THEATRE IN EARLY

MODERN EUROPE, 1500-

1700
- THEATRE EXPERIENCE IN RENAISSANCE ITALY-
SOCIO-POLITICAL BACKGROUND OF
EUROPEAN RENAISSANCE THEATER
• The rise of science and technological innovations (e.g. Invention of the printing
press in 1450)
• The growth of cities and the emergence of merchantile economies and a new
merchant class
• The leading role of Italian scholars and artists
• «Re-naissance»: Rebirth  rediscovery of classical values and the classical past
(rediscovery of the civilizations of Ancient Greece and Ancient Rome): not a
departure but a new dialogue
• The rise of humanism
• An unprecedentant discovery and rediscovery in the visual, plastic, architectural,
and musical arts  rapid growth of theatre in Italy, France, Spain and England
• Also an age of religious controversy and socio-political turmoil
- Reformation and counter-Reformation (the rise of Protestant
movements)  Wars of Religion
- collapse of feudalism and the rise of a new social order
- the rise of the «individual» with different social roles and expections
- the rise of self-interest (both in personal and in political life)/a new
philosophy concepts like «ambition» or «passion» gain a new meaning
- the rise of absolute monarchy
- New World encounters  rise of colonialism
PROFESSIONAL THEATER 1500-1700
The spirits of individualism, inquiry and role-making found a natural home in
theater as a distinct art form. As a medium of impersonation and display, theater
addressed a theatricalized society where the political power was also asserted
through spectacle and ritual
• Rise of new Theatrical Spaces (second half of the 16th century): Court;
aristocratic halls; university settings; private theatres; public theatres (Italy,
France, Spain, England) /country side, town square
• Rise of Acting Companies: Amateur and Professional troups
• Rise of Patronage: Theater groups/actors gained economic and social security
under the patronage of King and nobility
• Rise of New Theatrical Styles/Genres: tragedy, comedy, tragicomedy, pastoral,
intermezzi/masque
THE THEATRE EXPERIENCE IN
RENAISSANCE ITALY
• Dominated Western theatrical practices until the 19th century
• 14th c  reawakened interest in Greek and Roman philosophy,
literature, history and art
• Late 15th c  occasional performances of Roman comedies at the
courts of the many small city-states (*Florence, Venice)
• 16th c  Plays imitating classical plays (*Seneca, Plautus, Terence) 
theatrical entertainments became indispensible for court festivals and
special occasions: the occasions were secular and reflected the glory of
the ruler (use of classical mythhology)
• The impact of Roman architecture (Vitrivius’ «De Architectura», 15 B.C)
 a radical transformation, creating new theatre structures and scenic practices
• Creation of a representational and pictorial stage: the acceptance of
perspective scenery (quiet different from Greek, Roman, and Elizabethan
stages which used a generalized architectural facade as the basic background
for all plays). Also different from the mansions of the medieval theatre
• Use of side wings, backdrops and borders: Details were painted on the wings.
Drops and borders were drawn as seen from a fixed point of view (originally
the seat of the ruler)
• The stage raked upward toward the back downstage/upstage differentiaton
• The need to frame the stage opening  the proscenium arch (first
temporary, then permanent). (Q: Why was it important?)
• Different stage settings became appropriate to different theatrical
styles and genres (tragedy/comedy/pastoral): each setting depicted a
single place in its entirety. To change from one set to the next, the
visible wings were pulled offstage, revealing others what is going to
be represented at the next stage
• Several back-scenes could be set up and shifted in the same way as
the side wings. Borders (representing clouds or sky) hung above each
set of wings and enclosed the scene overhead
• Until the 19th century, scene changes were made in full view of the audience
• The front curtain was raised at the beginning of a performance and lowered only
in the end
• The birth of Italian intermezzi  An intermezzi (a short, one-act musical
performance which consisted of dancing and acting) was inserted between the
acts of plays(they led to the birth of English masques). They took their subjects
primarily from classical mythology or historical legend. These performances
were solely for court audiences
• The appeals of intermezzi led to the birth of opera in the 1590s (Opera recreated
the relationship between music and speech found in Greek tragedy). Until 1637
opera performances were not open to the general public. These performances
were also only for the aristocracy
 COMMEDIA DELL’ARTE
ALL’IMPROVISIO
(Comedy of the craft of improvisation)
• Origins? (Athellan farce/Plautus and Terence/medieval farce). Mentioned for
the first time in the 1550s. By 1600, companies were touring not only Italy,
but other European countries
• Professional commedia dell’arte actors (both male and female) as
distinguished from the amateur actors (male) of the court (commedia
erudiata, or learned drama)
• An attraction both for the common people and the ruling class
• They could act anywhere: court/town squares/indoors or out/on improvised
stages or in permanent theatres
• They could act even against the background of a simple theatre
• Its main spirit lies in its simplicity, flexibility and freedom to improvise
• A commedia troup consisted of 10 to 12 members (7 or 8 men, 3 or 4
women)/ Companies were organized on the sharing plan (an arrangement
that enabled performers to share in the risks and profits)
• The script only summarizes the situations, complications, and outcome Puts
the main emphasis on actors
• The usually comic plot revolves around love affairs, intrigues, disguises and
cross-purposes
• A special kind of improvision, which requires a gifted actor who excells in his
profession (e.g. Creating the impression of spontaneity; use of lazzi = a comic
business; lazzi of fear, fight lazzi, etc./ an actor plays the same character)
• Reference to poetry and popular culture
Stock characters of Commedia Dell’Arte
• Can be divided into three main categories: 1) LOVERS 2)MASTERS
3)SERVANTS
1)LOVERS: Young and handsome/one or two pairs (they did not wear masks)
2)MASTERS: These three types became the most popular
Pantalone: an erderly Venetian merchant,often the father of one of the
young lovers, or a would-be lover himself
Dottore: Usually Pantalone’s friend or rival, a doctor (sometimes a lawyer)
who loved to impress those around him with his usually ludicrously incorrect Latin
Capitano: Usually a Spaniard. A braggard and coward who pretends to be
great in war and love. He most likely was never a «Captain». He maintains his
claims by the benefit of the fact that none of the locals know him
3) SERVANTS (the ZANNI): At least two servants, one clever, one less
sophisticated/ They seek to help or thwart their masters
• Arlecchino (Harlequin):An accomplished acrobat and dancer; a
mixture of cunning and stupidity, usually at the center of any intrigue;
carries a wooden sword or slapstick (led to the birth of «slapstick
comedy»)
• Some other famous zanni characters (Brighella, Scapino, Pulcinello,
Colombina)
• Around 1734, it went through an important transformation (Carlo
Goldoni, 1707-1793)
• It faded around 1775

• Huge impact on English and French drama (Shakespeare and Molière),

as well as modern film and theater (e.g. Charlie Chaplin)