Commedia dell Arte - Colombina by Angelica Lee on Prezi
Columbina (in Italian Colombina, meaning "little dove"; in French and English Rudlin and Crick use the Italian spelling Colombina in Commedia dell'arte: A .. However, the connection to carnival would suggest that masking was a . by Real Ultimate Power, the Pirates versus Ninjas meme is expressed offline too. Ann is a perfect example of Columbina. Especially whenever Leslie describes her. Ron Parks And RecParks And Rec QuotesParks And RecreationParks. Relationships. Colombina and Arlecchino. (Ferreti, ). Colombina's character plays a very important role in Commedia dell'arte as she is.
Not only actors but also acrobats and dancers were quick to seize on his role, but in the s, Pierrot at last came into his own. It was also in the s that Alexis Piron loaned his talents to the Foires, the retirement of Hamoche inwrites Barberet, was fatal to Pierrot 4.
Harlequinade — Harlequinade is a British comic theatrical genre, defined by the Oxford English Dictionary as that part of a pantomime in which the harlequin and clown play the principal parts.
It developed in England between the 17th and midth centuries and it was originally a slapstick adaptation or variant of the Commedia dellarte, which originated in Italy and reached its apogee there in the 16th and 17th centuries. Originally a mime act with music and stylised dance, the harlequinade later employed some dialogue, early in its development, it achieved great popularity as the comic closing part of a longer evening of entertainment, following a more serious presentation with operatic and balletic elements.
An often elaborate magical transformation scene, presided over by a fairy, connected the unrelated stories, changing the first part of the pantomime, and its characters, into the harlequinade. In the late 18th and 19th centuries, the became the larger part of the entertainment. During the 16th century, Commedia dellarte spread from Italy throughout Europe, in English versions, harlequinades differed in two important respects from the Commedia original.
First, instead of being a rogue, Harlequin became the central figure, secondly, the characters did not speak, this was because of the large number of French performers who played in London, following the suppression of unlicensed theatres in Paris.
Although this constraint was only temporary, English harlequinades remained primarily visual, by the early years of the 18th century, Italian night scenes presented versions of Commedia traditions in familiar London settings. From these, the standard English harlequinade developed, depicting the eloping lovers Harlequin and Columbine, pursued by the girls father, Pantaloon.
The basic plot remained essentially the same for more than years, in John Weaver, the dancing master at Drury Lane, presented The Loves of Mars and Venus — a new Entertainment in Dancing after the manner of the Antient Pantomimes. At Lincolns Inn, John Rich presented and performed as Harlequin in similar productions, armed with a magic sword or bat, Richs Harlequin treated his weapon as a wand, striking the scenery to sustain the illusion of changing the setting from one locale to another.
Objects, too, were transformed by Harlequins magic bat, Richs productions were a hit, and other producers, like David Garrick began producing their own pantomimes. For the rest of the century this pattern persisted in London theatres, when producers ran short of plots from Greek or Roman mythology they turned to British folk stories, popular literature, and, bynursery tales.
But whatever the story shown in the first part of the entertainment, at the end of the first part, stage illusions were employed in a spectacular transformation scene, initiated by a fairy, turning the pantomime characters into Harlequin, Columbine and their fellows. In the early 19th century, the comic performer Joseph Grimaldi turned the role of Clown from a rustic booby into the star of metropolitan pantomime. Two developments inboth involving Grimaldi, greatly changed the characters, For the pantomime Peter Wilkins, or Harlequin in the Flying World.
Clown traded in his tatty servants costume for a flamboyant, colourful one, in Harlequin Amulet, or, The Magick of Mona, later the same year, Harlequin was modified, becoming an increasingly stylised romantic character leaving the mischief and chaos to Grimaldis Clown. Clown now appeared in a range of roles, from the rival suitor to household cook or nurse, in the 19th century, theatrical presentations typically ran for four hours or more, with the pantomime and harlequinade concluding the evening after a long drama 5.
Hero — The concept of the hero was first founded in classical literature. It is the main or revered character in heroic epic poetry celebrated through ancient legends of a people, often striving for military conquest and living by a continually flawed personal honor code. The definition of a hero has changed throughout time, and the Merriam Webster dictionary defines a hero as a person who is admired for great or brave acts or fine qualities. Beekes has proposed a Pre-Greek origin.
Partridge concludes, The basic sense of both Hera and hero would therefore be protector, the word hero is used in English to refer either explicitly to male heroes or as a gender neutral form. The use of the male form hero as a gender neutral substantive is a modern advent, see also Gender neutrality in English. A classical hero is considered to be a warrior who lives and dies in the pursuit of honor, each classical heros life focuses on fighting, which occurs in war or during an epic quest.
Classical heroes are commonly semi-divine and extraordinarily gifted, like Achilles, or, alternatively, are like Beowulf, evolving into heroic characters through their perilous circumstances. While these heroes are incredibly resourceful and skilled, they are often foolhardy, court disaster, risk their followers lives for trivial matters, during classical times, people regarded heroes with the highest esteem and utmost importance, explaining their prominence within epic literature.
Hector was a Trojan prince and the greatest fighter for Troy in the Trojan War, Hector acted as leader of the Trojans and their allies in the defense of Troy, killing 31, Greek fighters, offers Hyginus. Hector was known not only for his courage but also for his noble, indeed, Homer places Hector as peace-loving, thoughtful as well as bold, a good son, husband and father, and without darker motives. However, his familial values conflict greatly with his aspirations in The Iliad.
Hector is ultimately betrayed by the gods when Athena appears disguised as his ally Deiphobus and convinces him to take on Achilles, Achilles was a Greek Hero who was considered the most formidable military fighter in the entire Trojan War and the central character of The Iliad.
He was the child of Thetis and Peleus, making him a demi-god and he wielded superhuman strength on the battlefield and was blessed with a close relationship to the Gods. Achilles famously refuses to fight after his dishonoring at the hands of Agamemnon, Achilles was known for uncontrollable rage that defined many of his bloodthirsty actions, such as defiling Hectors corpse by dragging it around the city of Troy.
Achilles plays a role in The Iliad brought about by constant de-humanization throughout the epic. Heroes in myth often had close but conflicted relationships with the gods, thus Heracless name means the glory of Hera, even though he was tormented all his life by Hera, the Queen of the Gods 6. Pirates in popular culture — In these and countless other books, movies, and legends, pirates are portrayed as swashbucklers and plunderers.
They are shown on ships, often wearing eyepatches or peg legs, having a parrot perched on their shoulder, Vikings, who were also pirates, took on a distinct and separate archetype in popular culture, dating from the Viking revival. While Johnsons text recounted the lives of many famous pirates from the era, Stevenson identified Johnsons General History of the Pyrates as one of his major influences, and even borrowed one characters name from a list of Blackbeards crew which appeared in Johnsons book.
In films, books, cartoons, and toys, pirates often have an appearance that evokes their criminal lifestyle, rogue personalities and adventurous. They are frequently depicted as greedy, mean-spirited, and focused exclusively on fighting enemy pirates and they are often shown wearing shabby 17th or 18th century clothing, with a bandana or a feathered tricorne.
They sometimes have an eye patch and almost always have a cutlass and they sometimes have scars and battle wounds, rotten or missing teeth, as well as a hook or wooden stump where a hand or leg has been amputated. Some depictions of pirates also include monkeys or parrots as pets, a native of the West Country in south west England from where many famous English pirates hailed, Newton also used the same strong West Country accent in Blackbeard the Pirate.
Historical pirates were often sailors or soldiers whod fallen into misfortune, forced to serve at sea or to plunder goods, Pirates generally quest for buried treasure, which is often stored, after being plundered, in treasure chests.
11 best commedia dell'arte images on Pinterest | Drawings, Dark circus and Illustrations
Pirates treasure is gold or silver, often in the form of doubloons or pieces of eight. This holiday allows people to let out their inner pirate and to dress and speak as pirates are portrayed to have dressed. International Talk Like a Pirate Day has been gaining popularity through the Internet since its founders set up a website, venganza.
In the online community, many games, movies, and other media are built upon the premise, thought to have been generated by Real Ultimate Power, the Pirates versus Ninjas meme is expressed offline too, through house parties and merchandise found at popular-culture clothing and gift stores.
Pirates also play a role in the parody religion of Pastafarianism. In addition to the archetype of seafaring pirates, other pirate archetypes exist in popular culture. Air pirates are science fiction and fantasy character archetypes who operate in the air, as traditional seafaring pirates target sailing ships, air pirates capture and plunder aircraft and other targets for cargo, money, and occasionally they steal entire aircraft.
Space pirates are science fiction character archetypes who operate in outer space, as traditional seafaring pirates target sailing ships, space pirates capture and plunder spaceships for cargo, money, and occasionally they steal entire spacecraft. The dress and speech of these alternate archetypes may vary and it may correspond to a particular authors vision of a storys setting, rather than their traditional seafaring counterparts 7.
Columbidae — Pigeons and doves constitute the bird family Columbidae, which includes about species. Pigeons and doves are stout-bodied birds with short necks, and short slender bills and they primarily feed on seeds, fruits, and plants.
This family occurs worldwide, but the greatest variety is in the Indomalaya, in general, the terms dove and pigeon are used somewhat interchangeably. Pigeon is a French word that derives from the Latin pipio, for a peeping chick, the species most commonly referred to as pigeon is the rock dove, one subspecies of which, the domestic pigeon, is common in many cities as the feral pigeon. Pigeons and doves are likely the most common birds in the world, doves and pigeons build relatively flimsy nests — often using sticks and other debris — which may be placed in trees, on ledges, or on the ground, depending on species.
They lay one or two eggs at a time, and both parents care for the young, which leave the nest after seven to 28 days. Unlike most birds, both sexes of doves and pigeons produce crop milk to feed to their young, secreted by a sloughing of fluid-filled cells from the lining of the crop, young doves and pigeons are called squabs.
The adjective columbine refers to pigeons and doves, recent phylogenomic studies support the grouping of these pigeons and sandgrouse together, along with mesites, forming the sister taxon to Mirandornithes. The Columbidae are usually divided into five subfamilies, probably inaccurately, for example, the American ground and quail doves, which are usually placed in the Columbinae, seem to be two distinct subfamilies.
The order presented here follows Baptista et al. The dodo and Rodrigues solitaire are in all part of the Indo-Australian radiation that produced the three small subfamilies mentioned above, with the fruit-doves and pigeons.
Therefore, they are included as a subfamily Raphinae, pending better material evidence of their exact relationships. Exacerbating these issues, columbids are not well represented in the fossil record, no truly primitive forms have been found to date.
The genus Gerandia has been described from Early Miocene deposits of France, apart from that, all other fossils belong to extant genera. For these, and for the number of more recently extinct prehistoric species. Phylogeny based on the work by John H. Boyd III, Pigeons and doves exhibit considerable variations in size. Overall, the Columbidae tend to have short bills and legs, the wings are large and have low wing loadings, pigeons have strong wing muscles and are among the strongest fliers of all birds.
They are also highly manoeuvrable in flight, the plumage of the family is variable 8. Folk hero — This presence in the popular consciousness is evidenced by its historical frequency in folk songs, folk tales and other folklore, and its modern trope status in literature, art and films.
Although some folk heroes are historical figures, many are not. The lives of heroes are generally fictional, their characteristics. May be the Sad Clown. Usually dressed almost entirely in white, with a little bit of black. Another greedy character, but much less rich than Pantalone. Sometimes a middle class shopkeeper or tavern owner instead of a servant. Has no problem lying through his teeth. Dresses in white with a bit of green, and probably plays the lute. Typically has a small, pointy beard.
Can be an idiot, can be a Genius Cripple. Very violent, especially towards Arlecchino and Pierrot, and speaks in an unusually squeaky voice. His name means "little chicken". Other characters La Signora: Sometimes a courtesan and often called Rosaura. He's usually more interested in charming a servant girl or eating than carrying out Brighella's villainy. Often seen as the brother of Brighella, he is fond of the ladies even if they weren't fond of him. His character has many variations: An "old windbag" type; like the rest of the old people, she's out to thwart the innamorati.
A relatively new character, La Strega is either portrayed as an intelligent manipulator who enjoys watching the chaos she creates, or a raving mad woman who frightens the other characters. She often provides love potions and other various items to the other characters. Examples and references in modern media: Along the way, Harlequin nominates the other characters as filling various stock roles, although it's ambiguous whether this is genuine insight or just a case of labelling people according to his preconceptions.
In one of the volumes of De cape et de crocsa group of protagonists who get captured, are forced to perform one of these for their captors. Harley Quinn's name in the Batman series is a pun on Harlequin. 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," interested in Anything That Moves 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. The Marx Brothers fit the archetypes quite nicely. Arlecchino, though with aspects of Brighella, given his costant schemes. A Night at the Opera even has a scene of him dressing up in the costume that he stole from a production of Pagliacci.
In early productions, the Innamorato. Later on, he becomes a more toned-down Arlecchino for Groucho to boss around, before leaving the pictures altogether, in favour of Innamorato all the time. Columbina, or a Gender Flip of Il Dottore. 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.
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: Pulcinella ugly and stupid servant of the main antagonist Lumiere: Arlecchino smart, confident and flirty leader of the Beast's servants Cogsworth: Pierrot Butt-Monkeyalthough lacks the "hopeless lover" trait of the usual Pierrot Mrs.
Potts and Fifi the Feather Duster have the traits of Colombina divided between them: 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. Literature 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. The characters do not fit the archetypes, but in The Vampire Lestatthe 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. The Earthmind salutes his fidelity when he greets her.
Possibly inspired by this, his foes don the forms of Scaramouche and Columbine to pursue him. Agatha Christie wrote a series of stories featuring a Mr.
93 best Commedia dell'arte images on Pinterest in | Carnival of venice, Masks and Theater
Harley Quinwho had a knack for turning up where there were two lovers in trouble and, seemingly by chance, saying or doing just the right thing to influence events in their favour. Being Agatha Christie stories, this often involved inspiring a Eureka Moment in somebody trying to solve a murder, but it didn't always — and there's at least one Harley Quin story in which nobody dies at all. The story "Puss-in-Boots" in Angela Carter 's The Bloody Chamber is essentially a commedia dell'arte play in prose form, with the titular cat helping his owner get in bed with Pantalone's young beautiful wife.
Several stock characters of the genre are referred to by name. Winnie-the-Poohalbeit 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.
Partly-inverted in the Jeeves and Wooster series of P. 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 knowthe constantly-infatuated Bingo Little is an innamorato with the tendency to fall in love with barmaids; rather appropriate, given the class inversion at play herethe 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. Wodehouse's other most notably series, the Blandings Castle stories, also 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 thereofand the opportunistic pig-keeper George Cyril Wellbeloved as a more conventional Brighella.
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. Live Action TV 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.
George Michael and Maebe, although Maebe tends to also often be the rare female version of Arlecchino. Tobias Funke, of course. GOB and his illegitimate son, Steve Holt.
Lucille usually plays this part, considering her greed and generally bitter nature. Poor, poor Michael Bluth. Nobody gets the joke, of course. 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 seriesand 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.
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 Aceespecially in the second series. Either incarnation of Melchett - and, indeed, any character played by Stephen Frysuch as the third series' Duke of Wellington - is generally a Dottore figure.
George is an odd case.