commediaとは 意味・読み方・使い方

名詞

commedia (countable かつ uncountable, 複数形 commedias)

1. Short for commedia dell'arte.
   • 1993, J. Douglas Clayton, “Pierrot or Petrushka? Russian Harlequinades”, in Pierrot in Petrograd: The Commedia dell’Arte/Balagan in Twentieth-Century Russian Theatre and Drama, Montreal, Que.: McGill-Queen’s University Press, →ISBN, page 133:

     The second approach is to plunge the spectator unapologetically into the world of the commedia without any realistic setting to frame it. This approach offers the commedia as a fantasy world, an escape into a theatrical dream (または nightmare) inhabited commedia characters, usually reduced to a stock few centred around the Pierrot-Harlequin-Columbine triangle. Examples of this type of commedia include Dowson’s Pierrot of the Minute, Schnitzler’s Der Schleier der Pierrette, Hennique and Huysman’s Pierrot sceptique, and Laforgue’s Pierrot fumiste. Commedias of this type generally take the form of a lyrical fantasy, an intimate expression of the poet that may or may not be intended for the stage, and the form contains a strong tendency towards wordless pantomime and ballet. Both the approaches to the use of commedia in the modern theatre that I have sketched here can be found in Russian plays of the period.

   • 2003, Danielle Anna Amato, Collage Corporeality: Body and Technology in Contemporary American Performance, University of California, San Diego; University of California, Irvine, page 64:

     The process of compiling and combining the disparate sources of a commedia performance could take several forms. Commedia troupes put together zibaldoni, or commonplace books, in which they gathered together and archived pre-existing written materials for insertion into their works as the situation permitted.

   • 2012, Domnica Radulescu, “Introduction”, in Women’s Comedic Art as Social Revolution: Five Performers and the Lessons of Their Subversive Humor, Jefferson, N.C.: McFarland & Company, Inc., →ISBN, page 7:

     According to modern scholarship, women had a crucial role in the development of comedy and in the art of improvisation in the commedia dell’arte, a “secret” so well kept for the last four centuries that common knowledge and a large body of scholarship recognized for a long time mostly the male clowns, the likes of Arlecchino, Pulcinella, and Buratino as the great creators of burlesque and slapstick humor, hardly mentioning any women. Although the great commedia actresses have received throughout the centuries a certain amount of praise from commedia historians and critics, they are rarely presented as creators of humor in their own right.