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Commedia dell'Arte
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- 34 referencing feature instances
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A form of theatre developed in late-Renaissance Italy, Commedia dell'Arte ("artists' comedy") relied on a Universal-Adaptor Cast of stock characters, whose roles, characteristics, and costumes were well-defined and widely known. The troupe would take a scenario, which would outline the plot, and create their own dialogue and actions to tell the story. Contrary to popular belief, Commedia actors did not improvise their dialogue on the spot. Rather, they created the dialogue before performing the scenario. The Commedia dell'Arte is an ancestor of the British tradition of Pantomime, which also relies on stock characters and audience interaction. It also set the stage (no pun intended) for the Romantic Comedy genre, and has been emulated by the likes of Gilbert and Sullivan, William Shakespeare (The Taming of the Shrew is a particularly good example), Molière, P. G. Wodehouse, Bertolt Brecht (expertly retooled the stock characters in Mr Puntila and His Man Matti), A. A. Milne (albeit without the romance) and the writers of Black Adder and Fawlty Towers. It is entirely possible for a modern-day work to channel these archetypes unintentionally; they're just that ingrained into culture, and they work. See Villainous Harlequin for a more contemporary depiction of this genre's most famous character. |
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| Commedia dell'Arte / int_1215a23d | type |
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| Commedia dell'Arte / int_1215a23d | comment |
In Genshin Impact, the most powerful members of the Fatui, known as the Fatui Harbingers, are named after character archetypes from the Commedia dell'Arte. The extent to which they represent their Commedia dell'Arte counterparts vary, however; some make sense (La Signora is a beautiful but calculating Baroness; Pantalone is a filthy rich businessman; Dottore is a Mad Scientist), while others are loose references (Sandrone is a well-dressed girl rather than a crude peasant, but she controls a mechanical golem and is known as "The Puppet" due to the Commedia dell'Arte Sandrone and his family being represented by puppets), and still others don't match at all (Tartaglia is a competent, well-spoken Blood Knight). And in any case, none of them share the interpersonal relationships of their dell'Arte counterparts. The only ones that don't use the Italian versions of the character names are Pierro and Scaramouche who both use the French names for Pedrolino and Scaramuccia. | |
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| Commedia dell'Arte / int_148f217e | type |
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In Nancy Drew: The Phantom of Venice, a crime ring uses characters from the Commedia dell'Arte as code names for the various members: Il Capitano: Communications, Antonio Fango Scaramuccia: Security Systems Expert, Gina Brighella: Thief, Nico Petit Il Dottore: Boss, Helena Berg Arlecchino: Smuggler, Enrico Tazza |
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| Commedia dell'Arte / int_1d01b4d6 | type |
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| Commedia dell'Arte / int_1d01b4d6 | comment |
Playfully mocked in Much Ado About Nothing. The aptly-named Hero and Claudio are the innamorati, Antonio is the tartaglia, Margaret is the colombina, etc. It's mockery because Beatrice and Benedick are the real main characters, and they are probably the only ones who don't fit any stock models. Also, the Zany Scheme is cooked up by Don Pedro, probably the highest-ranking person in the play, and his chief compatriot, Hero's father Leonato, really should be a Pantalone figure. | |
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Bottom of A Midsummer Night's Dream and Touchstone of As You Like It are patterned after Arlecchino. | |
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As can The Simpsons: Innamorati: Homer and Marge, whenever they're not being co-Zanni along with their kids. Arlecchino: Homer/Bart Colombina: Marge/Lisa Pantalone: Mr. Burns Pierrot: Smithers Brighella: Moe |
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Classic Looney Tunes cartoon characters also show their Commedia roots: Bugs Bunny: Scapino Daffy Duck: Arlecchino - due to his tendency to receive slapstick as often as he doles it out. Porky Pig: Tartaglia Yosemite Sam: Il Capitano Wile E. Coyote: Il Dottore - his "education" brings out his foolishness. |
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| Commedia dell'Arte / int_3ac755dd | comment |
The cast of Beauty and the Beast fits nicely: Belle and the Beast: Innamorati (main romantic leads of the movie, although much more fleshed out than the usual innamorati) Gaston: Il Capitano (vain, boasting antagonist who lusts for Belle) Maurice: Il Dottore (Absent-Minded Professor, father of the innamorata) LeFou: Pulcinella (ugly and stupid servant of the main antagonist) Lumiere: Arlecchino (smart, confident and flirty leader of the Beast's servants) Cogsworth: Pierrot (Butt-Monkey, although lacks the "hopeless lover" trait of the usual Pierrot) Mrs. Potts and Fifi the Feather Duster have the traits of Colombina divided between them: Mrs. Potts embodies Women Are Wiser, while Fifi is Lumiere's love interest Monsieur D'Arque: Brighella (cunning and greedy minor villain) |
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| Commedia dell'Arte / int_3c38c613 | type |
Commedia dell'Arte | |
| Commedia dell'Arte / int_3c38c613 | comment |
The Merchant of Venice has Portia and Bassanio the innamorati, as well as Shylock as the Pantalone (although Pantalone is typically a merchant of Venice, this play's title character, Antonio, does not actually qualify as a Pantalone) and Gratiano as the Arlecchino. | |
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| Commedia dell'Arte / int_3cd90f30 | comment |
The characters of Arrested Development can do this frequently, although the main character, Michael Bluth, can shift between an Innamarata and a Pantalone multiple times in any given episode, most of the time, however, he is Pierrot. The Lovers: George Michael and Maebe, although Maebe tends to also often be the rare female version of Arlecchino. Il Dottore: Dr. Tobias Funke, of course. Pulcinella: Buster Bluth. Il Capitano: GOB and his illegitimate son, Steve Holt. Brighella: George Sr. Pantalone: Lucille usually plays this part, considering her greed and generally bitter nature. Pierrot: Poor, poor Michael Bluth. |
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Commedia dell'Arte | |
| Commedia dell'Arte / int_3f49b7d0 | comment |
Sweeney Todd might be seen as a very twisted version: Anthony and Johanna, of course, are the innamorati. Judge Turpin is Pantalone, Pirelli is il Capitano. Depending on the portrayal, Beadle Bamford is either a particularly malicious Brighella, or an evil Dottore, with his dandy mannerisms and eloquent speech patterns. It also helps that the Beadle is usually played by a heavyset actor. Todd himself and Mrs. Lovett are rather more murderous incarnations of Arlecchino and Columbina, making Toby Pierrot. The Beggar Woman is the only character who doesn't neatly fit into a traditional mold. However, she does show several qualities of the modern La Strega character, with her mad ramblings and repulsive appearance. |
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| Commedia dell'Arte / int_455e3038 | comment |
In an episode of King of the Hill, "A Portrait of the Artist as a Young Clown", Bobby goes to a Clown School taught by a professor who specializes on commedia dell'arte and takes it very seriously. When Bobby wants to take his new act to the school talent show, Hank has to save him because he knows the kids won't find "jester crap" to be funny at all. | |
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| Commedia dell'Arte / int_4afc2089 | comment |
Daffy Duck: Arlecchino - due to his tendency to receive slapstick as often as he doles it out. | |
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| Commedia dell'Arte / int_4e45b093 | comment |
The Big Bang Theory hews fairly close to Commedia's archetypes: Leonard and Penny are the innamorati, given that their fluctuating relationship remains a big focus of the series. Leonard's name is even close to one of the stock names for the innamorato: Leandro (both names are partly derived from words meaning "lion"). Sheldon is il Dottore, being by far the most accomplished and intelligent of the main cast, but completely lacking in social skills and street smarts. Howard is il Capitano, fancying himself as a major ladies' man and early on trying to make a move on Penny. Raj is Pierrot, being loyal to his friends (especially Howard), but remains the unluckiest in love. Amy and Bernadette are alternate takes on Colombina, being accomplished scientists themselves but largely career-focused unlike the men. |
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| Commedia dell'Arte / int_503d3d54 | comment |
The cast of The Rocky Horror Picture Show fit this pretty well, for the most part: Brad and Janet are the Lovers. Eddie makes a passing Arlecchino. Columbia, fittingly, is a Colombina. Frank-N-Furter has elements of both The Captain (obviously "not from around here," Really Gets Around) and Pantalone (abusive of Eddie, his Arlecchino, hints of a relationship with Columbia.) Riff Raff is a dead giveaway as the Pulcinella, hunchback and all. The Criminologist is perfect as the Doctor. The others are a bit of a stretch - presumably Rocky as the Pierrot, Magenta as the Brighella, and Dr. Scott as the Tartaglia. |
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| Commedia dell'Arte / int_54aca087 | comment |
Zemsta has: Wacław - inamorato, the Hot-Blooded young man head over heels with... Klara - inamorata/colombina, a witty, slightly snarky young woman in love with Wacław, who nevertheless refuses to elope with him Papkin - il capitano, Miles Gloriosus extraordinaire who honestly thinks he's got a chance with Klara Rejent - il dottore/pantalone, Wacław's father and a miserly, cunning lawyer (he does most of the plotting) Cześnik - pantalone/il dottore, Klara's guardian who wants to marry either her or Podstolina for money (he mostly cares about the money), a choleric Bad Boss for Papkin Podstolina - la signora, beautiful, calculating, somewhat narcisstic, wants to get married (for money) |
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| Commedia dell'Arte / int_6adacc65 | comment |
The villain in Medusa's Web has a secret cache of papers relating to a series of events in 1920s Hollywood, in which the key players are referred to by names from the commedia dell'arte. For instance, "Scaramuccia" is the villain's mother's first husband, and the Innamorato is Rudolph Valentino. | |
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Porky Pig: Tartaglia | |
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| Commedia dell'Arte / int_7aaf9e41 | comment |
Batman: The name of Harley Quinn is a pun on Harlequin. Ironically, her character is more of a Composite Character of both the Harlequin and the Pierrot character due to her abusive and onesided relationship with the Joker. | |
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Twelfth Night has Andrew Aguecheek as a Miles Gloriosus Scaramouche, Malvolio the Pierrot, Feste the Arlecchino, Maria is the Colombina to Sir Toby Belch's Capitano, with Duke Orsino as the hopeful Innamorato to Olivia, ending up with Viola after she reveals her disguise as Cesario, and Olivia falls for Sebastian, mistaking him for Cesario, who is really Viola, his fraternal twin sister. | |
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| Commedia dell'Arte / int_7f6eb95d | comment |
Romeo and Juliet is a Genre Deconstruction. Many of the stock characters are clearly there. However, the play is a tragedy rather than a comedy. So the Zany Scheme doesn't work out, and several of the characters end up dying. Romeo and Juliet themselves are the Innamorati, who fall in love with each other at first sight. Friar Lawrence is the Tartaglia, who performs a secret wedding ceremony for Romeo and Juliet. Lord Capulet is the Pantalone, who wants Juliet to marry Paris to further his own ambitions. Lady Capulet is the Signora, who wants her daughter to be a proper upper class woman just like her. Tybalt is the Capitano, who seems to always want to start a fight. The Nurse is the Columbina, who does her best to help Juliet. Mercutio is the wise-cracking Arlecchino (but he's a cousin of the local prince, so unlike most other classical Arlecchinos, he's not a servant, but a fellow aristocrat and a friend of Romeo's). Benvolio is the more sombre Pedrolino (but he's a cousin of Romeo's, so unlike most of the other classical Pedrolinos, he's a not a servant, but a fellow aristocrat and a friend of Romeo's). |
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The Onion had a poll about who was the best Commedia dell'Arte character. The highest answer at one-hundred percent was "I don't know." | |
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Bugs Bunny: Scapino | |
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Harpo: Pierrot. A Night at the Opera even has a scene of him dressing up in the costume that he stole from a production of Pagliacci. | |
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It is less evident from the book's final edition, but in The Master and Margarita by Mikhail Bulgakov two of the devil's servants bear some resemblance to the most popular zanni characters. Koroviev, the talkative trickster dressed in checked clothes brings to mind Arlecchino, and in certain early version of the novel there's a character called "Fiello", a hunchbacked brute with mouth full of fangs, dressed in white, grotesque clothes with bells attached, who seems to have some of Pulcinella's characteristics. The latter was subsequently modified by the writer to become Azazello, another servant of the devil. Azazello lacks any significant resemblance to Commedia dell'Arte characters. | |
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Punchinello from Super Mario RPG is named after Pulcinella and he's a stocky, odd bomb-like creature with a short fuse and a tendency to lob explosives at anyone annoying him. He's fought as the boss of an abandoned coal mine. | |
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In one of the volumes of De Cape et de Crocs, a group of protagonists who get captured, are forced to perform one of these for their captors. | |
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The characters do not fit the archetypes, but in The Vampire Lestat, the title character joins a Commedia dell'Arte troupe in his pre-vampire days. He plays Lelio, and counts his time as an actor among the best experiences in his human life. | |
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Le Capitaine Fracasse (1961) and Captain Fracassa's Journey (1990), both based off the 1863 novel by Théophile Gautier, tell the story of an early 17th century French impoverished nobleman, the Baron de Sigognac, who joins a travelling Commedia dell'Arte' theatre troupe and comes to replace the actor who played the Capitano after his death, nicknaming himself "Capitaine Fracasse". Sigognac usually falls in love with the young actress playing The Ingenue, and goes through swashbuckler perils to save her from another nobleman who desires her for himself (though not quite the case in the 1990 film). | |
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Commedia dell'Arte | |
| Commedia dell'Arte / int_9c7c2889 | comment |
Wodehouse's Blandings Castle series apply zanni tropes to the aristocracy, with the doddering Clarence Threepwood, Earl of Emsworth, as a kindly Dottore figure, his domineering sister Lady Constance Keeble as a Signora, their disreputable brother Galahad as an elderly Arlecchino, and Clarence's nemesis and neighbour Sir Gregory Parsloe-Parsloe as a sort of Brighella figure, and there are always a pair of innamorati on hand, one of whom will generally be a grandchild or distant in-law of Clarence. This time, however, the servants are a bit more in on the act, with the eternally put-upon butler Beach as a toned-down, non-romantic Pierrot, and the truculent gardener Angus MacAllister as Pulcinella (without the violence or threats thereof), and the opportunistic pig-keeper George Cyril Wellbeloved as a more conventional Brighella. | |
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Commedia dell'Arte | |
| Commedia dell'Arte / int_9f343695 | comment |
Partly-inverted in the Jeeves and Wooster series of P. G. Wodehouse. On the one hand, the manservant Jeeves is always ready with a Zany Scheme to help his social betters work their way around a Parental Marriage Veto or some other such problem. But on the other hand, he - and most other servants - are portrayed as highly dignified characters, with all of the real clowning done by the upper classes, with his master, Bertie Wooster, as a rare aristocratic Arlecchino. That said, many of the upper class characters fit these archetypes pretty well, despite not being servants, with Bertie's aunts Dahlia and Agatha representing different takes on the Signora (as Bertie puts it in a moment of hyperbole, Agatha eats broken bottles and turns into a werewolf by the full moon, while Dahlia is the sort of werewolf whom it is a pleasure to know), the constantly-infatuated Bingo Little is an innamorato (with the tendency to fall in love with barmaids; rather appropriate, given the class inversion at play here), the drippy newt-enthusiast Gussy Fink-Nottle is a Pierrot, Madeleine Basset (who believes every time a fairy blows its nose, a baby is born) is a comedic take on the innamorata, the unscrupulous bookmaker Rupert Steggles is Brighella, and the paranoiac nerve-specialist Sir Roderick Glossop is Il Dottore. Likewise, there's always a violent Pulcinella figure on hand to threaten Bertie with bodily harm, most notably the hot-tempered Tuppy Glossop and the would-be fascist dictator Roderick Spode. | |
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Commedia dell'Arte / int_9f343695 | |
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Commedia dell'Arte | |
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Commedia dell'Arte motifs figure in the later Jerry Cornelius stories by Michael Moorcock, particularly The Condition of Muzak and The Entropy Tango. | |
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Commedia dell'Arte / int_a0c1348 | |
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Commedia dell'Arte | |
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The characters of Futurama are strikingly like Commedia characters: Arlecchino: Fry Colombina: Leela Brighella: Bender Pantalone: Professor Farnsworth Il Dottore: Dr. Zoidberg Il Capitano: Zap Branigan Innamorati: Amy and Kif |
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Commedia dell'Arte | |
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The Merry Wives of Windsor has Fenton and Anne as the innamorati, the foolish doctor Caius, Evans as the priest with a "speech impediment" (actually an outrageous Welsh accent), and Falstaff of all people as a sleazy Pantalone-type. | |
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Commedia dell'Arte | |
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At least one version of The Taming of the Shrew, produced for television in the '70s by WNET New York, is explicitly Commedia, down to the costumes and presentation style. | |
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Fawlty Towers is a stripped-down version of this - notably, without any innamorati. Greedy, bad-tempered, class-conscious manager Basil Fawlty is a rare protagonist version of Pantalone (albeit an unsympathetic one) with elements of Brighella that come out around high-status guests. Sybil Fawlty blends the traits of Signora and Ruffiana: she is vain, gossipy, and at time very cruel, but not stupid, and far better than her husband at handling guests. Underpaid, out-of-his-depth Manuel is clearly a nonromantic version of Pierrot, right down to the black-and-white waiter's uniform he typically wears, though his cheerful attitude gives him elements of Harlequin as well. Polly, the most reasonable staff member, is a classic Colombina. Terry, the resourceful, level-headed, but self-interested cook, is a minor Brighella. The Major, a long-term guest at the hotel, is a Dottore figure: a somewhat-senile, rather racist old man with a pompous attitude and an inflated view of himself. One-off hotel guest characters often fit these archetypes, too. The domineering and unreasonable Mrs. Richards is a Strega figure (with elements of Ruffiana), for example, while the pompous, annoying American guest Mr. Hamilton was a Capitano - though a rather blameless one, since everything that went wrong in his episode was Basil's own fault. Lord Melbury was a Brighella, since he was actually a con man trying to steal Basil's antique coin collection and not really Lord Melbury at all. One episode, before Terry was introduced, has the role of cook filled by Kurt, a more classic Pierrot, given his unrequited crush on Manuel. |
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In On Guard, after escaping the killers of the Duke of Nevers with the Duke's baby daughter Aurore, Lagardère meets a traveling Italian Commedia dell'Arte troupe, and he and Aurore (as she grows up) hide among the troupe for sixteen years, even becoming stage actors themselves. This an Adaptation Deviation from the original novel, Le Bossu, where Lagardère and Aurore hide in Spain instead, and it was likely inspired by Le Capitain Fracasse, its adaptations mentioned above and a general trend of historical film coproductions between France and Italy in The '90s. | |
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SpongeBob SquarePants: Mr. Krabs is the cartoon embodiment of Pantalone (and the episode where he falls into a coma after his money-stuffed mattress is thrown out could be a realistic commedia dell'arte story plot). Patrick is Brighella. Squidward is Il Capitane. Pearl would be Columbina. Plankton would most likely be Beltrame. |
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In The Legend of Zelda: Majora's Mask, Anju and Kafei's subplot fits this; they are the Innamorati, Mayor Dotour is il Dottore, and Link seems to be a male version of Columbina. Among others, the Curiosity Shop owner is Brighella, and Tingle is a loose version of Pulcinella. | |
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Commedia dell'Arte / int_beac6ffb | |
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Commedia dell'Arte | |
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The Comedy of Terrors, not dissimilar to the Fawlty Towers example below, is a version without the innamorati (or perhaps with them becoming Composite Character versions with the servants—the only romance in the film is between two lower-to-middle-class characters). Waldo Trumbull, the scheming and greedy undertaker, is an Unsympathetic Comedy Protagonist Brighella, though with elements of Pantalone in his mistreatment of Gillie and tendency to get Distracted by the Sexy. Gillie, his long-suffering mistreated employee and general Butt-Monkey, is for most of the film a pretty clear Pierrot with a typically gloomy attitude. He is in love with his employer's wife Amaryllis, in a way that initially seems pretty hopeless. Though unlike most versions he gets a happy ending with Amaryllis. Amaryllis is then Columbina, though not as intelligent as some versions. She still tends to come across as somewhat more reasonable than the other characters in scenes with Trumbull and Hinchley. And she sings...horribly. Mr Black is Pantalone, a pompous old rich man and an antagonistic figure despite not being particularly evil in comparison to Trumbull. Hinchley, Amaryllis's father, is a version of Dottore who's straight-up senile instead of simply absent-minded, though it doesn't prevent him from a few scenes of overusing long words and reciting dubious "facts". Mrs Phipps is La Signora: the young and beautiful wife (and soon widow) of a rich old man, who plays the Brainless Beauty but turns out to be calculating and greedy, cheating Trumbull out of his fee. The Groundskeeper is a very minor character but could be a form of Harlequin, as a comedic, slapstick, working-class character with a more cheerful attitude than Gillie's Pierrot. |
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Blackadder is basically an extended series of mutations of this central trope, particularly emphasizing the social classes and power dynamics of the stock characters. Edmund Blackadder himself is always some variant on the Brighella figure, defined by his greed, cowardice (particularly in the first series), and the fact that he is never the highest-status person around - even when he's the son of the king, he's only the second son, and as the series progresses, his rank in the world gradually drops. Baldrick, whether the Hypercompetent Sidekick of the first series or the cheerful dimwit he is the rest of the time, is always some kind of Arlecchino, consistently the lowest-status character present, and always with some kind of 'cunning plan' on hand. The gloomy, supercilious Percy is pure Pierrot, especially in the second series, where he's constantly hopelessly in love with some offscreen woman. His fourth-series incarnation, Captain Darling, is more of a particularly British take on Il Capitano, however - Edmund's rival and nemesis, but more out of priggish professionalism than hammy bravado. He also occasionally borders on the Pierrot, devotedly following General Melchett's orders, often the butt of Blackadder's jokes and awaiting in vain to marry Doris... The first series' Prince Harry is an Il Capitano, though an oddly benign and well-meaning one. Whenever Flashheart shows up, he's a more straightforward Capitano, with all the bravado that implies. Unlike most versions of Il Capitano though, he's The Ace, especially in the second series. Either incarnation of Melchett - and, indeed, any character played by Stephen Fry, such as the third series' Duke of Wellington - is generally a Dottore figure. George is an odd case. Appearing in series three as a kind of dimwitted Innamorato figure (with aspects of Pantalone, given his lechery and high-ranking position as Prince Regent), but when he returns in Blackadder Goes Forth as Lt. George - this time, subservient to Cpt. Blackadder - he's more of an assistant Arlecchino to Pvt. Baldrick. King Richard IV of the first series is a cross between Il Capitano, given his military background and hearty, exuberant manner, and Pantalone, given his position of power, unrestrained greed, and often-unreasonable nature. The second series replaces him with a much more straightforward Signora in Queen Elizabeth I. The third series' Mrs. Miggins is a pretty straightforward Columbina, given her quasi-romantic relationship to Blackadder, middle-class social status (she owns and operates an inn/pie shop), and her collaborative role in many of Blackadder's plots. This also applies to Kate/Bob of the second and fourth series. |
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In the Gunslinger Girl fanfic "Infidelity", Henrietta is taunted by a hallucination of a drunken man wearing a Brighella carnival costume. | |
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In a similar manner to Winnie-the-Pooh, Ruby Gloom is like a Goth version of the commedia, minus the romance: Ruby herself seems a benign Arlecchino, being the one administering conflict rather than being involved. Iris is Columbina, in the hard-working, go-getter, rational voice of reason sense, sort of combining traits with Pulchinella. Doom Kitty is a more traditional Columbina. There are two Pierrots - Scaredy Bat with his defeatist, afraid of everything attitude, and Misery with her constant depression and well...misery. Poe the Crow is both Pantalone in the sense of puffing himself up and Il Dottore in the sense of his claimed profession and actual class amongst the cast. Skull Boy is both a more benign Pantalone in the sense of his versatility and trying many jobs, and also a Scapino in his general attitude. Frank and Len are both Pulchinella, being oafish and dimwitted, as well as often initiating slapstick. |
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On The Amazing Race, a Fast-Forward task involved a routine with such a troupe. The green pass would appear during the performance, upon which it could be claimed. | |
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Moulin Rouge! is an example with Christian and Satine as the innamorati, The Duke and, to a lesser extent, Zidler, as the Old People trying to keep them apart, and Toulouse and the Bohemians as the Servants trying to keep them together. The difference is that The Lovers are the ones clearly driving the plot while the Servants are more sidelined. It also does not have a happy ending. | |
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In A Funny Thing Happened on the Way to the Forum, many of the characters from the Plautus play "Pseudolus" upon which this is based are probably the Ur-examples of several Commedia dell' Arte types, so it's not surprising that they show up here in spades: Pseudolus is the arlecchino Gymnasia (despite being The Speechless) is the colombina (Speechless in the movie. Has one line in the play.) Hysterium is the pedro Hero is the innamorato Philia is the innamorata Senex is the pantalone Lycus is the brighella Miles Gloriosus is the capitano |
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The Ciaphas Cain series mentions liturgical plays about the Emperor of Mankind done in this style. The only reason they aren't condemned as blasphemy and heresy by the Ecclesiarchy is because it actually has their believers pay attention. | |
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Winnie the Pooh, albeit without the romance or the social class: Pooh himself, with his clumsy nature, very little brain, and great appetite, is Arlecchino, of course. The self-important Rabbit has aspects of both Pantalone and Brighella. Owl, a rambling fool who thinks himself a wise and learned fellow, is pure Il Dottore. The rambunctious, unintentionally-violent Tigger is primarily a Pulcinella figure. Both Eeyore and Piglet have aspects of Pierrot - Eeyore the perpetual gloominess, and Piglet the defeatist, timid attitude. Kanga is a sort of a Columbina figure, albeit a fairly bland one, while her son Roo is a Pulcinella-in-training, but with some of the wide-eyed innocence of the innamoratti. |
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In Scaramouche, the protagonist Andre-Louis Moreau spends several chapters hiding out in a traveling commedia dell'arte troupe, first as a roadie and later taking the role of Scaramouche on stage after the troupe's original Scaramouche absconds with the box-office takings. Several times later in the novel, he remarks that he seems to be playing the role in his real life as well. | |
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The theatre troupe in Players of Gor is this with the serial numbers very half-heartedly filed off — with justification, since all human Gorean cultures originated on Earth and have adapted to the local customs as necessary. Characters include Bina (a truncation of "Columbina", but also previously established as Gorean for "Slave Beads" and a common slave name) Brigella (note spelling) who is a female character, Chino and Lecchio who are an Arlecchino double-act, and Petrucchio who is often a Miles Gloriosus. As this is low art, female players are always slaves and have an alternative means of earning coins if the plays are doing poorly. (On the other hand, men do the heavy lifting and are more likely to be flat-out killed if they fall into bandit hands.) | |
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Pagliacci is a classic opera, by Ruggero Leoncavello, about a Commedia troupe. The title literally means 'clowns'. The Show Within a Show is that Colombina is cheating on Pierrot with Il Capitano, and it's played for laughs, but backstage, Canio (the actor playing Pierrot) finds out that his wife Nedda (Colombina) is actually cheating on him with Silvio, a young man from the village where they are performing. He sings the classic aria "Vestia la giubba" ('put on the costume') and then goes mad with grief when the comedy they are playing starts hitting too close to home, with Colombina even seeing off Il Capitano with the same line with which Nedda saw off Silvio. | |
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Andre Moreau of Scaramouche is a heroic fugitive who goes undercover in the commedia dell arte troupe his beloved Lenore acts in, discovering an unexpected talent for slapstick. | |
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