Commedia dell Arte - Colombina by Angelica Lee on Prezi
Columbine, Italian Colombina, stock theatrical character that originated about in Italian commedia dell'arte as a saucy and adroit servant girl; her Italian. Servant to innamorata, rational and wise, in a relationship with Arlecchino, charminig and Arlecchino, Colombina, Pierrot/Pedrolino, Brighella, Pulcinella. relationships with each other: Arlecchino and Colombina, .. will file all the paperwork for his passport and visa, and conduct his medical exam.
In Italy, commedia masks and plots found their way into the opera buffaand the plots of RossiniVerdiand Puccini. During the Napoleonic occupation of Italy, instigators of reform and critics of French Imperial rule such as Giacomo Casanova used the carnival masks to hide their identities while fueling political agendas, challenging social rule and hurling blatant insults and criticisms at the regime.
Inin order to destroy the impromptu style of carnival as a partisan platform, Napoleon outlawed the commedia dell'arte.
It was not reborn in Venice until Actors were versed in a plethora of skills, with many having joined troupes without a theatre background.
Some were doctors, other priests, other soldiers, enticed by the excitement and prevalence of theatre in Italian society. Actors were known to switch from troupe to troupe "on loan," and companies would often collaborate if unified by a single patron or performing in the same general location.
These compagnie traveled throughout Europe from the early period, beginning with the Soldati, then, the Ganassawho traveled to Spain,  and were famous for playing the guitar and singing—never to be heard from again—and the famous troupes of the Golden Age — These names which signified daring and enterprise were appropriated from the names of the academies—in a sense, to lend legitimacy. However, each troupe had its impresse like a coat of arms which symbolized its nature.
The Gelosi, for example, used the two-headed face of the Roman god Janusto signify its comings and goings and relationship to the season of carnivalwhich took place in January.
Janus also signified the duality of the actor, who is playing a character or mask, while still remaining oneself. Magistrates and clergy were not always receptive to the traveling compagnie companiesparticularly during periods of plague, and because of their itinerant nature. Actors, both male and female, were known to strip nearly naked, and storylines typically descended into crude situations with overt sexuality, considered to teach nothing but "lewdness and adultery This was in reference to the nomadic nature of the troupes, often instigated by persecution from the Church, civil authorities, and rival theatre organisations that forced the companies to move from place to place.
A troupe often consisted of ten performers of familiar masked and unmasked types, and included women. They would travel in large carts laden with supplies necessary for their nomadic style of performance, enabling them to move from place to place without having to worry about the difficulties of relocation.
This nomadic nature, though influenced by persecution, was also largely due in part to the troupes requiring new and paying audiences. They would take advantage of public fairs and celebrations, most often in wealthier towns where financial success was more probable.
Companies would also find themselves summoned by high-ranking officials, who would offer patronage in return for performing in their land for a certain amount of time.Arlecchino - Colombina - Commedia dell'arte.
Companies in fact preferred to not stay in any one place too long, mostly out of a fear of the act becoming "stale. These three words sum up the Arlecchino philosophy of life.
In Goldoni's famous play, he outwits two of them. And that's the reality behind the philosophy.
Radio Arlecchino : Italian Grammar and Culture Podcast : Commedia dell'arte Characters
Arlecchino is from Bergamo in northern Italy, but he is the universal symbol of the inherently contradictory trickster, the clever fool. Countless couples of young lovers who faced the obstacles of meddling old geezers like Pantalone and the Dottore owe their blissful togetherness to Arlecchino's interventions.
Of course just as many others enjoy their happy unions in spite of Arlecchino's blundering counter schemes. He speaks loudly and carries a big stick.
A special stick that makes a curious slapping sound when he brandishes it about. You might say that he invented it, if not the style of comedy that carries its name.
Arlecchina No surprise that Arlecchina, or Arlecchinetta, as she is sometimes called, is closely linked to our friend Arlecchino. For many years her favorite costume was a white dress and a green apron, but back in she just gave up and started wearing the same diamond-shaped patches as her perennial boyfriend.
In fact, she appears as his wife in many plays. Colombina Colombina, like her friend and rival Arlecchina, has her stories to tell about Arlecchino.
She too is a high-spirited servant girl, but somehow she seems to have a bit more on the ball than Arlecchina. In the wild and woolly world of the Commedia, Colombina often seems to be the only one who really has her wits about her.
If Pantalone gets too fresh, she is not above whacking him on the head with a tambourine which she can pull out of her skirts the way cartoon characters produce anvils. When the Dottore and Pantalone get to scheming together, they have a formidable foe in Colombina: There aren't too many subtleties in the Commedia dell'arte, but relatively speaking, Colombina's wiles are more subtle than those of the other characters.
Dottor Balanzone, aka "il Dottore" The Dottore is not a physician, he just has a university degree.