The Musical Roots of the Commedia dell’Arte. Co-production Festivoce (Pigna, Corsica) / Association Culturelle Lucidarium
The Commedia dell’Arte was born in 16th Century Italy, when the courts were “downsized,” forcing laid-off actors and musicians to form companies that performed for a paying public. Although this would later change, in the beginning, the main emphasis was on text, song and music rather than the physical or acrobatic aspects of performance. The commedianti portrayed characters that would have been instantly recognizable to their public, like Zanni, the hilariously impertinent servant, il Dottore, the pompous but ignorant physician, or Il Capitano, a cowardly blowhard. The commedia was ad-libbed – comic scenes, based on a series of set gags and situations, changing nightly: the actors played off of each other and the public. Its music must have had the same freewheeling flavor: dances improvised over harmonic patterns, played by musicians that were as used to jamming together as any seasoned jazz band today.
Here, in a homage to the first days of the Commedia, Lucidarium, in a semi-staged production, shows what life might have been like for a troupe of down-on-their luck actors and musicians in the 16th century. Moving seamlessly between music and theater, Con l’Arte e con l’Inganno unites frottole, strambotti, canzoni and balli that treat typical Commedia themes with scenes drawn from its earliest sources.
8 Performers: Enrico Fink: commediante, Gloria Moretti, Anna Pia Capurso: voice;
Avery Gosfield: recorders, pipe and tabor, Marco Ferrari: recorders, double flute, dulcian,
Francis Biggi: cetra, colascione, lute, viola da mano, Massimiliano Dragoni: percussion, hammer dulcimer, Oleguer Aymami Busque, viola da gamba also available in a staged version with a portable set and projections, featuring designs by Toni Casalonga and animations by Anne Pellegrini