User:Giantek/sandbox: Difference between revisions
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= Lazzi = |
= Lazzi = |
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'''basic definition:''' |
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⚫ | '''Lazzi''' ([[Help:IPA for English|/ˈlɑːtsi/]]; from the [[Italian language|Italian]] ''lazzo'', a joke or witticism) |
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⚫ | '''Lazzi''' ([[Help:IPA for English|/ˈlɑːtsi/]]; from the [[Italian language|Italian]] ''lazzo'', a joke or witticism) are stock comedic routines, "silly scenes" or "bits" that are performed within the [[Scenario|scenarios]] of ''[[Commedia dell'arte]]''. These physical and dialogical sequences can improvised or intricately rehearsed by members of the troupe, and are used to guarantee laughs from the audience, especially if a scene is dragging. <ref name=":0">{{Cite journal|last=Garfein|first=Herschel|last2=Gordon|first2=Mel|last3=Turci|first3=Gennaro|date=1978-01-01|title=The Adriani Lazzi of the Commedia Dell'Arte|url=http://www.jstor.org/stable/1145163|journal=The Drama Review: TDR|volume=22|issue=1|pages=3–12|doi=10.2307/1145163}}</ref> Commedia performers would have many lazzi in their repertoires, and would instigate these sequences in the middle of a performance, often using a line or two of pre-fixed dialogue to cue their fellow actors to engage in the improvisation. Lazzi often involved the entire troupe's participation, and required |
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'''How to we know what we know:''' |
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The library of Perugia holds the only existing substantial list of a single troupe's lazzi. Additional sources include scarce written documentation comprised mostly of actors notes and short performance descriptions. Visual iconography, including various paining and drawings of commedia performances, suggest that 16th and 17th century lazzi was often perverse in nature, thus making troupes at risk of censorship by legal authorities. Protecting material from authorities may have attributed to the lack of written documentation. <ref name=":0" /> Other theories suggest that due to its improvised nature, and the inbred constituency of that period's troupe, it was not necessary for lazzi to be written and it was passed down through rehearsal.<ref>{{Cite journal|last=Selfridge-Field|first=Eleanor|date=2004|title=La Commedia dell'Arte in Naples: A Bilingual Edition of the 176 Casamarciano Scenarios/La commedia dell'arte a Napoli: edizione bilingue dei 176 scenari Casamarciano (review)|journal=Project Muse|publisher=Music and Letters|volume=85|pages=436-437}}</ref> |
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There are only a few existing written accounts of lazzi. This may be attributed to protecting the material from censorship by authorities, as it was often obscene or perverse in nature. Also, because lazzi was often developed and passed down within a troupe, which were quite imbred in the 16th and 17th centuries, there may not have been a real need to write down the material, especially if they didn't want their material stolen by there troupes. One account still in existence is from a manuscript at the library in Perugia. |
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!Contents |
!Contents |
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|1 |
|1. 16th and 17th Century Lazzi |
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2. Lazzi in Shakespeare |
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2. Charlie Chaplin and Modern Lazzi |
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= Works Cited = |
= Works Cited = |
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'''Richards and Richards 1990''' |
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'''Kenneth Richards and Laura Richards. ''The'' Commedia dell’Arte: ''A Documentary History''. Oxford: Blackwell.''' |
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Boyd, T. W. "Memory on Canvas: ''Commedia dell’Arte'' as a Model for Homeric Performance." ''Oral Tradition'' 26.2 (2011). ''Project MUSE''. Web. 26 Sep. 2016. <https://muse.jhu.edu/>. |
Boyd, T. W. "Memory on Canvas: ''Commedia dell’Arte'' as a Model for Homeric Performance." ''Oral Tradition'' 26.2 (2011). ''Project MUSE''. Web. 26 Sep. 2016. <https://muse.jhu.edu/>. |
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Revision as of 18:17, 22 October 2016
Lazzi
basic definition:
Lazzi (/ˈlɑːtsi/; from the Italian lazzo, a joke or witticism) are stock comedic routines, "silly scenes" or "bits" that are performed within the scenarios of Commedia dell'arte. These physical and dialogical sequences can improvised or intricately rehearsed by members of the troupe, and are used to guarantee laughs from the audience, especially if a scene is dragging. [1] Commedia performers would have many lazzi in their repertoires, and would instigate these sequences in the middle of a performance, often using a line or two of pre-fixed dialogue to cue their fellow actors to engage in the improvisation. Lazzi often involved the entire troupe's participation, and required
How to we know what we know:
The library of Perugia holds the only existing substantial list of a single troupe's lazzi. Additional sources include scarce written documentation comprised mostly of actors notes and short performance descriptions. Visual iconography, including various paining and drawings of commedia performances, suggest that 16th and 17th century lazzi was often perverse in nature, thus making troupes at risk of censorship by legal authorities. Protecting material from authorities may have attributed to the lack of written documentation. [1] Other theories suggest that due to its improvised nature, and the inbred constituency of that period's troupe, it was not necessary for lazzi to be written and it was passed down through rehearsal.[2]
There are only a few existing written accounts of lazzi. This may be attributed to protecting the material from censorship by authorities, as it was often obscene or perverse in nature. Also, because lazzi was often developed and passed down within a troupe, which were quite imbred in the 16th and 17th centuries, there may not have been a real need to write down the material, especially if they didn't want their material stolen by there troupes. One account still in existence is from a manuscript at the library in Perugia.
Contents |
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1. 16th and 17th Century Lazzi
2. Lazzi in Shakespeare 2. Charlie Chaplin and Modern Lazzi |
References
- ^ a b Garfein, Herschel; Gordon, Mel; Turci, Gennaro (1978-01-01). "The Adriani Lazzi of the Commedia Dell'Arte". The Drama Review: TDR. 22 (1): 3–12. doi:10.2307/1145163.
- ^ Selfridge-Field, Eleanor (2004). "La Commedia dell'Arte in Naples: A Bilingual Edition of the 176 Casamarciano Scenarios/La commedia dell'arte a Napoli: edizione bilingue dei 176 scenari Casamarciano (review)". Project Muse. 85. Music and Letters: 436–437.
Works Cited
Richards and Richards 1990
Kenneth Richards and Laura Richards. The Commedia dell’Arte: A Documentary History. Oxford: Blackwell.
Boyd, T. W. "Memory on Canvas: Commedia dell’Arte as a Model for Homeric Performance." Oral Tradition 26.2 (2011). Project MUSE. Web. 26 Sep. 2016. <https://muse.jhu.edu/>.
Chaffee, Judith, and Olly Crick. The Routledge Companion to Commedia Dell'Arte. Abingdon, Oxon; New York: Routledge, 2015. Print. Routledge Companions.
Garfein, Herschel, Gordon Mel, and Turci Gennaro. "The Adriani Lazzi of the Commedia Dell'Arte." The Drama Review: TDR 22.1 (1978): 3-12. Web.
Gordon, Mel. Lazzi: The Comic Routines of the Commedia Dell'arte. 1st ed. New York: Performing Arts Journal Publications, 1983. Print.
Leon, M. "Molière on Stage: What's So Funny? by Robert W. Goldsby (review)." Comparative Drama 47.2 (2013): 254-256. Project MUSE. Web. 26 Sep. 2016. <https://muse.jhu.edu/>
Madden, David. "Harlequin's Stick, Charlie's Cane." Film Quarterly 22.1 (1968): 10-26. Web.
Reardon, Joan. ""Caesar and Cleopatra" and the Commedia Dell' Arte." The Shaw Review 14.3 (1971): 120-36. Web.
Selfridge-Field, E. "La Commedia dell'Arte in Naples: A Bilingual Edition of the 176 Casamarciano Scenarios/La commedia dell'arte a Napoli: edizione bilingue dei 176 scenari Casamarciano (review)." Music and Letters 85.3 (2004): 436-437. Project MUSE. Web. 26 Sep. 2016. <https://muse.jhu.edu/>.
Smith, Winifred. The Commedia Dell'arte. a Study in Italian Popular Comedy. New York: Columbia UP, 1912. Print.
Steele, Eugene. "Verbal Lazzi in Shakespeare's Plays." Italica 53.2 (1976): 214-22. Web.
Weitz, Eric. The Cambridge Introduction to Comedy. Cambridge: Cambridge UP, 2009. Print.