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COMMEDIA DELL’ARTE SCENARIOS

Commedia dell’Arte Scenarios g athers together a collection of scenarios from some

of the most important commedia dell’arte manuscripts, many of which have
never been published in English before.
Each script is accompanied by an editorial commentary that sets out its
historical context and the backstory of its composition and dramaturgical
strategies, as well as scene summaries and character and properties lists. These
supplementary materials not only create a comprehensive picture of each script’s
performance methods but also offer a blueprint for readers looking to perform
the scenarios as part of their own study or professional practice.
This collection offers scholars, performers, and students a wealth of original
performance texts that bring to life one of the most foundational performance
genres in world theatre.

Sergio Costola is Associate Professor of Theatre at Southwestern University,

Georgetown, Texas.
COMMEDIA DELL’ARTE
SCENARIOS

Edited by Sergio Costola in collaboration

with Olly Crick
First published 2022
by Routledge
2 Park Square, Milton Park, Abingdon, Oxon OX14 4RN
and by Routledge
605 Third Avenue, New York, NY 10158
Routledge is an imprint of the Taylor & Francis Group, an informa business
© 2022 selection and editorial matter, Sergio Costola; individual
chapters, the contributors
The right of Sergio Costola to be identified as the authors of the
editorial material, and of the authors for their individual chapters, has
been asserted in accordance with sections 77 and 78 of the Copyright,
Designs and Patents Act 1988.
All rights reserved. No part of this book may be reprinted or reproduced
or utilised in any form or by any electronic, mechanical, or other
means, now known or hereafter invented, including photocopying and
recording, or in any information storage or retrieval system, without
permission in writing from the publishers.
Trademark notice: Product or corporate names may be trademarks
or registered trademarks, and are used only for identification and
explanation without intent to infringe.
British Library Cataloguing-in-Publication Data
A catalogue record for this book is available from the British Library
Library of Congress Cataloging-in-Publication Data
A catalog record for this book has been requested

ISBN: 978-0-367-60838-5 (hbk)

ISBN: 978-0-367-60836-1 (pbk)
ISBN: 978-1-003-10067-6 (ebk)
DOI: 10.4324/9781003100676

Typeset in Bembo
by Apex CoVantage, LLC
CONTENTS

List of figures viii

Acknowledgments x
Preface xii
Notes on the translation xviii

PART I
An introduction to commedia dell’arte 1

Introduction: the dramaturgy of the commedia dell’arte 3

Sergio Costola
The secret of the commedia dell’arte 3
The birth of commedia dell’arte 6
The companies and their composition 7
The stock characters of the commedia dell’arte 13
The scenarios of the commedia dell’arte 16
The generici or zibaldoni 21
The lazzo 23
The folds of the commedia dell’arte 25
Ludovico Ariosto’s Orlando furioso and the commedia dell’arte 31
The Madness of Orlando. Opera eroica rappresentativa
(Locatelli collection) 39
Orlando’s madness. Opera reale (Corsiniana collection) 59
vi Contents

PART II
The collections of scenarios 77

1 Abagaro Frescobaldi, Codex II-1586 (Madrid,

Real Biblioteca) 79
Sergio Costola in collaboration with Olly Crick
Primary text 80
Recent editions and translations 81
The Three Cuckolds (I tre becchi)– canovaccio 82
Two Crazy People (Doi pazzi)– canovaccio 86
Perseus (Perseo)– canovaccio 89

2 Flaminio Scala, Il teatro delle favole rappresentative (Venice, 1611) 96

Sergio Costola in collaboration with Olly Crick
Primary text 98
Recent editions and translations 98
The Jealous Old Man (Il Vecchio Geloso)–comedy 99
The Husband (Il Marito)–comedy 109
The Tooth-Puller (Il Cavadente)–comedy 119
The Mirror (Lo Specchio)–comedy 129
The Madness of Isabella (La pazzia d’Isabella)–comedy 139

3 Raccolta di scenari più scelti d’histrioni divisi in due volumi.

Codices 651 and 652, manuscripts 45.G5 and 45.G6
(Rome, Biblioteca dell’Accademia Nazionale dei
Lincei e Corsiniana) 153
Sergio Costola in collaboration with Olly Crick
Primary text 155
Recent editions and translations 155
Elisa Alii Bassà (Elisa Alii Bassà)–Turkish opera 156
The Nobility of Bertolino (La nobiltà di Bertolino)–
Tragicomedy 161
The Enchanted Fount (Il fonte incantato)–Pastoral 164

4 Basilio Locatelli, Della scena de Soggetti comici et tragici di

B. L. R. Manuscripts 1211 and 1212 (Rome, Biblioteca
Casanatense) 171
Sergio Costola in collaboration with Olly Crick
Primary text 173
Recent editions and translations 173
 Contents vii

Zanni Puts on Airs (Le grandezze di Zanni)–Tragicomedy 174

The Two Look-Alikes by Plautus (Li duo simili di Plauto)–
Comedy 185
A Comedy Within a Comedy (La commedia in commedia)–
Comedy 194

5 Ciro Monarca, Dell’opere regie. Manuscript 4186 (Rome,

Biblioteca Casanatense) 204
Sergio Costola in collaboration with Olly Crick
Primary text 205
Recent editions and translations 206
The Thunderstruck Atheist (L’ateista fulminato) 207

6 Anonymous Manuscript Correr. Manuscript 1040 (Venice,

Museo Correr) 218
Sergio Costola in collaboration with Olly Crick
Primary text 220
Recent editions and translations 220
The Honest Courtesan (La cortigiana onesta)–Comedy 221
The Three Captains (Tre Capitani)–Comedy 228

7 Gibaldone [. . .] Manuscripts XI.AA.40 and 41. (Naples,

Biblioteca Nazionale) 236
Sergio Costola in collaboration with Olly Crick
Primary text 237
Recent editions and translations 237
Pulcinella in Love (Pulcinella innamorato) 238
Arcadia Enchanted (Arcadia incantata) 242
The Lady as Pulcinella (Donna Zanni) 251

Bibliography 260
Index 269
FIGURES

I.1 Scheme of a typical scenario 8

I.2 Parts and roles: Elizabethan theatre 14
I.3 Parts and roles: commedia dell’arte 15
I.4 Image from the frontispiece to the scenario La nobiltà di
Bertolino. Tragicommedia in the Raccolta di scenari piú scelti
d’Istrioni (Manoscritti, 45 G6, c. 18r) housed in the Biblioteca
dell’Accademia Nazionale dei Lincei e Corsiniana 36
I.5 Image of the title page of the Raccolta di scenari piú scelti d’Istrioni
(Manoscritti, 45 G5) housed in the Biblioteca dell’Accademia
Nazionale dei Lincei e Corsiniana 60
I.6 Image of the title page to the scenario La Gran Pazzia d’Orlando.
Opera reale in the Raccolta di scenari piú scelti d’Istrioni (Manoscritti,
45 G5, c. 1r) housed in the Biblioteca dell’Accademia Nazionale
dei Lincei e Corsiniana 61
I.7 Image from the frontispiece to the scenario La Gran
Pazzia d’Orlando. Opera reale in the Raccolta di scenari piú scelti
d’Istrioni (Manoscritti, 45 G5, c. 2r) housed in the Biblioteca
dell’Accademia Nazionale dei Lincei e Corsiniana 62
I.8 Image of Act One of the scenario La Gran Pazzia d’Orlando.
Opera reale in the Raccolta di scenari piú scelti d’Istrioni (Manoscritti,
45 G5, c. 3r) housed in the Biblioteca dell’Accademia
Nazionale dei Lincei e Corsiniana 63
I.9 Image of Act Two of the scenario La Gran Pazzia d’Orlando.
Opera reale in the Raccolta di scenari piú scelti d’Istrioni (Manoscritti,
45 G5, c. 3v) housed in the Biblioteca dell’Accademia
Nazionale dei Lincei e Corsiniana 66
 Figures ix

I.10 Image of Act Three of the scenario La Gran Pazzia d’Orlando.

Opera reale in the Raccolta di scenari piú scelti d’Istrioni (Manoscritti,
45 G5, c. 4r) housed in the Biblioteca dell’Accademia Nazionale
dei Lincei e Corsiniana 69
I.11 Image of the list of characters and properties of the scenario
La Gran Pazzia d’Orlando. Opera reale in the Raccolta di scenari
piú scelti d’Istrioni (Manoscritti, 45 G5, c. 4v) housed in the
Biblioteca dell’Accademia Nazionale dei Lincei e Corsiniana 71
ACKNOWLEDGMENTS

This book is the result of a long and multifaceted journey that took me to differ-
ent countries on both sides of the Atlantic and that began in 2006, while I was
collaborating as Resident Dramaturg with the Leon Katz Rhodopi International
Theater Laboratory (RITL) in Smolyan, a small city in the Bulgarian Rhodopi
mountains, where students and artists from all over the world used to gather each
summer (2005–2012). There I had the pleasure to meet Alexander Lubenov Iliev,
at the time Associate Professor at the National Academy in Sofia. An expert in
movement traditions from around the world, Alexander Iliev has been an incred-
ible mentor and supporter of my work. Using commedia dell’arte masks and
techniques, we collaborated on the production of a series of pieces, all performed
at the Rhodopi Dramatichen Teatar: The Virgin and the Unicorn (2007), Aristo-
phanes’ The Birds (2008), Orlando Furioso (2010), and Hypatia (2011). In addition,
Alexander Iliev, Tania Karbova, and I also collaborated on the creation of a com-
media dell’arte workshop that was offered in 2008 at the Rhodopi Dramatichen
Teatar, and in 2010 at the National Academy in Sofia and at the Vassil Indzhev
Soring Laboratory in Ruse, a city on the border between Bulgaria and Romania.
A few years later, I also began my archival research in Italy, where I had the
pleasure to consult a variety of scenario collections from different manuscripts
at libraries such as the Casanatense and Corsiniana in Rome and the National
Library in Naples. I am especially grateful to Andrea Dibitonto and Giovanni
Fraioli at the Academia Nazionale dei Lincei in Rome for their precious help.
During the same years, I also had the opportunity to share my work at a series
of conferences (The International Conference on Commedia dell’Arte at the
University of Windsor, Windsor Canada, 2013; The Sixteenth Century Soci-
ety and Conference, New Orleans, 2014; The Global Improvisation Initiative
Symposium at the UC Irvine and Chapman University 2017), where I either
attended insightful paper presentations or received useful feedback from various
 Acknowledgments xi

colleagues: Claudia Wier, Joan Schirle, Nikole Pascetta, Katrien van Beurden,
Giulia Filacanapa, Carlo Boso, Javier Berzal de Dios, and Erica Stevens Abbitt.
I am the primary writer of this volume, but Olly Crick has also contributed
in a substantial way. While working individually on our own projects, Olly
and I have constantly collaborated on each other’s volumes since we first met at
the Global Improvisation Initiative Symposium. Olly and I are truly grateful to
Nikole Pascetta for organizing the panel “Improv(is)ing Interculturality through
Five Centuries of Commedia dell’Arte” and for bringing all of us together.
My work at RITL with my students, my archival research, and my attendance
at national and international conferences have all been made possible through
numerous grants and awards by the generous support of my institution, South-
western University in Georgetown, Texas. My appreciation goes to my col-
leagues, past and present, of the Theatre Department: Desiderio Roybal, Kerry
Bechtel, John Ore, CB Goodman, Kathleen Juhl, Rick Roemer, and Paul Gaff-
ney. A special thanks goes to my colleague and friend Michael Saenger, whose
help with editing and content was instrumental for the completion of this book.
All translations, unless otherwise stated, are my own, with the exception of
the passages by German-speaking scholars, for which I would like to thank Joyce
Crick.
PREFACE

This book offers a selection of newly translated commedia dell’arte scenarios

from some of the most important Italian manuscript collections – most of which
are currently unavailable in the English language – and presents a diachronic anal-
ysis of commedia dell’arte dramaturgical practices. Each single collection and
scenarios are preceded by introductions offering a brief historical contextualiza-
tion and a bibliography. The general introduction to the anthology serves instead
the purpose of introducing the reader to the most recent trends in commedia
dell’arte scholarship, with a particular emphasis on the books published in the
Italian and English languages. It also addresses, among other things, the history
of the term ‘commedia dell’arte’; a brief survey of the first companies and their
composition; the format and dramaturgy of the scenarios; and, to conclude, an
analysis of the relationship between commedia dell’arte and the Baroque culture,
with specific references to two scenarios based on Ludovico Ariosto’s famous
poem Orlando Furioso.
There has been no edition of commedia scenarios from various collections
to date in the English language: the editions of Flaminio Scala’s scenarios edited
by Henry Salerno (1967) and Richard Andrews (2008) refer mainly to the one
collection, as does the bilingual edition of the Casamarciano scenarios, edited by
Francesco Cotticelli, Anne Goodrich Heck, and Thomas F. Heck (2001). Nata-
lie Crohn-Schmitt’s recent partial edition of the Scala collection (2014) again
focuses on the one source. The only similar book is the one edited by Anna
Maria Testaverde (2007), which is available only in the Italian language.
Roberto Cuppone (2001), in his “Appendix. Overview of the main known
collections of scenarios” (136–138), lists about twenty known collections: the
first one, dated 1568, is not properly speaking a collection, since it contains only
a single scenario and is part of a work by Massimo Troiano meant to describe
the entertainments organized for the wedding between William V, Duke of
 Preface xiii

Bavaria, and Renata of Lorraine, which took place in Munich on 22 February

1568. The last collection listed by Cuppone, Luigi Riccoboni’s Discorso della com-
media all’improvviso (1743), showcases, among other things, six scenarios. We have
decided to select seven collections for this anthology, chosen primarily on the
basis of their importance in the evolution of the genre and also for the conspicu-
ous number of scenarios therein contained – from the forty-eight contained in
the Ciro Monarca collection to the 183 contained in the Casamarciano collec-
tion. The first three chapters offer a selection of scenarios from the oldest known
collections that most probably belonged to professional actors. Chapter 1 presents
the translation of three scenarios from the Zibaldone compiled between 1574 and
1580 by the actor Abagaro Frescobaldi, better known as Stefanelo Botarga, who
toured throughout Spain as the Magnifico of the Zan Ganassa troupe (Ferrone
2014: 300–302). This is the oldest known collection of materials compiled by a
professional actor, and its scenarios present clearly identifiable borrowings from
the regular Italian comic, pastoral, and tragic dramaturgy (Testaverde 2007:
xxxi). Chapter 2 contains the translation of five of the scenarios contained in
the collection written by Flaminio Scala and printed in Venice in 1611. Scala,
himself a professional actor who used to perform the young innamorato under
the name Flavio, was also responsible for the only known collection to have
been published in its entirety during the sixteenth and seventeenth centuries.
Chapter 3 contains three scenarios from the anonymous collection conserved
in the Biblioteca Corsiniana in Rome and with bindings that have been dated
between 1621 and 1642. This collection, however, seems to predate its binding,
and according to Elsebeth Aasted, through external as well as internal evidence,
it could be considered “the earliest extant collection of commedia dell’arte
scenarios dating from the second half of the 1500’s,” thus placing the Corsini
manuscripts “in a central position in commedia dell’arte research” (1991: 108).
Chapter 4 introduces the reader to three scenarios from the collection compiled
by Basilio Locatelli between 1618 and 1622 and conserved in the Biblioteca
Casanatense in Rome. Because of the strong similarities of some of their plots,
Anna Maria Testaverde (2007) believes Locatelli’s scenarios to be amateurish
variations of the ones contained in the Corsiniana collection, and according
to Cesare Molinari, the similarities between these two collections can also be
understood as proof of the close relationship that existed between professional
and amateur actors (1985: 43–44). This group of four collections, according to
Anna Maria Testaverde (2007: xxx), represents the dramaturgical repertory of
the golden age of the commedia dell’arte.
The collections of scenarios showcased in the last three chapters of this book
and compiled in the second half of the seventeenth century constitute examples
of a well-established theatrical tradition ( Testaverde 2007: xxxvii). Chapter 5
presents a scenario from the collection compiled by Ciro Monarca and conserved
in the Casanatense Library in Rome. This collection is very important because it
contains only tragedies – opere regie or royal works – it has clearly been inf luenced
by the plays of the Siglo de Oro by Lope de Vega, Tirso de Molina, and Calderón
xiv Preface

de la Barca, and it is the only collection of the second half of the seventeenth
century to have been compiled by the actors of a professional commedia dell’arte
troupe. Chapter 6 highlights two scenarios from the anonymous collection that
can be found in the library of the Museum Correr in Venice: according to Car-
melo Alberti, the editor of the entire collection, these scenarios offer an idea
of the “involution” of the practices of the commedia dell’arte, with the almost
worn-out repetition of those dramaturgical modules based on the fixed types
(1996: 21). Chapter 7, the last chapter, presents three scenarios from the lively and
multifaceted theatre world of Naples, with the omnipresence of the Neapolitan
masks of Pulcinella and Coviello.
To select twenty-two scenarios out of more than six hundred is a daunting
task and presupposes some arbitrary choices. However, the specific scenarios
were chosen to make the reader aware of the broad spectrum of dramatic genres
actually performed by the commedia dell’arte troupes – not only comedies but
also pastorals, tragedies, tragicomedies, royal works, and Turkish plays, to name
but a few – together with scenarios that were either presenting original stories or
were instead adaptations of a variety of preexisting sources – poems, short stories
from the Italian novella tradition, like Boccaccio’s Decameron, classical sources
such as the plays by Plautus and Terence, plays from the Siglo de Oro, etc.
Commedia dell’arte has achieved an almost mythical status among theatre
makers, not because of its commercial successes within the twentieth and twenty-
first centuries (though there have been several) but because of its adoption by a
succession of iconic practitioners who used the form, in their own way, to recre-
ate, reform, reinvent or reenergize a theatre they saw as lacking in something
vital. Whenever theatre became too cerebral, too shallow, too star-studded, too
static, or too literary, there emerged voices claiming that a return to the spirit and
practice of the ancient commedia dell’arte would resolve these issues and restore
a missing vitality to the stage.
What the spirit of commedia dell’arte actually is and what its ancient practices
were are still a matter of debate and some disagreement. To broadly generalize,
the ‘spirit of commedia’ is often identified within modern comedy as a feeling
of unexpected joy and release in an audience, gained through laughter, as per-
formed by actors who are not merely good at their trade but comic virtuosos
to boot. Many worthy and highly relevant academic investigations of the genre
have, when eventually hitting the twin brick walls of historical distance and the
performance’s ephemerality, invoked or at least mentioned ‘the spirit of com-
media’ as a significant element within their deliberations. How a person devel-
oped the skills to become a commedia virtuoso in the Renaissance is a matter of
informed guesswork and conjecture based on an incomplete jigsaw of tantaliz-
ing fragments because, for various reasons, commedia dell’arte disappeared or
evolved beyond its early roots at the time of the French revolution. What exists
now as commedia dell’arte is an asynchronous and synthesized practice drawn
from a variety of methodologies but mainly focused around the two cognate
disciplines of theatre training and theatre performance.
 Preface xv

Although the most successful drive toward recreation occurred from 1946
onwards in Italy, attempts to recreate, revive or reinvent commedia dell’arte were,
of course, made before 1946 (Stanislavsky, Mayerhold, Vakhtangov, Copeau,
Reinhardt, and Brecht, to name but a few).1 This date is significant because the
four theatre artists generally accepted as founders and inventors of the contempo-
rary genre, Jacques Lecoq, Giorgio Strehler, Giovanni Poli and Carlo Mazzone-
Clementi, are still present within living memory of the second generation, and in
some cases the third generation of its practitioners (Crick 2019). The memory of
their working practices still exists as a guiding force within practitioners today.
Associated with these four exists a raft of significant other luminaries, including
but not limited to Amleto Sartori, Dario Fo, Eduardo de Filippo, Leo de Berar-
dinis, and Gianfranco di Boso.2 Significantly, the end of the Second World War
also signaled an artistic freedom and optimism within which commedia dell’arte,
among other art forms, could develop and f lourish. The downfall of fascism, espe-
cially in Italy, signaled a return to celebrating regional diversity through the arts.
These four founders, of course, did not create their practice in an artistic
vacuum. Giovanni Poli,3 for example, mentions Stanislavski’s method acting as
a key element in his practice, and Lecoq traces his inf luence in a direct line to
Jacques Copeau (1879–1949), who, “considered by many as the fore-father of
a new way of making theatre” (Sartori 2015: 140), experimented with using
comic masks in contemporary contexts with “Les Copiaus” in 1924 as part of
this new approach (Frost and Yarrow 1990: 20–30). Copeau also trained Charles
Dullin (1885–1949), who then inspired a young Pierre-Louis Duchatre to find
out more about commedia dell’arte, resulting in the 1925 book (translated into
English in 1929) The Italian Comedy, a work of seminal scholarship on commedia
dell’arte. In Russia, Konstantin Mikaleševski (1886–1944) published a first draft
in 1925 in Meyerhold’s Journal of Dr. Dapertutto, what was later to become the
book La Commedia dell’Arte (1927) (published under the nom de plume of Con-
stant Mic). Meyerhold himself experimented with commedia dell’arte, both in
terms of creating work from a scenario rather than a full script and in the physi-
cal preparation of an actor (Frost and Yarrow 1990: 18–19). Etienne Decroux,
the inventor of expressive Mime, was also a pupil of Copeau and also had as his
pupil Marisa Flach, who was one of the artists responsible for movement train-
ing for Giorgio Strehler. Copeau’s inf luences included Maurice Sand’s illustrated
book Masques et Bouffons (1862) and a friendship with Edward Gordon Craig
(1872–1966), whose theatrical periodical The Mask (1908–1929) proselytized for,
amongst other things, a return to the spirit of the historical commedia dell’arte.
It is within this ref lexive web of practice, inf luence, and inspiration that the
founders and reinventors of commedia dell’arte operated.
Although the end of the Second World War can be seen as catalyzing artistic
expression and the war itself potentially as only temporary blockage in artistic
development, if there was one single event that signified the start of the current
wave of reinvention, it was the meeting of Jacques Lecoq and Amleto Sartori
at the University of Padua. Lecoq saw the masks produced by Amleto Sartori
xvi Preface

for a production of Pirandello’s Six Characters in Search of an Author, directed by

Gianfranco De Bosio in 1948 (Sartori 2015: 143). He subsequently invited Sar-
tori, the then professor of sculpture, to his classes, where his students were busy
making their own version of Copeau’s Noble Mask, and “with great respect and
some compassion” (144) Sartori noted the masks were neutral only in name and
announced he would take over the mask making. Later, Lecoq brought Sartori
to the attention of Giorgio Strehler, and since then, Sartori masks have been
associated with the Piccolo Theatre of Milan’s canonical production of Carlo
Goldoni’s Arlecchino, Servant of Two Masters. Lecoq took Sartori masks with him
when founded his (still running) school in Paris, and Mazzone-Clementi took
a set of Sartori masks with him when he went to the United States. The intense
focus on developing commedia through corporal acting or mime dramatique
postwar is arguably different from the reinvention of Copeau, because of the
specialist artistic expertise introduced by Donato Sartori (2015: 143). The design
and finish of the Sartori masks arguably presented both actor and audience mem-
ber with the ideal comedic vehicle for the genre.
In 1946, the Piccolo Theatre of Milan reopened after the war and in 1947
introduced the world to Giorgio Strehler’s adaptation of Carlo Goldoni’s Il ser-
vitore di due padroni (1753), retitled Arlecchino servitore di due padroni (Malia 2013:
x). This show, now in about its tenth reincarnation, is still in repertoire and is
arguably the most canonical of commedia shows within both the twentieth and
twenty-first centuries. Both Goldoni’s script and Strehler’s various productions
of it are significant to contemporary Commedia.

Goldoni captured Commedia as it was dying, diluted and disfigured, to

record . . . the rhythmic system, the rhetoric and construction. . . . The Ser-
vant of Two Masters holds keys to unlock techniques of rehearsal, construc-
tion and performance that make Commedia such a success. If we peel away
Goldoni’s words, what is revealed represents the scaffold on which the
architects and storytellers of Commedia built their improvised scenarios.
( Hopkins 2015: 480)

And whilst Strehler was conscious that what he was not doing was recreating
commedia dell’arte, what he did do was to create a blueprint that showed what
it might have been like, and by doing so inspired many who saw the production
to make the attempt.4 This volume is arguably a result of that inspiration and,
presenting to us a collection of scenarios previously unavailable in the Eng-
lish language, shows us from what few written words the ancient commedia
actors constructed their performances. This, surely, required the virtuoso skills
for which they were renowned and which are now the stock in trade of current
teachers such as Carlo Boso, Antonio Fava, and the two schools founded by Carlo
Mazzone-Clementi, appropriately enough called Dell’Arte and Commedia.5
Sergio Costola and Olly Crick
 Preface xvii

Notes
1 Regarding the relationship between commedia dell’arte and Stanislavski and Meyer-
hold, see Douglas Clayton (2015) and Ruffini (2018); for Jacques Copeau, see Consolini
(2018); more in particular, for the staging of Carlo Gozzi’s commedia dell’arte plays by
Meyerhold, Vakhtangov, and Brecht see Vazzoler (2018); for Max Reinhardt’s staging of
Carlo Goldoni, see Fischer-Lichte (2018).
2 For the relationship between Eduardo de Filippo and commedia dell’arte, see Megale
(2018); for Leo de Berardinis, see Filacanapa (2015b).
3 Regarding Giovanni Poli and the commedia dell’arte, see Filacanapa (2015a).
4 For an overview of the relationship between commedia dell’arte and experimental the-
atre, see Schino (2018)
5 On Carlo Boso and the commedia dell’arte, see Cottis (2015); for Antonio Fava see Rud-
lin (2015); for Mazzone-Clementi see Schirle (2015).
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