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• W2181392334 abstract "Shakespeare's direct references to the characters and methods of the early Italian commedia del­ l'arte, together with the many distinctly Italianate elements of his early comedies, lead one to spec­ ulate about the nature of his acquaintance with the Italian popular comedy. It is possible he saw performances by Italian players, or he worked with English players influenced by them, but his knowledge of the dramatic methods and materials of the Italian actors is beyond dispute. Further, although Shakespeare's use of Italian erudite drama as a source for incident and plot is widely acknowledged, a purely literary analysis of the debt does not adequately explain his access to this source material. Although his ultimate sources may been classical drama or the con­ temporary Italian erudite drama, Shakespeare's immediate dramatic model appears in many cases to been the commedia dell'arte, with its reworking of classical and erudite materials. I argue here Shakespeare is likely to derived his knowledge of contemporary Italian drama not only from literary sources, but more directly, from the traditions of commedia dell'arte. Elsewhere I considered whether Shakespeare and his actors might used improvisa­ tion in performance, in the way the Italians did.' In this paper,2 I wish to focus on his use of com­ media dell' arte characters and plot situations. I shall look particularly at three of Shakespeare's early comedies seem to contain a variety of elements from the commedia dell'arte: The Taming o/the Shrew, The Two Gentlemen o/Verona, and Love:, Labour's Lost. I hope to show resemblances of character and incident to their earlier manifestations in the commedia dell'arte are too numerous to be coincidental, and they cannot be due to knowledge of written Italian plays alone. Such elements are also to be found in Shakespeare's later comedies and romances, and even in some of the tragedies, and I believe the commedia dell'arte made a lasting impression on Shakespeare's dramatic imagination and he drew on it for inspiration throughout his career. I shall be dealing with an obscure period of theatre history, during the final decades of the six­ teenth century, the period in which Shakespeare rose from anonymity to lasting fame as a drama­ tist. Much of my argument will therefore be speCUlative, but I hope to take a fresh look at some of the connections between Italian and English renaissance theatre and the question of Shakespeare's debt to the commedia dell' arte. Other more able scholars considered this topic at various times, and arrived at a vari­ ety of conclusions. Kathleen Lea's book on the Italian popular comedy and its links with the Elizabethan stage is so meticulously researched it has come to be regarded as the last word on the subject. She comes to the cautious and perhaps contradictory conclusion that the contact between the English stage and the dell'arte was considerable but the Italian influ­ ence was mainly sporadic and superficial, and artistically ... almost negligible (Lea 453). Lea argues Shakespeare used commedia dell'arte scenarios as a source for the early play The Comedy 0/ Errors, and the very late play The Tempest, but surprisingly, Commedia del­ l'arte influence on Shakespearean plays must be restricted to those plays for which hitherto there has been no satisfactory explanation of the Italianate elements. Lea finds the sources in Italian novelle and literary drama therefore have the stronger claim in such plays as Twelfth Night, The Merchant o/Venice, The Taming o/the Shrew, Romeo and Juliet, Measure for Measure or All:, Well Ends Well. These are all plays Italianate elements, but which she argues must had literary sources (Lea 453, 431)." @default.
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• W2181392334 date "1998-01-01" @default.
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• W2181392334 title "The old man's spectacles and other traces of the Commedia dell' Arte in early Shakespearean comedy" @default.
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