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Essay / Research Paper Abstract
A 5 page paper which examines the popular status
of Italian Renaissance actors. Commedia dell'arte
was separate from amateur drama because of the high
level of performances. Every aspect of the drama
was top of the line from the scripts to the
costumes to performers, who might play the same
role throughout their lives. Although the older
form of this street theater had originated with
morality plays, these comedies were very different.
Bibliography lists 5 sources.
Page Count:
5 pages (~225 words per page)
File: D0_BBrenthI.doc.
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Unformatted sample text from the term paper:
The Renaissance is thought of as the transition period between the medieval ages and what is historically considered modern times. Italy, the birthplace of the Renaissance (1350 -
1650), saw a decline of a provincial military aristocracy, which was caused by educated Italians concern for their personal status and shift in attitudes concerning military values (Hanlon 65).
Literature, the arts, and music were seen as necessary tools for the development of the individual. This was of course for the wealthier Italian since books
and reading were status accomplishments. History of Italian Theater The plays originally performed during the Middle Ages were composed of a
formal Latin dialogue and spoken in the church. They were morality plays initiated by the politically powerful church both to educate and control the illiterate masses. These religious/political dialogues
matured into structured plays that were eventually moved out of the churches and into the streets and private estates.
Many of the early morality plays were shown before scenic constructions representing well known landmarks. An elaborate castle representing Heaven often sat opposite a dragons mouth (complete with flames shooting
out) which represented, Hell. Around 1485, Italian rulers began to finance productions of Roman plays and imitations of them. This prompted interest in rewriting Roman plays into Italian
as well as the writing of new plays. One of first important vernacular tragedy was Sofonisha by Giangiorgio Trissino. A chorus of 15 was used, in keeping with the number
in the Roman choruses. Between the 14th and 16th centuries Renaissance drama developed in Italy, marking an end to medieval practices and a release of traditional Roman ways of presenting
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