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hands and feet move quickly, although his body is stiff, and his head is constantly moving. When he walks, his feet should be picked up more than would occur naturally. Pantalone is slow moving, and he has bouts of agility when there is high emotion, but it is followed by asthmatic breathing and panting. Pantalone is often short and skinny. A lot of
Pantalone's comedy stems from the fact that his excitable actions greatly contradict the senile position that the actor takes. He often falls backwards, generally to bad news related in some way or another to his financials. When this occurs, he is often amusingly "turtle-like" and is often stuck in that position until assisted. Pantalone can do all of the movements of the other characters, but they are greatly hindered because of his old age. None of Pantalone's physical actions should look easy, for his is truly "the oldest of the old". In the well-known "all the world's a stage" speech in
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with stockings, a tight jacket, a woollen skullcap, a robe or cape, a prominent codpiece or strategically placed coin purse, a black and red robe and yellow
Turkish slippers. During the sixteenth and seventeenth centuries, a sword or dagger and gold medallion often accompanied the purse. The Pantalone mask is a half-mask with accents on bony structure, big, bushy eyebrows, a long, hooked nose, a mustache, and a long, pointed or forked beard. He occasionally is noted as having horn spectacles. He occasionally carries a walking stick, but it is used more as an aggravating weapon than an actual walking tool. Because of his skinny legs, Pantalone is often portrayed wearing trousers rather than knee-
697:'Della bellezza, et crudelta d'una donna' , 'Sopra la Mogier' , 'L'Ultima licenza della buona Massara dalla cattiva Padrona' , 'Le miserie, et le astutie delle puttane' , 'Ottave sopra le astutie, mancamenti, et le tare delle puttane' , 'Comparation sopra un ziogador, e un poeta a la so morosa' , 'Sopra l'ostination della so innamorata' , 'Sopra le bellezze della sua donna' , 'Contrasto de Pantalon, e la so inamorata' , 'Contrasto de tor, e no tor moier, de Pantalon, e Zan Capella' , in Anon., Capriccii et nuove fantasie alla Venetiana, di Pantalon de' Bisognosi (di novo posti in luce) (Vicenza, then Brescia, 1601)
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99:), a popular saint in Venice. Another theory is that his name derives from Venetian merchants who were called Piantaleoni. While the theories of the St. Pantaleone and the lion of St. Mark are common, they are both now considered unlikely origins, and the true origin is unknown. The name Pantaloon generally means 'old fool' or 'dotard'. The role of Pantalone is usually spoken entirely in the
103:. The character of Pantalone is entirely based on currency and ego, for he has the highest regard for his intelligence, "but at every step he becomes the butt for every conceivable kind of trick". With little else to occupy his thoughts after a life as a tradesman or merchant, Pantalone is the metaphorical representation of money in the
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Pantalone's costume was designed with the inappropriateness intended to comically entertain. The costume for
Pantalone is characterized by the use of red for almost the entire costume. The characteristics of the costume also include a Greek style hat, a jacket, a pair of long trousers or breeches
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The traditional
Pantalone stance is that of a hunch-backed old man. He walks with his hips forward, allowing him to make larger strides when he walks. The hunched shape restricts his legs, which are bent and turned out at the knees. The feet have the heels together with the toes facing apart. His
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world and is always rejected. Due to his portrayal as an older, single man, it might be claimed that
Pantalone is a very one-sided representation of old age. However, he is actually a very rounded and multifaceted depiction of the suggestive natures of old age.
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world. While the social standing of merchants may have changed through many centuries, the intent for
Pantalone was to ensure that he had the status that allowed him to meddle in the affairs of others. Pantalone is usually the father to one of the
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routines will begin by an action delivered by
Pantalone himself. Pantalone is described as being too self-absorbed to notice and interact much with the audience, but he is so oblivious that it serves the same purpose.
307:(which Jacques refers to as "his youthful hose, well sav'd, a world too wide/For his shrunk shank"). He therefore became the origin of the name of a type of trouser called "pantaloons", which was later shortened to "
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world, "though he is always rejected". Pantalone never forgets a deal and his merit is based on actions, not words. He is also described as being petty, and he never forgets or forgives even the smallest things.
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Pantalone is characterized as loving his money and having emotional extremes. With his sinister and often inhumane treatment towards his fellows, Pantalone is perceived to be a pivotal part of
328:(in the short story "Puss in Boots") gives another representation of Pantalone. The interpretation uses the spelling 'Pantaloon', but he follows a very similar description and ends up dead.
118:. He is driven to keep his child and their respective lover apart. Pantalone is presented either as a widower or bachelor, and despite his age, makes numerous passes at the women within the
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Pantalone is also displayed either as a single man or a widower, and not withstanding his age, makes various "attempts" at the ladies inside the
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87:, in his memoirs, named Pantalone as one of the four primary commedia dell'arte characters. Among other things, Pantalone is a character of
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168:. "Of all the twenty-seven pieces, ten allude to ladies in their titles alone, either just as a lady (
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294:(II, vii), Jacques describes the second-last stage of life as "the lean and slippered pantaloon".
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Old Age, Masculinity, and Early Modern Drama: Comic Elders on the
Italian and Shakespearean Stage
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Allardyce Nicoll: The World of
Harlequin, a Critical Study of the Commedia Dell'arte, p. 44
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This article is about the commedia character. For the
Toronto municipal politician, see
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366:, Act 2, scene 7, as does Randolph T. Weaver's translation of Pierre-Louis Duchartre's
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Pantalone originated as part of a master/servant duo and was the original
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in English, is one of the most important principal characters found in
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Pantalone's inappropriate enthusiasm for the young ladies inside the
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production; often placing him at the beginning of the comedy. In a
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The World of Harlequin, a Critical Study of the Commedia Dell'arte
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In Search of Pantalone and the Origins of the Commedia dell'Arte
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Explanation on site from Roberto Delpiano dedicated to Venice.
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Pantaloon is the spelling of the character's name in English
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world is abundantly borne out in the previously mentioned
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Sexual symbolism is very prominent as illustrated in
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Performance and literature in the commedia dell'arte
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265:would I like to thrust myself into port].
16:Principal character in commedia dell'arte
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176:), house cleaner and courtesan (
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208:vorria d'amante libero
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499:Harlequin on the Moon
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218:nel mar de l'appetito
48:[pantaˈloːne]
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654:Nicoll, Allardyce.
770:Oreglia, Giacomo.
514:The Italian Comedy
423:Oreglia, Giacomo.
368:The Italian Comedy
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51:), spelled
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376:0486216799
344:References
194:innamorata
184:) whores (
111:innamorati
795:cite book
558:cite book
166:Capriccii
89:Venetians
75:Character
53:Pantaloon
40:Pantalone
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332:See also
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315:Related
298:Costume
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182:Padrona
178:Massara
69:Italian
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467:24 May
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271:Stance
190:morosa
174:mogier
309:pants
170:donna
145:lazzi
140:Zanni
801:link
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469:2015
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