing. Like Brighella, he's willing to commit murder, but Pulcinella will often find a way to make it seem like an accident or even to trick or confuse the victim into killing himself. He evolved in English-speaking countries into Mr. Punch of the notorious Punch and Judy shows. The character of Betelgeuse (Beetlejuice) as played by Michael Keaton is a sort of modern Pulicinella character.
PRIMARY COMIC TRAIT: Gleeful malice.
Ruffiana; or La Ruffiana.
A female vecchio, not well documented but recently grown in popularity due to the new availability of female actresses and the need to fit them with roles. Her name, according to Florio, means "a woman bawde" i.e. a whore or a madam. She is often played as gossipy, to the point that sometimes her name gets mistranslated as "gossiper." In any case, her character is that of a low class woman, even if the story has set her up to be financially well-off through her occupations or marriages. She doesn't appear to have a standard costume but evidently would dress as flamboyantly as her financial condition would allow. Oddly for a female character, it appears she did traditionally wear a mask, which looks to have been modeled after the bauta style. Lady Booby from the film adaption of Joseph Andrews is a Ruffiana-like character.
PRIMARY COMIC TRAIT: Old whore. See also: Francesquina.
Scapino; or Scappino, Scapin.
A Brighella derivative; his name is related to the English word "escape" in reference to his tendency to flee from fights, even those he himself began. Scapino tends to make a confusion of anything he undertakes and metaphorically "flees" from one thought, activity or love interest to another, as his name implies, although he usually will return to it -- eventually. Self-preservation and self-interest are his main concerns. This is not to say his wits are without merit. In The Impostures of Scapin, Zerbinette mentions what “a clever servant [Léandre] has. His name is Scapin. He is a most wonderful man and deserves the highest praise.” He is a schemer and scoundrel, and takes a certain pride in these facts. He was originally a masked character, although later versions usually have the actor simply powder his face. He is traditionally shown with a hooked nose and a pointed beard. Later versions show his costume with green (or sometimes turquoise) and white stripes, similar to Mezzetino's red and white, but Callot shows Scapino in an outfit similar to the early Brighella's, white with a tabaro and a sword on his belt, and topped with a torn hat adorned with feathers.
PRIMARY COMIC TRAIT: Malicious intelligence combined with physical agility.
Scaramouche; or Scaramouch or Scaramuccia.
According to Duchartre, Scaramouche is a variation of the Captain. Until the mid-seventeenth century he was a masked character, but later became a role in which the actor merely powders his face, if that. It is traditional for his character to dress in all or mostly black, with a bonnet and a white ruff or clown collar, and often with a tabaro. His personality is similar to the Captain, though a little more mellow on the braggadocio. A modern variation of this character can be found in Daffy Duck.
PRIMARY COMIC TRAIT: Arrogance.
Tartaglia.
The word tartaglia means a stutterer or stammerer, and this is the primary trait of the character. For the sake of humor he often will find himself stuck on the most obscene syllable in any given word. Tartaglia frequently is an official of some kind, like a judge or a minister to the king. He usually is in the character class of a vecchio or a zanni. He does not appear to have a standard costume, but Maurice Sand shows him in a green and yellow striped clown outfit. He often is shown with thick glasses and is meant to be old, so his mask uses these qualities. A rounded nose is also common. A modernized Tartaglia can be found in the character of Porky Pig.
