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A Treatise on Acting, from Memory and by Improvisation (1699) by Andrea Perrucci

Bilingual Edition in English and Italian
TaschenbuchKartoniert, Paperback
256 Seiten
Englisch
Scarecrow Presserschienen am09.11.2007
This 1699 Italian acting treatise includes chapters on all kinds of staged productions, scripted or improvised, sacred or secular, tragic or comic. It also addresses enunciation, diction, memorization, gestures, and stage comportment, and it describes the details important to a successful commedia dell'arte performance.mehr

Produkt

KlappentextThis 1699 Italian acting treatise includes chapters on all kinds of staged productions, scripted or improvised, sacred or secular, tragic or comic. It also addresses enunciation, diction, memorization, gestures, and stage comportment, and it describes the details important to a successful commedia dell'arte performance.
Details
ISBN/GTIN978-0-8108-6033-9
ProduktartTaschenbuch
EinbandartKartoniert, Paperback
FormatTrade Paperback (USA)
Erscheinungsjahr2007
Erscheinungsdatum09.11.2007
Seiten256 Seiten
SpracheEnglisch
MasseBreite 215 mm, Höhe 278 mm, Dicke 17 mm
Gewicht717 g
Artikel-Nr.14371059

Inhalt/Kritik

Inhaltsverzeichnis
Part 1 Foreword Part 2 Translators' Preface Part 3 Introduction Part 4 Facsimile and Translation of Title Page Part 5 Facsimile of Original Table of Contents Part 6 Your Excellencies [Dedication] Part 7 To the Reader Part 8 Part One [Acting from Memory] Chapter 9 Preface Chapter 10 1. What the Art of Acting Is, and What Its Parts Are Chapter 11 2. Concerning the State, or Theatre, and Its Disposition Chapter 12 3. Concerning Costumes Appropriate to Tragedy, Comedy, Satire, etc. Chapter 13 4. On the Choice of Tragedy, Comedy, and Pastorale, and before Them, Opera Chapter 14 5. About Dramas in Prose Chapter 15 6. About Choosing Actors Capable of Performing Chapter 16 7. About the Best Pronunciation for Acting, and What Defects Are to Be Noted in Various Dialects Chapter 17 8. On Memory, and How It Is Used to Learn the Parts Chapter 18 9. On Delivering a Speech, or Acting Chapter 19 10. About the Voice and How to Regulate and Vary It in Performance Chapter 20 11. On Appropriate Gestures for the Actor Chapter 21 12. On Certain Actions Performed on Stage Chapter 22 13. On Defects that Occur while Performing, and How to Correct Them Chapter 23 14. On Particular Characters in Tragedies, Comedies, Pastorales, and Tragicomedies Chapter 24 15. On Prologues, Intermezzi, Choruses, Music, and Dance Chapter 25 Endnotes-Annotations to Part I Part 26 Part Two [Acting by Improvisation] Chapter 27 Preface - On Improvisation in Performance Chapter 28 1. On the Roles of Lovers Chapter 29 2. On the Soliloquies in Tuscan Roles Chapter 30 3. On the Roles of Female Lovers Chapter 31 4. On Amorous Dialogues, etc. Chapter 32 5. On Closing Couplets and Verses Chapter 33 6. On the Roles of Fathers and Old Men Chapter 34 7. On the Capitan Bravo Roles, and Others Chapter 35 8. On the Comic Roles of First and Second Zanni Chapter 36 9. On the Roles of the Maidservant and the Old Woman Chapter 37 10. On Jests, Witticisms, Quips, and Other Pleasantries for the Comic Parts Chapter 38 11. On Scenes with Extended, Equivocal Metaphors, and Others Chapter 39 12. On Ridiculous Actions, Gestures, Disguises, Nocturnal Scenes, and Songs Chapter 40 13. On the Improvised Soggetto Chapter 41 14. On How to Coordinate the Soggetto Chapter 42 15. On Improvised Intermezzi Chapter 43 Endnotes-Annotations to Part 2 Part 44 Bibliography Part 45 Nota filologica Part 46 Index Part 47 About the Editorsmehr

Autor

Francesco Cotticelli is a specialist in theatre history at the University of Cagliari. Anne Goodrich Heck is a professional translator. Thomas F. Heck is emeritus professor of the Ohio State University and has published extensively on the performing arts. Together they translated and edited The Commedia dell'Arte in Naples: A Bilingual Edition of the 176 Casamarciano Scenarios (Scarecrow Press, 2001).
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