User:JacktheBrown/sandbox: Difference between revisions
Adding more citations and information about masks specifically about different characters. Tags: Visual edit Mobile edit Mobile web edit |
JacktheBrown (talk | contribs) Done Tags: Manual revert Mobile edit Mobile web edit Advanced mobile edit |
||
| (257 intermediate revisions by 53 users not shown) | |||
| Line 1: | Line 1: | ||
Memorandum: <big><u>'''NON ELIMINARE QUESTA PAGINA'''</u></big>. |
|||
{{dashboard.wikiedu.org sandbox}} |
|||
| ⚫ | |||
| ⚫ | |||
Masks in Commedia dell'Arte are classifiers for each character. Each character has a typical look for their mask. Masks are typically made of leather or neoprene in the modern age but originally they were all leather. |
|||
{{Short description|Masks used in traditional Italian theater}} |
|||
The face shows the majority of ones emotions so the mask must show emotion as well as intelligence. |
|||
{{Use dmy dates|date=April 2024}} |
|||
The mask must be a part of the person, costume, hair, accessories. <ref>{{Cite web|url=http://commediamask.com/|title=Newman's Commedia Mask Company: handmade leather commedia dell'arte masks|website=commediamask.com|access-date=2016-12-08}}</ref>The mask is a wholly different face than that of the person wearing it.<ref name=":0">{{Cite book|title=The Comic Mask in the Commedia dell'Arte|last=Callow|first=Simon|publisher=Northwestern University Press|year=|isbn=|location=|pages=|quote=|via=}}</ref> |
|||
<!--{{Italics title|string=Commedia dell'arte}}--> |
|||
'''''Commedia dell'arte'' masks''' are a type of [[mask]] worn by [[Actor|performers]] of ''[[commedia dell'arte]]'' theatre. Masks are an integral part of the performance, and each character wears a particular mask design. Masks were originally all made of [[leather]], but are now more commonly made of [[neoprene]]. They are an extension of the actors and their costumes, hair, and accessories.<ref>{{Cite web|url=http://commediamask.com/|title=Newman's Commedia Mask Company: handmade leather commedia dell'arte masks|website=commediamask.com|access-date=2016-12-08}}</ref>{{failed verification|date=March 2024}} The masks create an entirely different face for the people wearing them.<ref name=":0">{{Cite book|title=The Comic Mask in the Commedia dell'Arte|last=Fava|first=Antonio|publisher=Northwestern University Press}}</ref>{{page needed|date=May 2023}} Masks in ''commedia dell'arte'' signify the type of role that each character represents, in essence saying that they belong to that unchanged type.<ref name=":1">{{Cite book|title=Commedia dell'arte : an actor's handbook|last=John.|first=Rudlin|date=1994-01-01|publisher=Routledge|oclc=27976194}}</ref><ref>{{Cite book|title=Reflexion d'un comedian sur le Paradoxes de Diderot'| last=Copeau| first=Jacques |publisher=Gallimard}}</ref> |
|||
Masks told the audience who the character was, what their social class and type was, what they would or would not do, and their attitudes.<ref>{{Cite book|last=Schmitt, Natalie Crohn|title=Performing Commedia dell'Arte, 1570-1630|isbn=978-0-429-02304-0|location=London|oclc=1122565400}}</ref> For example, a comic mask is a nobody and a somebody at the same time, important even if a lowly servant. Characters who embody the upper class —usually the lovers or ''[[innamorati]]'' — and the female servants do not wear physical headpieces, but their personalities are still referred to as "masks".<ref>{{Cite book|last=Schmitt, Natalie Crohn|title=Performing Commedia dell'Arte, 1570-16 30|isbn=978-0-429-02304-0|location=London|oclc=1122565400}}</ref> |
|||
''Commedia'' stock characters introduce themselves as soon as they notice the audience, and the mask helps them to do so.<ref name=":0" />{{page needed|date=May 2023}} To the audience, the actor's physical movements and embodiment of the stock characters, combined with the mask, help establish their character.<ref>{{Cite web|url=https://www.brown.edu/Departments/Joukowsky_Institute/courses/13things/7731.html |title=Commedia Dell' Arte|website=www.brown.edu|access-date=2020-04-22}}</ref> The masks and the ''[[lazzi]]'' comedic routines were connected; without the ''lazzo'' a character in a mask would be less entertaining.<ref name=":0" />{{page needed|date=May 2023}} |
|||
''Commedia dell'arte'' originated in the 1530s and 1540s. Performers needed to be recognized immediately as the characters they portrayed,<ref name=":0" />{{page needed|date=May 2023}} but interactions between the actor, character, and mask can be nuanced. Many actors see the characters as a mask: with it on, they are that specific character; without it, they are themselves or another character. The Lovers can wear a mask as a disguise, however, and do not become another character. Actors are directed more by the mask than by the director; they use the movements associated with the character and follow their character's type. An actor must surrender his entire body to the character, not just change his face with the mask.<ref name=":1" /> |
|||
===Mask types=== |
|||
Each mask's form is a combination of signifiers imposing distinct characteristics. <ref name=":0" /> For the first Commedia dell'Arte actors(who originated in the 1530's and 1540's), it was a matter of being immediately recognizable as "familiar" figures that were simultaneously "surprising." <ref name=":0" />The actors wanted to be easily recognized and remembered from one show to the next. Actors were playing the same character in every show, and these characters were people that everyone knows. The masks became each character, without them the character was not the same. The ''personaggio'' or mask is the theatrical being in action, identified by a name, considered in his or her individuality, which is the sum of all preceding evolutionary phases added to the proper name and the specific external traits.<ref name=":0" /> Many actors will look at the characters as being a mask, with it on they are that specific character, without it they are themselves or another character. Even lovers can wear a mask if they are using it to disguise themselves, yet they do not become another character in that instance. In Commedia there are two types: a mask of ''simulation'', which is the mask that characterizes the ''personaggio'', that gives the ''personaggio'' its face (Zanni, Pantalone, Dottore) and which is his very "flesh." Then there is the mask of ''dissimulation'', which is a social object, used by the non masked characters to conceal their identity.<ref name=":0" /> |
|||
[[File:Masque picto.jpg|thumb|A Capitano mask]] |
|||
Each character's mask has specific elements and a distinct appearance that makes it recognizable in performances across the world.<ref name=":0" /> There are four or five classes: old men such as [[Pantalone]] and [[Il Dottore]]; young and adventurous men like [[Il Capitano]]; the servant, sometimes named [[Zanni]]; and another old man who often has a hunchback or handicap, [[Pulcinella]].<ref>{{Cite web|url=http://www.theatrehistory.com/italian/commedia_dell_arte_001.html| title=The Commedia dell'arte|website=www.theatrehistory.com|access-date=2016-12-09}}</ref> Servant characters such as Zanni typically have a long nose, sometimes with more curve for Pantalone, and the servants whose names end in "ino" such as Truffaldino or [[Harlequin|Arlecchino]] are more often small and round. In traditional masks, servant characters like Zanni should have big noses and smaller eyes. This gives them a more animal look and makes them seem more primitive, as servants were seen as lower than the master.<ref name=":0" /> |
|||
Specific forms of mask include: |
|||
*The Zanni mask, one of the first, covered the full face and sometimes the head until the bottom of the mouth was removed.<ref name=":1" /> |
|||
*Capitano's mask has a strong brow in a frown and smaller eyes as well.<ref name=":0" />{{page needed|date=May 2023}} |
|||
*[[Brighella]] is described as bearded in early mentions of masked characters.<ref>{{Cite book|title=Masks and Marionettes|last=Kennard|first=Joseph|publisher=Kennikat Press|year=1967}}</ref> He often has a mustache now, swirled up to give him a mischievous air.<ref name=":1" /> |
|||
*Il Capitano often has a long nose like Zanni, though typically larger. He also has a mustache sometimes, but it is stiff and strong under the large nose, almost like spikes poking out.<ref>{{Cite book|title=The Italian Comedy|last=Ducharte|first=Pierre|publisher=Dover Publications}}</ref> |
|||
*Dottore sometimes has a small mustache, eyebrows, and no upper lip. His mask covers the actor's forehead and nose, exposing their cheeks so that the actor may use blush to create the look that he enjoys his spirits.<ref name=":1" /><ref>{{Cite book|title=Mummer's Play|last=Tiddy|first=R.J.}}</ref> |
|||
*Pantalone is known for his red and black costume, beard, and easily recognizable mask. His long pointed beard looks almost like an extension of his equally long nose, and he sometimes has a mustache and bushy eyebrows to give him a distinct look. |
|||
[[File:Arlecchino - stampa ottocento.jpg|thumb|left|150px|[[Harlequin]] in a 19th-century Italian print]] |
|||
Dottore and Pantalone though both older men, look very different.<ref>{{Cite book|title=Commedia Dell'Arte: An Actor's Handbook|last=Rudlin|first=John|publisher=Routledge|year=1994}}</ref> Each of the features may be exaggerated or missing. Dottore typically does not have cheekbones or an upper lip. One does not want to make il Dottore unrecognizable for who he is or cause confusion between the two characters because they are too similar. Much like the people you see daily, not all masks must be perfect; they can have bumps just like any person can.<ref name=":0" /> |
|||
===Unmasked characters=== |
|||
Not all the characters in ''commedia dell'arte'' are masked, and some have powdered faces instead. When women finally joined the men on stage, they did not initially wear masks; they wanted to show their faces as they played female lovers mostly. Men had worn masks to play women before, but once women were playing women, they did not want to hide their faces, even if they played a servant. Their counterparts, the male lovers, also stopped wearing masks. This led to more unmasked characters, such as the ''servetta'' ([[French language|French]]: ''soubrette''), and unmasked female servants such as Colombina. Though unmasked, she wore heavy makeup around her eyes that drew spectators' focus there.<ref name=":1" /> |
|||
[[Pedrolino]] did not wear a mask; instead, he had a floured face.<ref name=":1" /> He was the first of the white-faced clowns of today.<ref>{{Cite web|url=http://www.factionoffools.org/history|title=Faction of Fools {{!}} A History of Commedia dell'Arte|website=www.factionoffools.org|access-date=2016-12-09|archive-date=13 March 2017|archive-url=https://web.archive.org/web/20170313021054/http://www.factionoffools.org/history|url-status=dead}}</ref> These characters were still considered 'masked' because they still follow the character types. Lovers tended to wear heavy makeup containing beauty marks and heavy mascara.<ref name=":1" /> |
|||
[[File:Pietro Paolini - Portrait of Tiberio Fiorilli as Scaramouche.jpg|thumb|300px|''Portrait of Tiberio Fiorilli as Scaramouche'' by [[Pietro Paolini]]]] |
|||
===Mask construction=== |
|||
[[Leather]] is the traditional material for these masks, as it is the easiest to shape and creates a light, easy-to-wear mask that holds shape on stage.<ref name=":0" /> There are also some made with [[papier-mâché]] and [[Plaster cast|plaster casts]]. Working with leather to build ''commedia'' masks is an extensive process. Leather is first soaked for 48 hours minimum. The leather is then draped over a base molded to the shape of a face and stretched by hand or with a smooth wooden tool. The shaping is repeated, and the artist continues pushing it into the crevices formed by the mold. After the artist has manipulated the leather to its desired shape, it is dried, either with a heat source or for an extensive air-drying period. Once the leather is dehydrated, a hardening agent is applied.<ref>{{Cite journal|last=Weber|first=Elizabeth|date=2009|title=Commedia dell'Arte, Masks, and Masking: A Modern Application for the Production of Commedia Masks. An Independent Research and Application Process|url=https://uknowledge.uky.edu/kaleidoscope/vol8/iss1/14/|journal=Kaleidescope, UKnowledge|volume=8|pages=82–87}}</ref> |
|||
===References=== |
|||
There are specific guidelines for each mask that make them that specific character. The ''personaggio,'' or mask, is the identification of the character.<ref name=":0" /> Each character has something specific about the look of their mask that makes them recognizable even if it is a different mask in another show. In general these masks may be classed under four or five groups: Pantalone and the Doctor, both old men; the Captain, a young man of adventure; the valet or jester, usually called Zanni; the hunchback Pulcinella; and another old man, somewhat different from the first two.<ref>{{Cite web|url=http://www.theatrehistory.com/italian/commedia_dell_arte_001.html|title=The Commedia dell'arte|website=www.theatrehistory.com|access-date=2016-12-09}}</ref> Long noses are inevitable for the primitive Zanni, huge, curved noses for the Magnifici (Pantalones), snub or little noses for the Zanni whose names end in "ino" (Truffaldino, Arlecchino, Trivellino). The primitive Zanni characters must have little eyes and big noses, so as to suggest a vaguely proto-human being, something just above an animal. The fierce frown of a Capitano must not be diminished by wide-open eyes that reduce the impact of his continuously flashing, forrowed brow, essential to that character.<ref name=":0" /> Some characters also have hair, beards, eyebrows, or eyelashes. The earliest mentions of Brighella state that he wore a brown mask with a beard.<ref>{{Cite book|title=|last=Kennard|first=Joseph|publisher=Kennikat Press|year=1967|isbn=|location=|pages=|quote=|via=}}</ref> Capitano is often described as having a long nose as well as Zanni, though typically larger. It was also provided with fierce, bristling moustaches, which seemed like veritable iron spikes defending the entrance to the citadel only too ready to capitulate.<ref>{{Cite book|title=The Italian Comedy|last=Ducharte|first=Pierre|publisher=Dover Publications|year=|isbn=|location=|pages=|quote=|via=}}</ref> |
|||
{{Reflist}} |
|||
==Pasta all'ortolana (see: [[Wikipedia:Articles for deletion/Pasta all'Ortolana]])== |
|||
Each mask is different in looks, some have large noses or foreheads and others have bumps or are only a three quarter mask. The separate parts are the forehead, the eyes, the nose, the cheekbones, the lip (always the upper one), and the overall shape.<ref name=":0" /> Each of these features may be exaggerated, or maybe the mask does not have that quality. Dottore sometimes does not have cheekbones or an upper lip. The nose, in particular, is subject to disproportion and deformation. The cheekbones, the brows, the forehead, the lip, and the outlines are the parts where the mask maker may exercise his skill, always however with respect for the fundamental humanity of the type he seeks to create and the recognizability of its character.<ref name=":0" /> One does not want to make il Dottore unrecognizable for who he is, or cause confusion between to characters because they are too similar. Like people you see everyday, not all masks are perfect and flawless, some have bumps, intentional ones. Rather, they all have skin problems. <ref name=":0" /> |
|||
{{Short description|Mixed vegetable pasta}} |
|||
{{Italics title}} |
|||
{{Infobox food |
|||
| name = ''Pasta all'Ortolana'' |
|||
| image = Fusilli all'Ortolana.jpg |
|||
| image_size = |
|||
| caption = ''Fusilli all'Ortolana'' |
|||
| alternate_name = |
|||
| country = [[Italy]] |
|||
| region = |
|||
| creator = |
|||
| course = ''[[Italian meal structure#Formal meal structure|Primo]]'' (Italian pasta course) |
|||
| type = |
|||
| served = |
|||
| main_ingredient = Carrots, onions, leeks, garlic, zucchini, celery, yellow and red peppers, cherry tomatoes, black pepper, olive oil |
|||
| variations = Different vegetables |
|||
}} |
|||
'''''Pasta all'Ortolana''''' is an [[Italian cuisine|Italian dish]] made by cooking various different vegetables before mixing them together with [[pasta]]. |
|||
Not all of the characters in Commedia dell'Arte are masked, some are unmasked, some where powdered faces instead of masks. The advent of the actress also establishes a new tradition of unmasked characters in the Commedia ''dramatis personae''. Whereas female characters had previously been played by men wearing grotesque female masks, actresses performed without masks exposing their own authentic (and reportedly beautiful) female faces. The male Lovers, as their counterpoints, also performed unmasked, and additional unmasked characters came to include the ''servetta'' (French, ''soubrette''), an unmasked female servant like the famous Colombina. The “''infarinato''” tradition (such as the character Pedrolino) was a male servant who played in white face (hence the term “''infarinato'',” meaning “floured.”) This white-faced comic servant is an ancestor to the white-faced clown of the circus tradition and the modern, white-faced pantomime.<ref>{{Cite web|url=http://www.factionoffools.org/history|title=Faction of Fools {{!}} A History of Commedia dell'Arte|website=www.factionoffools.org|access-date=2016-12-09}}</ref> |
|||
The recipe does not state a specific type of pasta, so it can be made with [[fusilli]], [[fettuccine]], [[penne]], [[rigatoni]], [[farfalle]], or any other type of short pasta. The vegetables used in the process are generally carrots, onions, leeks, garlic, zucchini, celery, yellow and red peppers, cherry tomatoes, and eggplants. |
|||
In making a masking there are a few different ways to do this, leather is the traditional material used but there is also paper mache and plaster casts. Leather is preferred for many reasons. No other material is so well adapted to ''shaping,'' contact with the face of the actor, the continuity of skin to skin, and the creation of a beautiful, light, adaptable, and functional object, rich with evocative allusion and symbolism.<ref name=":0" /> |
|||
===Variations=== |
|||
Masks help with the creation of Commedia as they create the characters themselves. WAt the moment of appearance, the mask immediately suggests who he is (what human and social type), what he will and will not be able to do, what he "promises" (what dramatic project he contains), and what his like is like (his permanent behavior). Characters burst to life as soon as them step on stage, typically even introducing themselves as soon as they notice the audience. A comic mask is a nobody and a somebody at the same time, the characters seem important even if they are a lowly servant. And it always unleashes something beautiful, strong, and mysterious but also ambiguous, elusive, attractive-repulsive.<ref name=":0" /> Masks represent the actor and the character at once, the actors movements help to create the character and the mask finishes it. ''Lazzo'' and mask are inseparable. The ''lazzo'' is the putting into action of the mask. The ''lazzo'' is the enmasking of the character, who cannot abstain from making ''lazzi,'' because creating ''lazzo'' is a natural function of being a mask''.''<ref name=":0" /> |
|||
This Italian dish can have many different variation, as the base concept is to create the sauce by using different fresh vegetables, before mixing it with pasta (just like with the type of pasta, there is no strict specification regarding the type of vegetables used for the ''Ortolana''): some might replace the leek with onion, as well as adding more tomatoes to create a substantial sauce, while others might consider adding black olives to the mix, together with diced smoked cheese. |
|||
===See also=== |
|||
{{Portal|Italy|Food}} |
|||
* [[List of pasta]] |
|||
* [[List of pasta dishes]] |
|||
{{Cuisine of Italy}} |
|||
==Reference from another article== |
|||
{{Reflist}} |
|||
<ref>[http://italophiles.com/commedia.htm#Common_Commedia_ Common Commedia dell'Arte Characters]</ref> |
|||
Latest revision as of 23:50, 3 December 2024
Memorandum: NON ELIMINARE QUESTA PAGINA.
Commedia dell'arte masks
[edit]Commedia dell'arte masks are a type of mask worn by performers of commedia dell'arte theatre. Masks are an integral part of the performance, and each character wears a particular mask design. Masks were originally all made of leather, but are now more commonly made of neoprene. They are an extension of the actors and their costumes, hair, and accessories.[1][failed verification] The masks create an entirely different face for the people wearing them.[2][page needed] Masks in commedia dell'arte signify the type of role that each character represents, in essence saying that they belong to that unchanged type.[3][4]
Masks told the audience who the character was, what their social class and type was, what they would or would not do, and their attitudes.[5] For example, a comic mask is a nobody and a somebody at the same time, important even if a lowly servant. Characters who embody the upper class —usually the lovers or innamorati — and the female servants do not wear physical headpieces, but their personalities are still referred to as "masks".[6]
Commedia stock characters introduce themselves as soon as they notice the audience, and the mask helps them to do so.[2][page needed] To the audience, the actor's physical movements and embodiment of the stock characters, combined with the mask, help establish their character.[7] The masks and the lazzi comedic routines were connected; without the lazzo a character in a mask would be less entertaining.[2][page needed]
Commedia dell'arte originated in the 1530s and 1540s. Performers needed to be recognized immediately as the characters they portrayed,[2][page needed] but interactions between the actor, character, and mask can be nuanced. Many actors see the characters as a mask: with it on, they are that specific character; without it, they are themselves or another character. The Lovers can wear a mask as a disguise, however, and do not become another character. Actors are directed more by the mask than by the director; they use the movements associated with the character and follow their character's type. An actor must surrender his entire body to the character, not just change his face with the mask.[3]
Mask types
[edit]
Each character's mask has specific elements and a distinct appearance that makes it recognizable in performances across the world.[2] There are four or five classes: old men such as Pantalone and Il Dottore; young and adventurous men like Il Capitano; the servant, sometimes named Zanni; and another old man who often has a hunchback or handicap, Pulcinella.[8] Servant characters such as Zanni typically have a long nose, sometimes with more curve for Pantalone, and the servants whose names end in "ino" such as Truffaldino or Arlecchino are more often small and round. In traditional masks, servant characters like Zanni should have big noses and smaller eyes. This gives them a more animal look and makes them seem more primitive, as servants were seen as lower than the master.[2]
Specific forms of mask include:
- The Zanni mask, one of the first, covered the full face and sometimes the head until the bottom of the mouth was removed.[3]
- Capitano's mask has a strong brow in a frown and smaller eyes as well.[2][page needed]
- Brighella is described as bearded in early mentions of masked characters.[9] He often has a mustache now, swirled up to give him a mischievous air.[3]
- Il Capitano often has a long nose like Zanni, though typically larger. He also has a mustache sometimes, but it is stiff and strong under the large nose, almost like spikes poking out.[10]
- Dottore sometimes has a small mustache, eyebrows, and no upper lip. His mask covers the actor's forehead and nose, exposing their cheeks so that the actor may use blush to create the look that he enjoys his spirits.[3][11]
- Pantalone is known for his red and black costume, beard, and easily recognizable mask. His long pointed beard looks almost like an extension of his equally long nose, and he sometimes has a mustache and bushy eyebrows to give him a distinct look.
Dottore and Pantalone though both older men, look very different.[12] Each of the features may be exaggerated or missing. Dottore typically does not have cheekbones or an upper lip. One does not want to make il Dottore unrecognizable for who he is or cause confusion between the two characters because they are too similar. Much like the people you see daily, not all masks must be perfect; they can have bumps just like any person can.[2]
Unmasked characters
[edit]Not all the characters in commedia dell'arte are masked, and some have powdered faces instead. When women finally joined the men on stage, they did not initially wear masks; they wanted to show their faces as they played female lovers mostly. Men had worn masks to play women before, but once women were playing women, they did not want to hide their faces, even if they played a servant. Their counterparts, the male lovers, also stopped wearing masks. This led to more unmasked characters, such as the servetta (French: soubrette), and unmasked female servants such as Colombina. Though unmasked, she wore heavy makeup around her eyes that drew spectators' focus there.[3]
Pedrolino did not wear a mask; instead, he had a floured face.[3] He was the first of the white-faced clowns of today.[13] These characters were still considered 'masked' because they still follow the character types. Lovers tended to wear heavy makeup containing beauty marks and heavy mascara.[3]
Mask construction
[edit]Leather is the traditional material for these masks, as it is the easiest to shape and creates a light, easy-to-wear mask that holds shape on stage.[2] There are also some made with papier-mâché and plaster casts. Working with leather to build commedia masks is an extensive process. Leather is first soaked for 48 hours minimum. The leather is then draped over a base molded to the shape of a face and stretched by hand or with a smooth wooden tool. The shaping is repeated, and the artist continues pushing it into the crevices formed by the mold. After the artist has manipulated the leather to its desired shape, it is dried, either with a heat source or for an extensive air-drying period. Once the leather is dehydrated, a hardening agent is applied.[14]
References
[edit]- ^ "Newman's Commedia Mask Company: handmade leather commedia dell'arte masks". commediamask.com. Retrieved 8 December 2016.
- ^ a b c d e f g h i Fava, Antonio. The Comic Mask in the Commedia dell'Arte. Northwestern University Press.
- ^ a b c d e f g h John., Rudlin (1 January 1994). Commedia dell'arte : an actor's handbook. Routledge. OCLC 27976194.
- ^ Copeau, Jacques. Reflexion d'un comedian sur le Paradoxes de Diderot'. Gallimard.
- ^ Schmitt, Natalie Crohn. Performing Commedia dell'Arte, 1570-1630. London. ISBN 978-0-429-02304-0. OCLC 1122565400.
- ^ Schmitt, Natalie Crohn. Performing Commedia dell'Arte, 1570-16 30. London. ISBN 978-0-429-02304-0. OCLC 1122565400.
- ^ "Commedia Dell' Arte". www.brown.edu. Retrieved 22 April 2020.
- ^ "The Commedia dell'arte". www.theatrehistory.com. Retrieved 9 December 2016.
- ^ Kennard, Joseph (1967). Masks and Marionettes. Kennikat Press.
- ^ Ducharte, Pierre. The Italian Comedy. Dover Publications.
- ^ Tiddy, R.J. Mummer's Play.
- ^ Rudlin, John (1994). Commedia Dell'Arte: An Actor's Handbook. Routledge.
- ^ "Faction of Fools | A History of Commedia dell'Arte". www.factionoffools.org. Archived from the original on 13 March 2017. Retrieved 9 December 2016.
- ^ Weber, Elizabeth (2009). "Commedia dell'Arte, Masks, and Masking: A Modern Application for the Production of Commedia Masks. An Independent Research and Application Process". Kaleidescope, UKnowledge. 8: 82–87.
Pasta all'ortolana (see: Wikipedia:Articles for deletion/Pasta all'Ortolana)
[edit]
 Fusilli all'Ortolana | |
| Course | Primo (Italian pasta course) |
|---|---|
| Place of origin | Italy |
| Main ingredients | Carrots, onions, leeks, garlic, zucchini, celery, yellow and red peppers, cherry tomatoes, black pepper, olive oil |
| Variations | Different vegetables |
Pasta all'Ortolana is an Italian dish made by cooking various different vegetables before mixing them together with pasta.
The recipe does not state a specific type of pasta, so it can be made with fusilli, fettuccine, penne, rigatoni, farfalle, or any other type of short pasta. The vegetables used in the process are generally carrots, onions, leeks, garlic, zucchini, celery, yellow and red peppers, cherry tomatoes, and eggplants.
Variations
[edit]This Italian dish can have many different variation, as the base concept is to create the sauce by using different fresh vegetables, before mixing it with pasta (just like with the type of pasta, there is no strict specification regarding the type of vegetables used for the Ortolana): some might replace the leek with onion, as well as adding more tomatoes to create a substantial sauce, while others might consider adding black olives to the mix, together with diced smoked cheese.
