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Memorandum: <big><u>'''NON ELIMINARE QUESTA PAGINA'''</u></big>. |
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[[File:Zanni mask.jpg|thumb|A Zanni or servant mask. Originally posted by Tom Banwell<nowiki/>http://flickr.com/photos/34635429@N00/4957818689]] |
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Masks help with the creation of Commedia as they create the characters themselves. Comedy masks tend to make a statement from the second they are seen on stage. They tell the audience who the character is, their social class and type, what they will do or won't do, and what their attitudes are. The moment they step on stage the character comes alive, 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. A mask helps to create the beautiful, extravagant, repulsive and yet attractiveness of each character.<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. The mask and ''lazzo'' connected, without the ''lazzo'' a character in a mask is not making anything and is less entertaining. Masks and ''lazzo'' go hand in hand and you need one to have the other. Without one, the other is not as great and fantastic, or as funny, ''[[lazzi]]'' without masks is not as meaningful.<ref name=":0" /> |
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{{Short description|Masks used in traditional Italian theater}} |
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{{Use dmy dates|date=April 2024}} |
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<!--{{Italics title|string=Commedia dell'arte}}--> |
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| ⚫ | '''''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> |
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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> |
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''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}} |
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''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" /> |
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===Mask types=== |
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Every mask has to contain a combination of distinct characteristics to create their specific characters.<ref name=":0" /> The original Commedia dell'Arte performers originated in the 1530s and 1540s, they wanted to be immediately recognized as the familiar characters that they portrayed as well as being exciting.<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, and without them the character could not be the same. The mask creates the personage of each character and makes them associates the character to their name and movements. It makes them an individual, yet one that everyone knows and can see in others.<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. Commedia uses two different types of masks, that of the personage and identity of a character, a specific characters face. As well as the mask that is an object for lovers and other nonmasked characters to use as a disguise.<ref name=":0" /> Actors are directed more so by the mask than by the director, they use to the movements that are associated with that character and follow their characters type. An actor must surrender his entire body to the character not just change his face with the mask.<ref name=":1" /> |
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[[File:Masque picto.jpg|thumb|A Capitano mask]] |
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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" /> |
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Specific forms of mask include: |
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*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" /> |
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*Capitano's mask has a strong brow in a frown and smaller eyes as well.<ref name=":0" />{{page needed|date=May 2023}} |
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*[[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" /> |
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*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> |
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*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> |
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*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. |
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[[File:Arlecchino - stampa ottocento.jpg|thumb|left|150px|[[Harlequin]] in a 19th-century Italian print]] |
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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" /> |
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===Unmasked characters=== |
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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" /> |
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[[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" /> |
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[[File:Pietro Paolini - Portrait of Tiberio Fiorilli as Scaramouche.jpg|thumb|300px|''Portrait of Tiberio Fiorilli as Scaramouche'' by [[Pietro Paolini]]]] |
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[[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> |
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== |
===References=== |
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[[File:Masque picto.jpg|thumb|A Capitano mask Created by Dalbera<nowiki/>https://commons.wikimedia.org/wiki/Commons:GFDL]] |
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==Pasta all'ortolana (see: [[Wikipedia:Articles for deletion/Pasta all'Ortolana]])== |
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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.A characters identification is found in their mask.<ref name=":0" /> There four or five classes that the masks can be grouped into: the old men such as [[Pantalone]] and il [[Il Dottore|Dottore]]; the young and adventurous man, il [[Il Capitano|Capitano]]; the servant sometimes named [[Zanni]]; and another old man though more crooked and crippled [[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> The servant characters such as Zanni typically will have a long nose, sometimes with more curve for Pantalone, and the servants whose names that end in "ino" such as Truffaldino or [[Harlequin|Arlecchino]] are more often small and round. To follow traditional masks the servant characters such as Zanni should have big noses and smaller eyes, this creates a more animal look making them seem more primitive, as the servant is lower than the master.<ref name=":0" /> The zanni mask was one of the first and was a full mask, covering the full face and sometimes head, until the bottom of the mouth was removed.<ref name=":1" /> Capitano's mask has a strong brow, in a frown, wide eyes would only make his farrowed brow less prominent so the smaller eyes are better for him as well.<ref name=":0" /> Some characters also have hair, beards, eyebrows, or eyelashes. [[Brighella]] is one character mentioned to have a beard in some early mentions of masked characters.<ref>{{Cite book|title=Masks and Marionettes|last=Kennard|first=Joseph|publisher=Kennikat Press|year=1967|isbn=|location=|pages=|quote=|via=}}</ref> He is often known to have a mustache now that is swirled up to give him the mischievous feeling.<ref name=":1" /> apitano is often described as having a long nose as well as Zanni, though typically larger. He also has a mustache sometimes that is a stiff and strong mustache under such a large nose, it almost looks like spikes poking out.<ref>{{Cite book|title=The Italian Comedy|last=Ducharte|first=Pierre|publisher=Dover Publications|year=|isbn=|location=|pages=|quote=|via=}}</ref> Dottore also sometimes has hair, in the form of a small mustache, or eyebrows, and no upper lip. His mask covers the actors forehead and nose exposing their cheeks. Leaving the cheeks exposed 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.|publisher=|year=|isbn=|location=|pages=|quote=|via=}}</ref> Pantalone is known for his red and black costume but also his beard and easily recognizable mask. His long pointed beard looks almost like an extension of his equally long nose, he sometimes also has a mustache and some bushy eyebrows to give him a very distinct look. Dottore and Pantalone though both old men, have very different looks.<ref>{{Cite book|title=Commedia del''Arte An Actors Handbook|last=Rudlin|first=John|publisher=Routledge|year=1994|isbn=|location=|pages=|quote=|via=}}</ref> |
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{{Short description|Mixed vegetable pasta}} |
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{{Italics title}} |
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{{Infobox food |
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| name = ''Pasta all'Ortolana'' |
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| image = Fusilli all'Ortolana.jpg |
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| image_size = |
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| caption = ''Fusilli all'Ortolana'' |
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| alternate_name = |
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| country = [[Italy]] |
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| region = |
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| creator = |
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| course = ''[[Italian meal structure#Formal meal structure|Primo]]'' (Italian pasta course) |
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| type = |
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| served = |
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| main_ingredient = Carrots, onions, leeks, garlic, zucchini, celery, yellow and red peppers, cherry tomatoes, black pepper, olive oil |
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| variations = Different vegetables |
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}} |
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'''''Pasta all'Ortolana''''' is an [[Italian cuisine|Italian dish]] made by cooking various different vegetables before mixing them together with [[pasta]]. |
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Each mask has a very distinct look about it, some have large noses or foreheads, and others have bumps or are only a three quarter mask like Dottore. The distinct sections of the mask are the eyes, nose, forehead, upper lip and cheekbones, these create the overall shape of each mask.<ref name=":0" /> Each of these features may be exaggerated, or maybe the mask does not have one of these quality. Dottore typically does not have cheekbones or an upper lip under his nose. One factor that is most dis-configured and proportioned is the nose. Someone making a mask has the freedom to show their talents and skills in these areas, the nose, cheekbones, brows, and lip, but they do need to follow the fundamentals of each character that they are creating so that they are still recognizable.<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. Much like the people you see on a daily bases, not all masks must be perfect, they can have bumps just like any person can. The characters have the same skin problems as teenagers and the elder we see daily.<ref name=":0" /> |
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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. |
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=== The unmasked === |
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Not all of the characters in Commedia dell'Arte are masked, some are unmasked, and some wear a powdered faces instead of a mask. When actresses finally joined the men on stage they did not start wearing the masks, they wanted to show their faces as they were playing female lovers mostly. While men had been wearing masks and playing women before, now that women were playing the women, they did not want to hide their beautiful faces, even when they were a servant. This also meant that their counterparts, the male lovers, also stopped performing in masks. This led to more characters without masks, such as the "''servetta'' (French, ''soubrette'')," who was the female servant that was also unmasked such as Colombina. Though unmasked she would have heavy makeup around her eyes drawing the focus there.<ref name=":1" /> [[Pedrolino]] did not wear a mask, instead he had a floured face.<ref name=":1" /> He was the start of the white clowns we see today in circuses and in mime.<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> These characters still maintain the classification as 'masked' because they still follow the character types, even without a mask they are still a type. Both lovers tend to wear heavy makeup that almost forms its own mask containing beauty marks and heavy mascara.<ref name=":1" /> |
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===Variations=== |
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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. |
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In making a [[mask]] 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 the most used material for making masks as it is the easiest to shape without hurting the face. Leather is also close to the skin and creates a light, easy to wear mask that holds shape and life on stage.<ref name=":0" /> |
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===See also=== |
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{{Portal|Italy|Food}} |
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* [[List of pasta]] |
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* [[List of pasta dishes]] |
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{{Cuisine of Italy}} |
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==Reference from another article== |
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{{Reflist}} |
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<ref>[http://italophiles.com/commedia.htm#Common_Commedia_ Common Commedia dell'Arte Characters]</ref> |
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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.
