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Maurice Sand. Jean-François-Maurice-Arnauld Dudevant, known as Baron Dudevant but better known by the pseudonym Maurice Sand (30 June 1823 – 4 September 1889), was a French writer, artist and entomologist. [1] He studied art under Eugène Delacroix and also experimented in various other subjects, including geology and biology .
Apr 24, 2020 · One work that I have a special connection to is Maurice Sand’s 1860 book Masques et Bouffons: Comedie Italienne (literally, Masks and Jesters: Italian Comedy). This book is a compilation of various stock characters found within the roughly 500-year-old Italian tradition of commedia dell’arte. Though beginning in Italy, commedia dell’arte ...
The Captain soon disappeared from the Commedia's usual cast, his last appearances date from the beginning of the 18th century. Several names apply to the Captain in his hundred and some years of Commedia activity: Rodomonte (probably deriving from the Rhodes Colossus, meaning a huge and very powerful man). Scaramouche also starts his career as ...
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Very often they are son and daughter of the two old folks, Pantalone the greedy and the Doctor the magniloquent. The Lovers are young, wear no mask, and have a very strict but essential role in the play, and are a constant of the Commedia dell'Arte, and the action which gets the appreciation of the public any time Harlequin gets on stage.
Pantalone, by Maurice Sand. Pantalone ( Italian: [pantaˈloːne] ), spelled Pantaloon in English, [1] is one of the most important principal characters found in commedia dell'arte. With his exceptional greed and status at the top of the social order, Pantalone is "money" in the commedia world. His full name, including family name, is Pantalon ...
Commedia dell'arte ( / kɒˈmeɪdiə dɛlˈɑːrteɪ, kə -, - ˈmɛdiə, - ˈɑːrtiː / kom-AY-dee-ə del-AR-tay, kəm-, -ED-ee-ə, -AR-tee, [1] [2] Italian: [komˈmɛːdja delˈlarte]; lit. 'comedy of the profession') [3] was an early form of professional theatre, originating from Italian theatre, that was popular throughout Europe ...
COLOMBINA. Colombina debuts with this name only by the end of 17th century as the Soubrette of the Commedia dell'Arte who gets more personality of her own. Colombina is what the Innamorata is not: free, insolent, not slave of love bonds, sometimes brilliant, vane always, chatterer, gossiper, always prone to intrigue at somebody else's expenses.
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