266:, in which Pierrot first appeared by name among his fellow masks; he was played by one Giuseppe Giaratone, an actor who thereafter would be identified with the character for the next quarter-century. Like Molière's, Giaratone's Pierrot would also prove to be lovelorn, subject to a malady that does not afflict Pedrolino. And, notwithstanding Giaratone's usually playing Pierrot as an Italianate Zanni, it is probably no accident that, in several of the plays left behind by his troupe, Pierrot is portrayed as a patois-spouting peasant in the French mold.
17:
187:, and Accessi—Pellesini was obviously "a much sought-after and highly paid guest star". His status is underscored by the fact that Pedrolino figures so prominently in Scala's scenarios, since, as K.M. Lea convincingly argues, Scala, in compiling them, drew upon the "chief actors of his day ... without regard to the composition of a company at any particular period". Pedrolino—and Pellesini—were, we must conclude, among the brightest luminaries of the early
99:. All of these provide evidence of how he was conceived and played. He is obviously a type of what Robert Storey calls the "social wit", usually incarnated as "the go-between, the willing servant, the wily slave" who "survives in serving others". In the Scala scenarios, which offer the most revealing showcase of his character, he is invariably cast as the first Zanni, a type to be distinguished from the second Zanni by his or her function in the plot. The
132:, indulge his capricious sense of fun by compounding the young persons' misfortunes." So multiform is his character that his cleverness can often give way to credulity (as when he is tricked into believing that he was drunk when he learned of his wife's infidelity and so merely imagined the whole affair) and his calculation can sometimes be routed by grotesque sentimentality (as when he,
544:, has the original French: "Arlequin est certainement bien différent de ce qu'il a été, et aussi est Petrolin : le premier a cinquante-six ans et le dernier quatre-vingts et sept; ce ne sont plus âges propres au théâtre : il y faut des humeurs gaies et des esprits délibérés, ce qui ne se trouve guère en de si vieux corps comme les leurs."
141:
language; and most of all from his style of speech, which for
Italian audiences was based on a regional dialect as well as more personal idiosyncrasies." That recognizability also arose from his puckish love of mischief: "He takes a child-like delight in practical jokes and pranks", as a modern-day practitioner of the
51:. The character made its first appearance in the last quarter of the 16th century, apparently as the invention of the actor with whom the role was to be long identified, Giovanni Pellesini. Contemporary illustrations suggest that his white blouse and trousers constituted "a variant of the typical Zanni suit", and his
149:
Pedrolino is most often presented as having an all-white wardrobe and wearing exaggeratedly over-sized and loose-fitting clothes, typically including a white jacket with large buttons and comically long sleeves, a large neck ruff, and a large, floppy hat. He is one of the few unmasked male characters
145:
writes, "but otherwise his intrigues are on behalf of his master. ... At times, however, the best he can scheme for is to escape the punishment others have in store for him." Naively volatile, he can be moved to violence when angry, but, in obedience to the conventions of comedy, his pugnaciousness
140:
share a bowl of macaroni, the three blubbering all the while). Despite such inconsistencies in character and behavior, he has (or at least had, for his
Renaissance audiences) an "instantly recognizable" identity. "The recognizability came", as Richard Andrews writes, "from his costume; from his body
325:
The Scala scenarios have been translated by
Salerno; the plots of the "Corsini" pieces have been summarized by Pandolfi (V, 252-76). As Storey (1978) notes, at least one of Pandolfi's summaries "gives indication that may enjoy here different nuances of character from those of Scala's Zanni: in
269:
Pedrolino and
Pierrot are clearly differentiated by their respective functions in the plots of their plays. Pedrolino, as a first Zanni, is, as Mic notes above, the "dynamic" element of the play; Pierrot, on the other hand, as a second Zanni, is static. The latter appears, as Storey writes, "in
553:"Italian equivalent" is Nicoll's phrase (, p. 88); Mic writes that the historical connection between Pedrolino and Pierrot is "absolutely evident" (p. 211). Sand and Duchartre assume a close kinship between the two characters, as does Oreglia; Storey (1978) sees Pedrolino and
210:
Harlequin is certainly quite different from what he was, and so is
Petrolin : the first is fifty-six and the second eighty-seven. These are no longer proper ages for the theater; gay spirits and sharp wits are needed there, and one hardly finds these in bodies as old as
228:. But there is no documentation from that century that establishes a clear connection between the two types. "Dominique" Biancolelli, Harlequin of the first Paris-based Italian troupe in which Pierrot appeared by name, contended that Pierrot was conceived as a
55:
marked him as a member of the "low" rustic class. But if his costume and social station were without distinction, his dramatic role was certainly not: as a multifaceted first Zanni, his character was—and still is—rich in comic incongruities.
557:
as establishing behavioral "poles" for
Pierrot, between which he oscillates throughout his long history (pp. 73-74). As late as 1994, Rudlin (pp. 137-38) renames Pierrot "Pedrolino", in a translation of a scene from
107:
instigates confusion quite voluntarily, the second creates disturbance through his blundering. The second Zanni is a perfect dunce; but the first sometimes gives indication of a certain instruction. ...
274:, standing on the periphery of the action, commenting, advising, chiding, but rarely taking part in the movement around him." Pedrolino, by contrast, is not a character to be caught standing still.
960:
183:) turns up in Florence, apparently leading his own troupe called Pedrolino. A member of some of the most illustrious companies of the 16th and 17th centuries—the Confidenti, Uniti, Fideli,
128:, for example—by disguising himself as a magician and making Pantalone believe that the 'madness' of Isabella and Oratio can be cured only by their coupling together; then, in
220:
Since the names of the two types translate into the same diminutive ("Little Pete") and they enjoy (or suffer) the same dramatic and social status, as comic servants, in the
198:
while traveling with the
Confidenti. His last appearance as Pedrolino was in 1613 at the age of eighty-seven, performing with the Accessi company at the court theater of the
357:
955:
618:(1691), in which Pierrot stands tongue-tied with love before his master's young daughter, Columbine": Storey (1978), pp. 25-26. For the scene, see Gherardi,
950:
244:, in place of Arlecchino and Scapino, admit two Pulcinellas, the one an intriguing rogue and the other a stupid fool. The latter is Pierot's
91:(1611) and in three (undated) pieces of the "Corsini" collection of manuscripts; he also appears (as "Pedrolin") in a 1587 scripted comedy by
702:
Le Théâtre
Italien de Gherardi ou le Recueil général de toutes les comédies et scènes françoises jouées par les Comédiens Italiens du Roy ...
71:, and, although a link between the two is possible, it remains unproven and seems unlikely, based on the scant evidence of early Italian
915:
896:
856:
837:
804:
741:
694:
679:
224:, many authors have concluded that Pedrolino is either the "Italian equivalent" or the direct ancestor of the 17th-century French
194:
Pellesini had a lengthy run as
Pedrolino and performed for a number of high-ranking spectators, including the Duke of Mantua at
945:
407:
935:
602:"Pedrolino's love for Franceschina sometimes provides the occasion for a farcical scuffle between him and Arlecchino (
501:
A detailed account of these troupes and of
Pellesini's movements among them is given by Rudlin and Crick, pp. 1-53.
940:
799:, translated by Lovett F. Edwards. New York: Hill and Wang. First published in Italian in 1961, revised in 1964.
766:
Italian popular comedy: a study in the Commedia dell'Arte, 1560-1620, with special reference to the English stage
16:
611:
734:
The Art of commedia: a study in the Commedia dell'Arte 1560-1620 with special reference to the visual records
262:(1665). Some eight years after its highly successful premiere, the Italians spoofed Molière's comedy with an
203:
188:
36:
68:
541:
52:
120:
Since his function is "to keep the play moving", Pedrolino seems to betray, in Storey's words, "a
351:
103:
critic and historian Constant Mic clarifies the distinctions when he notes that the first Zanni
584:
Both masked and unmasked characters of the Commedia were known as "masks": see Andrews, p. xix.
911:
892:
852:
833:
800:
778:
737:
690:
675:
636:
632:
619:
563:
773:
La Commedia dell'Arte, ou le théâtre des comédiens italiens des XVI, XVII & XVIII siècles
713:
817:
725:
721:
717:
709:
705:
304:
750:
537:
758:
610:). But it never elicits the tenderness, both comic and pathetic, that infuses scene of
885:
84:
908:
Mimesis and the human animal: on the biogenetic foundations of literary representation
575:
MS 13736, Bibliothèque de l'Opéra, Paris, I, 113; cited and tr. Nicoll (1931), p. 294.
343:
La Alteria , comedia di Luigi Groto, cieco d'Hadria. Novamente ricorretta e ristampata
270:
comparative isolation from his fellow masks, with few exceptions, in all the plays of
240:
is that of a Neapolitan Pulcinella a little altered. In point of fact, the Neapolitan
929:
554:
199:
195:
672:
The Commedia dell'Arte of Flaminio Scala: A Translation and Analysis of 30 Scenarios
872:
164:, which later inspired, in part, the makeup of the modern-day white-faced clown.
124:-faced aspect": "He may work cleverly in the interests of the Lovers in one play—
114:
incarnates the dynamic, comic element of the play, the second its static element
92:
341:
156:. Instead of a mask, Pedrolino is said to have been defined, according to some
492:
For the movements of this troupe and of Pellesini himself, see Lea, I, 265-92.
253:
229:
152:
40:
445:
869:
Il teatro delle favole rappresentative. New York: New York University Press.
252:
A more direct source is the patois-spouting and lovelorn peasant Pierrot of
137:
133:
689:, translated by Randolph T. Weaver. London: George G. Harrap and Co., Ltd.
606:) or for a burst of jealous anger when he is cuckolded by Doctor Gratiano (
330:
he appears to be a father on equal footing with Pantalone" (p. 15, n. 23).
258:
184:
72:
63:
historians make a connection between the Italian Pedrolino and the later
469:
406:
The parenthetical examples are from two plays in the Scala collection,
299:
So asserted Bartolomeo Rossi in the foreword to his 1584 pastoral play
225:
64:
562:, first performed in 1684 and published in the Gherardi collection,
790:
The World of Harlequin: a critical study of the commedia dell'arte
121:
32:
15:
875:(Jean-François-Maurice-Arnauld, Baron Dudevant, called) (1915).
83:
Pedrolino appears in forty-nine of the fifty scenarios of
379:
Mic, p. 47; tr. Storey (1978), p. 13 (emphasis Storey's).
656:
is the Gherardi collection cited in "References" below.
160:
historians, by a white "floured" makeup, also known as
867:
Scenarios of the Commedia dell’Arte: Flaminio Scala's
685:
Duchartre, Pierre-Louis (1929; Dover reprint 1966).
470:"Faction of Fools | A History of Commedia dell'Arte"
961:
Fictional characters introduced in the 16th century
704:, 6 vols. Amsterdam: Michel Charles le Cène. Vols.
884:
176:in 1576, when his interpreter Giovanni Pellesini (
792:. Cambridge, England: Cambridge University Press.
172:Pedrolino first appears among the records of the
910:. Evanston, Il.: Northwestern University Press.
891:. Princeton, N.J.: Princeton University Press.
8:
356:: CS1 maint: numeric names: authors list (
130:Gli avvenimenti comici, pastorali e tragici
849:Commedia dell'Arte: a handbook for troupes
768:. 2 vols. Oxford: Oxford University Press.
814:. 6 vols. Florence: Sansoni Antiquariato.
674:. Lanham, Maryland: The Scarecrow Press.
446:"Pedrolino | stock theatrical character"
20:Pedrolino scuffles with the Doctor, 1621
830:Commedia dell'Arte: an actor's handbook
736:. Amsterdam, N.Y: Editions Rodopi B.V.
340:Groto, Luigi (1541-1585) (1612-01-01).
283:
865:Salerno, Henry F., translator (1967).
847:Rudlin, John & Olly Crick (2001).
349:
232:, not a Pedrolino: "The nature of the
89:Il teatro delle favole rappresentative
887:Pierrot: a critical history of a mask
812:La Commedia dell’Arte, storia e testo
7:
700:Gherardi, Evaristo, editor (1721).
956:Commedia dell'arte male characters
643:(1691) in the Gherardi collection.
202:, an engagement to which the poet
79:Type, plot-function, and character
14:
146:is usually deflected or foiled.
877:The History of the harlequinade
560:Arlequin, Empereur dans la lune
1:
951:Clever Zanni class characters
593:See Storey (1978), pp. 17-18.
307:. See also Andrews, p. xxiv.
264:Addendum to "The Stone Guest"
177:
810:Pandolfi, Vito (1957–1969).
370:Storey (1996), pp. 170, 171.
259:Don Juan, or The Stone Guest
879:. Philadelphia: Lippincott.
788:Nicoll, Allardyce (1963).
757:, vol. 3. Paris: Hachette.
35:, or comic servant, of the
977:
883:Storey, Robert F. (1978).
818:Rossi, Bartolomeo (1584).
785:. London: Harrap & Co.
652:Storey (1978), pp. 27-28.
126:Li Quattro finti spiritati
47:('Peter'), via the suffix
795:Oreglia, Giacomo (1968).
783:Masks, mimes and miracles
670:Andrews, Richard (2008).
397:Storey (1978), pp. 15-16.
822:. Paris: Abel L'Angelier
732:Katritzky, M.A. (2006).
528:Rudlin and Crick, p. 27.
906:Storey, Robert (1996).
771:Mic, Constant (1927).
450:Encyclopædia Britannica
946:Zanni class characters
797:The Commedia dell'Arte
775:. Paris: J. Schiffrin.
474:www.factionoffools.org
250:
213:
118:
21:
851:. London: Routledge.
832:. London: Routledge.
828:Rudlin, John (1994).
608:La Fortunata Isabella
604:Li Duo vecchi gemelli
426:Andrews, pp. xix, xx.
409:La Fortunata Isabella
388:Storey (1978), p. 13.
316:Andrews, pp. xxv–xvi.
238:
216:Pedrolino and Pierrot
208:
105:
19:
278:Notes and references
820:Fiammella pastorale
764:Lea, K.M. (1934).
755:Oeuvres de Malherbe
620:vol. 3, pp. 100-102
53:Bergamasque dialect
936:History of theatre
687:The Italian Comedy
654:Le Théâtre Italien
633:Act III, scene iii
510:Katritzky, p. 249.
290:Katritzky, p. 248.
272:Le Théâtre Italien
189:commedia dell'arte
37:commedia dell'arte
22:
779:Nicoll, Allardyce
753:, editor (1862).
637:Eustache Le Noble
69:Comédie-Italienne
968:
941:Theatre of Italy
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631:See, e.g.,
616:La Coquette
328:Il Granchio
206:responded:
93:Luigi Groto
930:Categories
664:References
479:2016-12-10
455:2016-12-10
415:Il Pedante
230:Pulcinella
162:infarinato
153:innamorati
134:Arlecchino
97:La Alteria
41:hypocorism
31:('first')
781:(1931).
352:cite book
168:Pellesini
138:Burattino
110:The first
25:Pedrolino
301:Fiamella
256:'s play
222:commedia
204:Malherbe
174:commedia
158:commedia
143:commedia
101:commedia
73:scenario
61:commedia
612:Regnard
254:Molière
242:scenari
226:Pierrot
211:theirs.
75:texts.
65:Pierrot
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555:Hamlet
200:Louvre
185:Gelosi
136:, and
112:Zanni
122:Janus
59:Many
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45:Pedro
33:Zanni
29:primo
27:is a
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