The Routledge Companion to Commedia dell'Arte Routledge Companions Series

Introduction; Part 1 The Defining Features; Actors; Chapter 1 The Pre-Eminence of the Actor in Renaissance Context, Scott McGehee; Scenarios; Chapter 2 Form and Freedom, Robert Henke; Chapter 3 Parallel Processing, Tim Fitzpatrick; Troupes; Chapter 4 The Commedia dell’Arte Acting Companies, Kenneth Richards; Stock Characters; Chapter 5 You Must have Heard of Harlequin…, Michele Bottini, Samuel Angus McGehee, Michael J. Grady; Chapter 6 Pantalone and Il Dottore, Peter Jordan; Chapter 7 The Young Lovers, Richard Stockton Rand; Chapter 8 Reading and Interpreting the Capitano’s Multiple Mask-Shapes, Mace Perlman; Chapter 9 Le Servette in Commedia dell’Arte, Julie Goell; Chapter 10 Carnival, Comedy and the Commedia, Stephen P. J. Knapper; Chapter 11 Official Recognition of Pulcinella, Antonio Fava, Mace Perlman; Chapter 12 The Many Faces of Brighella, Artemis Preeshl; Masks; Chapter 13 A Mask Maker’s Journey, Stefano Perocco di Meduna, Brenda O’Donohue; Chapter 14 Mask Performance for a Contemporary Commedia dell’Arte, Carlos García Estévez; Chapter 15 New Roles for the Mask in Twentieth Century Theatre, Donato Sartori, Peter Jordan; Language; Chapter 16 Grommelot, John Rudlin; Lazzi; Chapter 17 Lazzi, Mel Gordon; Chapter 18 Principles of Comedy for Commedia dell’Arte, Brian Foley; Chapter 19 Slapstick and Comic Violence in Commedia dell’Arte, Dr Louise Peacock; Part 2 Historical Context; Chapter 20 Aristocratic Archeology, Paul Monaghan; Chapter 21 The Rise of Commedia dell’Arte in Italy, Kate Meehan; Chapter 22 The Great Ruzante, Linda L. Carroll; Chapter 23 The Coming Together, Olly Crick; Chapter 24 Stages and Staging Practices in Early Commedia dell’Arte, Franklin J. Hildy, Matthew R. Wilson; Chapter 25 Commedia dell’Arte and the Spanish Golden Age Theatre, Nancy L. D’Antuono; Chapter 26 Celestial Sirens of the Commedia dell’Arte Stage, Anne E. MacNeil; Chapter 27 Incidental Music in Commedia dell’Arte Performances, Thomas F. Heck; Chapter 28 Meetings on Naxos, Roger Savage; Chapter 29 Classical Ballet and the Commedia dell’Arte, Barry Grantham; Chapter 30 Images of the Commedia dell’Arte, M. A. Katritzky; Chapter 31 The Old Man’s Spectacles, Andrew Grewar; Chapter 32 Shakespeare’s Clown Connection, Sara Romersberger; Chapter 33 Writing for the Elite, Elizabeth C. Goldsmith; Chapter 34 Goldoni and Gozzi, Mike Griffin; Chapter 35 Commedia dell’Arte as Grotesque Dance, Domenico Pietropaolo; Chapter 36 The Myth of Pierrot, Mark Evans; Chapter 37 Speechless Spectacles, Matthew R. Wilson; Chapter 38 From Meyerhold to Eisenstein, J. Douglas Clayton; Chapter 39 Giorgio Strehler’s Arte, Mace Perlman; Chapter 40 Giovanni Poli, Giulia Filacanapa, Eileen Cottis; Chapter 41 Arlecchino Appleseed, Joan Schirle; Part 3 Alive and Well and Living in…; Chapter 42 Despite Everything, Commedia dell’Arte is Alive in Italy, Fabio Mangolini; Chapter 43 Dario Fo and the Commedia dell’Arte, Antonio Scuderi; Chapter 44 Carlo Boso, Anna Cottis; Chapter 45 Antonio Fava, John Rudlin; Chapter 46 Happy Bedfellows, Claudia Orenstein; Chapter 47 Commedia in Gloucestershire, Olly Crick; Chapter 48 I Sebastiani, Judith Chaffee; Chapter 49 Commedia Women on Stage—and in the Wings, Joan Schirle; Chapter 50 Commedia CounterPart s, Kathy Foley; Chapter 51 Commedia for the Contemporary Theatre Maker, Davis Robinson; Chapter 52 Roots and Routes, Didi Hopkins; Chapter 53 Commedia in a New World Context, Katrien van Beurden; Part 4 Commedia dell’Arte Bibliography; Chapter 54 Bibliography of Generally Accepted Commedia dell’Arte Literature;