#commedia dell arte

[faeloon]

THE OGS

[paulgadzikowski]

Because they didn't want him getting 100%?

Love when one of those "do you know this thing" polls looks like this

[playroom]

20thc Rosenthal Studio-Line Vase by Bjorn Wiinblad.

Commedia dell arte

[danskjavlarna]

Source details and larger version.

You-know-what is coming up, and here is a treasure trove of wonderfully inspirational ideas: strange and unusual costumes of the centuries.

[strix-brigade]

same color palette, both patterns worn by harlequins

[neworkimprov]

Commedia dell'Arte: The Timeless Theatrical Tradition

Commedia dell’Arte, a vibrant and enduring form of theatrical expression, has left an indelible mark on the world of theater and comedy. Rooted in the streets of 16th-century Italy, this improvisational and masked performance style introduced a roster of classic characters, and its influence can still be seen in modern theater and comedy today. In this blog post, we’ll delve into the origins of…

[perfettamentechic]

Pulcinella by Paola Moretti

Carnival Outfit by Paola Moretti #carnival #outfit #carnivaloutfit #costumeidea #carnevale #pulcinella #costumepulcinella #pulcinellastyle #outfitoftheday #ootd #wwt #valentino #capasamilano #jimmychoo #jilsander #alicecicolini #kennethjaylane #hermes #iho #paolamoretti #perfettamentechic

Outfit ispirato alla maschera di Pulcinella della Commedia dell’Arte Pantalone: Valentino Maglia: Capasa Milano Scarpe: Jimmy Choo Borsa: Jil Sander Orecchini e anello: Alice Cicolini Bracciale: Kenneth Jay Lane Palette: Hermès Fashion Blogger: Paola Moretti Instagram: paolamorettiiho

[pier-carlo-universe]

La Scortecata e Il Canto della Sirena: Due Spettacoli Teatrali di Emma Dante al Teatro Vascello di Roma. A cura di Alessandria todfay

Dal 19 novembre al 1° dicembre, il Teatro Vascello ospita due straordinarie produzioni che rivisitano favole popolari attraverso una lente moderna

Dal 19 novembre al 1° dicembre, il Teatro Vascello ospita due straordinarie produzioni che rivisitano favole popolari attraverso una lente moderna La stagione teatrale 2024-2025 del Teatro Vascello di Roma propone due opere firmate da Emma Dante, che, con la sua visione registica unica, porta in scena “La Scortecata” e “Il Canto della Sirena”. Tratti rispettivamente da “Lo cunto de li cunti” di…

[ehj3]

TRIAGE OVER TIME

A comic artist ain’t no different than you or me or anybody excep’ he knows how to draw pitchers an’ is crazy in the head.” —Popeye, Thimble Theatre, 1934  This one has three musicians like Picasso’s 1921 painting, but its style is not Picasso’s at that time. it’s underground cartoony, rough lined, cross-hatched and simply colored, as the media then required. It’s not at all synthetic cubist,…

[craft2eu]

The Magnificience of Rococo: Krakau (PL) bis 29.09.2024

Im Alter von 25 Jahren wurde Johann Joachim Kaendler (1706-1775) von August dem Starken (reg. 1694-1733) zum Hofbildhauer ernannt. Noch im selben Jahr trat er als Modelleur in die Meissener Porzellanmanufaktur ein, der er zeitlebens treu blieb. Kaendlers Name ist eng mit der Blütezeit der Meissener Manufaktur im 18. Jahrhundert verbunden. Hier bewies er sein künstlerisches und handwerkliches…

[blood-orange-juice]

This this this.

I love how it's an absence of a name rather than a name. Very fitting.

Localization: Tartaglia’s Title & In-Game Self Introduction

I feel that Tartaglia’s codename as a harbinger, “公子” (gong1zi3), is better translated to “Young Master” rather than “Childe” since the former is more easily understood and blends in with Liyue culture (more on that shortly). Does the English word “Childe” sound like a title or a name to the average player I wonder? Even though the title “childe” refers to “an archaic English word that refers to the son of a nobleman who has not yet attained knighthood” or so the etymology section on his wiki page says.

And I believe the name Tartaglia comes from the stock character in traditional Italian theatre, commedia dell’arte. Please correct me if I’m wrong, but “Tartaglia” translates to “the stutterer”, I think? I’m not familiar with Italian culture; I wonder if the stock character has any relations to being a childe.

The Chinese term 公子 understandably comes up often in Chinese 武侠/wuxia (Chinese martial arts) and 仙侠/xianxia (spiritual cultivation, fantasy with gods/immortals/etc) genres, so if Tartaglia really wanted to blend in with Liyue… I mean, if his title was “Young Master” then it wouldn’t be suspicious if in Liyue you hear someone be referred to as “Young Master”. It could be Xingqiu for all they know. Of course in the game the word “childe” is pronounced (?) like “child” but if said “child” sounds like a young man, wouldn’t the facade be broken easily…?

Zhongli and Traveler calling him 公子 all the time wouldn’t rouse suspicion if in English it’s just “Young Master”. “Young Master did this. Young Master was at that place,” sort of feel.

More importantly, his introduction:

.

(Original Chinese)

？？？：你们可以叫我「公子」喔。

派蒙：哇…性格好糟糕，救过我们一次就把我们当仆人？

公子：哈哈，我没有那个意思。「名字」这种东西啊，只是代号而已。

.

(Official English Localization)

???: Call me Childe.

Paimon: Childe? What, so we're supposed to dote on you?

Childe: Haha, no no, not at all. It's an alias of sorts.

.

(Actual English Translation)

???: You can just call me “Young Master”.

Paimon: What kind of attitude is this?* You saved us once and now you’re treating us like servants?

Young Master: Haha, that’s not what I meant.** Things like “names”… are just aliases.***

.

* T/N: literally, “Wow, what a terrible personality you’ve got.”

**T/N: literally, “Haha, I don’t have such intentions”

***T/N: literally, “codenames”

[faeloon]

Random silly ahh doodles

Accidentally proceeds to expose my irl name oops but whatever

[na-page]

I went to theater school, whatever that means. You know, and there's a lot of physical ways to express action and story and emotion and of course comedy that stem from a lot of traditions around the world. Like I said, Kabuki and Commedia dell' arte that I kind of pluck a lot from and always been interested in but I've never really had, frankly, an excuse to utilize. So I'm just, you know, the hose has been held for most of my adult life. So it's now being released into the canvas that is Oliver.

DARREN CRISS - Oliver's shuffle walks | Maybe Happy Ending | January 14, 2025 | 🎥 MHE

[heppileppi]

The Magician. Clown facts below:

This one is based off of Harlequin, from Commedia Dell’arte. Whereas Pierrot was often in love with Columbine, Columbine was often in love with Harlequin.

Harlequin was depicted with his red checkered outfit and black mask. He is agile and acrobatic, and characterized with a lot of physical comedy. He is a really interesting old example of the “trickster” archetype.

In the 17th century, Harlequin became the romantic lead in a new commedia dell-arte spin-off called Harlequinade, where he romanced Columbine, artfully evading her evil father and routinely accompanied by Clown (yes there was a character just called Clown) and/or Pierrot.

Harlequin is very important ok?? Some famous Harlequins are Fred Payne (and his brother and scene partner Harry as Clown) and Alberto Naselli.

[ilpianistasultetto]

Mentre da giorni è giorni nel nostro Paese si discute sul si o sul no all'uso delle armi in territorio russo (art.8) votato e non votato dai partiti italiani in Europa, nemmeno una parola sull'art. 9, uno degli articoli approvati qualche giorno fa dalla commissione europea.

PD e Fd'I ... a favore

Art. 9 - ....... Ribadisce la sua posizione secondo cui tutti gli Stati membri dell'UE e gli alleati della NATO dovrebbero impegnarsi collettivamente e individualmente a fornire sostegno militare all'Ucraina con almeno lo 0,25 % del loro PIL annuo;

Insomma, mentre in Italia Schlein e PD danno vita a una grande tragedia greca, a una commedia degli equivoci sui soldi da mettere nella sanita' pubblica, rivendicando o rilanciando a secondo di chi parla, poi vanno a braccetto con Meloni votando convintamente 5miliardi l'anno (questo vale lo 0,25%) da dare al governo ucraino per seguitare a fare bangg bangggg coi russi.. A Roma si direbbe "Ao, ma che ce state a cojona' ?" @ilpianistasultetto

[dustedmagazine]

Iggy Pop — Live at Montreux Jazz Festival 2023 (earMusic)

Iggy ain’t goin’ gentle. The fiercely puckish frontman is at once a beguilingly ravaged and uncannily preserved specimen, and he and his spry band, who go unidentified in all of the available press materials documenting this 2023 Montreux Jazz Festival appearance, in the fabled Stravinski Auditorium—are in fine, if a bit slick form. They hurl themselves through a frenetic set, pungent, not only given the apparently sweaty nature of the deep summer show, running the gamut from the totemically primal catalog of beloved standards that constitute the Stooges’ resoundingly influential early 1970s LPs, to a handful of cheekily barbed numbers plucked from Pop’s more recent output.

Iggy’s band sounds vital from the first note of opener “Five Foot One,” and he is in fine voice, crooning “I’m only 5’1”/Unless the time has come/I won’t grow anymore,”his Napoleonic self-deprecation somehow simultaneously defiant and comical. Singer and musicians are in mellifluous sync, and the song is well-chosen as an opener, suiting Pop’s irrepressible rock and roll insouciance, his infectiously, eternally adolescent fervor, which never falters or wavers, to a tee. It is tastefully peppered with horns a la latter day James Chance, somewhere between the louche electro funk of The Jon Spencer Blues Explosion circa Orange and a gentler Rocket from the Crypt. Not groundbreaking, but it sounds great.

And yet, these time-tested, still electrifying punk rock torch songs have been neutered somewhat here. The performances are professional, perfectly calibrated, even virtuosic. In this way, the interplay between frontman and band is reminiscent of a similarly magisterial band with a similarly magnetic frontman—the J.B.’s, and James Brown—as on the show’s performance of “Lust for Life,” with its iconically louche, martial opening beat.  And the recording’s documentation of this skillful execution is remarkably pristine. The guitar tone is warm. The drumming shifts between an assaultive, reverberant bass drum sound, rattling snares and nuanced textures on the toms. These ace session players (?) are, in a word, unimpeachable.  And yet, it’s all a bit restrained, and at times stale, formulaic. The band is seamless, but not trenchant, lacking an edge. There are moments of “Down on the Street” that sound like overproduced, ersatz 1980s new wave, like a corporate rock supergroup, shades of Robert Palmer or Power Station, which the preponderance of horns hints at throughout. “Lust”’s  audience call and response sounds anodyne, dutiful, where it should be raucous, exuberant. Feels more like a pep rally with a college football marching band than a throwdown—though the crowd is audibly psyched.  Pop’s delivery is velvety, but he doesn’t deploy it to the gritty, unflinching ends one might expect, or at least hope for.

The set’s take on “Raw Power” is quasi-vaudevillian, as Ig swaggers his way through a beguiling cascade of honkytonk piano chords hammered flamboyantly, with percussive verve. His is a commedia dell-arte-esque vamp on a punch-drunk nightclub emcee here, as he bobs and weaves his way through the cracked anthem like a bygone borscht belt circuit fixture, emulating his own Pop mythology superficially, as though from a place of slight remove, rather than embodying it fully, viscerally, at least in vocal terms. “It’s hot and smelly, motherfucker,” he observes unself-consciously, but convincingly, toward the end of this rendition. The crowd loves the display. They’re here to see Pop in a familiar guise, not a reimagined one. And yet, he's 75. So having him onstage in even a slightly redundant or attenuated form is nigh on miraculous, and should be celebrated. It feels churlish to critique.

Indeed, there’s Vegas showmanship and an inherent spirit of fun, but schmaltz afoot, too, as in this show’s rendition of “TV Eye,” which arrived like a fully-formed, bludgeoning slab of proto-sludge on The Stooges’ irascible second album, Fun House, a lacerating leap from the proto-punk of their debut to squalling avant-noise terra incognita. Here, the totemic track feels leached of menace. With its oversaturated horn section and jazzy background vocals, it verges on being a carnivalesque caricature of itself. 

Doubling down on theatricality, Iggy quavers in a neo-goth register, a latter-day David J or Ian Curtis, over “Gimme Danger”’s ominous arpeggio, which eventually regresses into a standard issue—showy, noodly—albeit well-executed guitar solo that caterwauls compellingly at its crescendo. “Fuckin’ righteous,” he intones, not so much his best impression of a punk rock surfer dude drawl, but Ig harnessing his own irrepressible essence. The iconic Pop’s innate charisma is the unmovable object here. He imbues this sometimes workmanlike, sometimes plodding show with its renegade spark, as on “Nightclubbing”. The horns sound appropriately dissolute for this sodden manifesto for the demimonde, Pop’s voice ragged, captured with uncanny intimacy by this recording’s crystalline fidelity.  Recent tracks like “Frenzy” are blunter, more simplistic, occasionally labored, ham-handed lyrically. And yet they’re rawer musically. They have a less practiced quality. They can be punishing. As such, they are more viscerally satisfying, a throwback to Rhino’s legendary Nuggets garage/psychedelia comp.

“For about 50 years, I’ve been sick half the time,” Iggy announces drily, by way of introducing “Sick of You,” and in doing so, dragging us with abandon into the heart, and apex of the set, “So it was easy to write this song.” His pithy bon mots are borne of observational acuity, but it’s his willingness to expose his foibles, to lay his vulnerabilities bare, that is particularly disarming, and a gift to fans mired in the quotidian vicissitudes of their own lives—in that timeless tradition of alchemical performer-audience attunement that’s a kind of symbiotic catharsis. Musically, “Sick...” is a bewitching Cramps-ian dirge, a gentle threnody. Thematically, Pop wallows alluringly in the anomic abyss, a puerile paean to the subcultural underbelly that the indefatigable Ig has embraced, and reveled in, since his emergence as lead Stooge, with anguish lurking beneath the bombast. It’s stripped down and paced just right. The horn section, excessive to the point of banality at times during this set, fits seamlessly here, inflecting the track lightly, providing grace notes, bleating plaintively at first, wafting elegiacally away as the track dissipates. The sometimes boilerplate guitar licks are more textural here, a roiling thicket of riffage, pyrotechnic.

Which brings us to “I Wanna Be Your Dog,” quite possibly this show’s highlight, with its piercingly serrated guitar parts, bass drum’s tectonic rumble, backing vocals like a sulky, nihilistic Greek chorus. The performance evokes what it must have been like to hear The Stooges for the first time, a transformative moment of emergence, of rock and roll syncretism, when a dark alloy hewn from the eviscerated, seething detritus of the blues, punk and metal, at once atavistic and incendiary, lay waste to the staid to unleash the rampaging ids of a generation in fertile flux. The solo flames out, as Iggy chants with the crowd: “I want you, baby…yeah, I know I’m gonna die…and I want you.” Desire is a generative, death-defying force.

Michael Wiener