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Looking for a fight: Violence on the...

Hamill, Kyna.

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Looking for a fight: Violence on the early Commedia dell'arte stage, 1568--1630.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Looking for a fight: Violence on the early Commedia dell'arte stage, 1568--1630./
作者:	Hamill, Kyna.
面頁冊數:	178 p.
附註:	Source: Dissertation Abstracts International, Volume: 67-03, Section: A, page: 0784.
Contained By:	Dissertation Abstracts International67-03A.
標題:	History, European. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3213438
ISBN:	9780542627972

Looking for a fight: Violence on the early Commedia dell'arte stage, 1568--1630.
Hamill, Kyna.

Looking for a fight: Violence on the early Commedia dell'arte stage, 1568--1630. - 178 p.

Source: Dissertation Abstracts International, Volume: 67-03, Section: A, page: 0784.

Thesis (Ph.D.)--Tufts University, 2006.

This dissertation seeks to position the early part of the Commedia , between 1568-1630, within a cultural framework of violence. Rather than center the study on slapstick violence with which the Commedia is most often associated, I suggest that violence employed by the characters in the Commedia was sourced from the complicated social and political circumstances of early modern Italy. Real events such as the effects of war, as well as dueling, civic brawling and codes of manly behavior, which audiences experienced on a daily basis, became the foundation for the kind of violence that could be represented and ridiculed on the stage. Ultimately, it is my hope to illuminate violence in the stage world of the Commedia dell'arte as a representation of a greater social condition endemic to late sixteenth- and early seventeenth-century Italy.

ISBN: 9780542627972Subjects--Topical Terms:

1018076
History, European.

Looking for a fight: Violence on the early Commedia dell'arte stage, 1568--1630.
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245 1 0 $a Looking for a fight: Violence on the early Commedia dell'arte stage, 1568--1630.
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500 $a Source: Dissertation Abstracts International, Volume: 67-03, Section: A, page: 0784.
500 $a Adviser: Barbara W. Grossman.
502 $a Thesis (Ph.D.)--Tufts University, 2006.
520 $a This dissertation seeks to position the early part of the Commedia , between 1568-1630, within a cultural framework of violence. Rather than center the study on slapstick violence with which the Commedia is most often associated, I suggest that violence employed by the characters in the Commedia was sourced from the complicated social and political circumstances of early modern Italy. Real events such as the effects of war, as well as dueling, civic brawling and codes of manly behavior, which audiences experienced on a daily basis, became the foundation for the kind of violence that could be represented and ridiculed on the stage. Ultimately, it is my hope to illuminate violence in the stage world of the Commedia dell'arte as a representation of a greater social condition endemic to late sixteenth- and early seventeenth-century Italy.
520 $a In representing violent action on the stage, the Commedia employed satire to ridicule the kind of overly-codified behavior which justified social aggression throughout the Italian peninsula. In the players of the Commedia, we encounter a group of performers who represented social violence both in accordance with and in opposition to social norms. The comic exaggeration of violence by the Commedia fostered a code of conduct recognized by its audience and mocked the means by which this code functioned within the imperfect society on and off the Commedia stage. The comic representation of violence both affirms the existence of an established honor system and seeks to expose a lack of honor through the disgraceful behavior of the social and regional archetypes represented on stage. In depicting a cast of characters who are deemed foolish and grotesque to an audience, a kind of theatrical punishment emerges revealing the social ills of a society.
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