{"title":"从皮亚兹到宫廷:女演员在文艺复兴中的作用","authors":"Nicla Riverso","doi":"10.1080/01614622.2021.1988212","DOIUrl":null,"url":null,"abstract":"My article provides a better understanding of commedia dell’arte’s transformation from an indecorous form of popular entertainment, performed in public spaces (piazze) and accused of teaching lust and corruption, into a legitimate and respected art form, performed in aristocratic and royal court theatres before refined and educated audiences. I show how relevant performances by such actresses as Barbara Flaminia, Lidia da Bagnacavallo, Isabella Andreini, Vincenza Armani, Vittoria Piissini, Orsola Posmoni, and Virginia Ramponi were in changing the image of the commedia dell’arte. Blending theater and culture, actresses ennobled themselves and their profession and constructed a new model of a talented and educated heroine, while contributing to a new appreciation for commedia dell’arte as a form of literary and artistic performance. In fact, because of their efforts, the commedia dell’arte diverged significantly from the performances of buffoni, mountebanks, acrobats, contortionists, story-tellers, and street singers, and survived defamatory propaganda and opposition from churchmen, finding support in secular patronage and gaining social and cultural dignity.","PeriodicalId":41506,"journal":{"name":"Italian Culture","volume":"39 1","pages":"136 - 154"},"PeriodicalIF":0.2000,"publicationDate":"2021-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"From Piazze to Courts: Actresses’ Role in the Refashioning of Commedia dell’Arte\",\"authors\":\"Nicla Riverso\",\"doi\":\"10.1080/01614622.2021.1988212\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"My article provides a better understanding of commedia dell’arte’s transformation from an indecorous form of popular entertainment, performed in public spaces (piazze) and accused of teaching lust and corruption, into a legitimate and respected art form, performed in aristocratic and royal court theatres before refined and educated audiences. I show how relevant performances by such actresses as Barbara Flaminia, Lidia da Bagnacavallo, Isabella Andreini, Vincenza Armani, Vittoria Piissini, Orsola Posmoni, and Virginia Ramponi were in changing the image of the commedia dell’arte. Blending theater and culture, actresses ennobled themselves and their profession and constructed a new model of a talented and educated heroine, while contributing to a new appreciation for commedia dell’arte as a form of literary and artistic performance. In fact, because of their efforts, the commedia dell’arte diverged significantly from the performances of buffoni, mountebanks, acrobats, contortionists, story-tellers, and street singers, and survived defamatory propaganda and opposition from churchmen, finding support in secular patronage and gaining social and cultural dignity.\",\"PeriodicalId\":41506,\"journal\":{\"name\":\"Italian Culture\",\"volume\":\"39 1\",\"pages\":\"136 - 154\"},\"PeriodicalIF\":0.2000,\"publicationDate\":\"2021-07-03\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"Italian Culture\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.1080/01614622.2021.1988212\",\"RegionNum\":0,\"RegionCategory\":null,\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"0\",\"JCRName\":\"HUMANITIES, MULTIDISCIPLINARY\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"Italian Culture","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1080/01614622.2021.1988212","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"HUMANITIES, MULTIDISCIPLINARY","Score":null,"Total":0}
引用次数: 0
摘要
我的文章更好地理解了艺术喜剧从一种在公共场所(广场)表演并被指控教授欲望和腐败的不雅的大众娱乐形式,转变为一种合法和受人尊敬的艺术形式,在贵族和皇家宫廷剧院在高雅和受过教育的观众面前表演。我展示了Barbara Flaminia、Lidia da Bagnacavallo、Isabella Andreini、Vincenza Armani、Vittoria Piissini、Orsola Posmoni和Virginia Ramponi等女演员的相关表演如何改变了大众艺术的形象。女演员们融合了戏剧和文化,使自己和自己的职业崇高起来,构建了一个才华横溢、受过良好教育的女英雄的新模式,同时也为大众艺术作为一种文学和艺术表演形式的新欣赏做出了贡献。事实上,由于他们的努力,艺术喜剧与布冯尼、漫画家、杂技演员、柔术演员、讲故事的人和街头歌手的表演大相径庭,并在诽谤性宣传和牧师的反对下幸存下来,在世俗庇护中找到了支持,获得了社会和文化尊严。
From Piazze to Courts: Actresses’ Role in the Refashioning of Commedia dell’Arte
My article provides a better understanding of commedia dell’arte’s transformation from an indecorous form of popular entertainment, performed in public spaces (piazze) and accused of teaching lust and corruption, into a legitimate and respected art form, performed in aristocratic and royal court theatres before refined and educated audiences. I show how relevant performances by such actresses as Barbara Flaminia, Lidia da Bagnacavallo, Isabella Andreini, Vincenza Armani, Vittoria Piissini, Orsola Posmoni, and Virginia Ramponi were in changing the image of the commedia dell’arte. Blending theater and culture, actresses ennobled themselves and their profession and constructed a new model of a talented and educated heroine, while contributing to a new appreciation for commedia dell’arte as a form of literary and artistic performance. In fact, because of their efforts, the commedia dell’arte diverged significantly from the performances of buffoni, mountebanks, acrobats, contortionists, story-tellers, and street singers, and survived defamatory propaganda and opposition from churchmen, finding support in secular patronage and gaining social and cultural dignity.