- ホーム
- > 洋書
- > 英文書
- > Performing Arts
基本説明
This treatise is one of the few book-length treatments of the art of acting before the 1720s and is the most complete discussion of the Commedia dell'arte before 1700.
Full Description
This treatise is one of the few book-length treatments of the art of acting before the 1720s and is the most complete discussion of the Commedia dell'arte before 1700 by someone personally involved with such performances. A Treatise on Acting, From Memory and by Improvisation (1699) by Andrea Perrucci is a substantial and informative manual by a professional actor and playwright in Naples in the 17th century. Perrucci has a great deal to tell modern actors, directors, and students of the theatre, commenting on virtually all aspects of theatrical and rhetorical performance in Baroque Italy: the emerging role of the director, how actors should make their entrances and exits, stage comportment and gestures, faults to avoid, how to perform without a script, when to use the mask, and how to play the roles of lovers, old men, comic characters, masters, servants, thugs, and soldiers. The chapters are rich with examples of speeches and dialogues used in a variety of improvisational situations and offer information on all kinds of staged productions: opera or drama, scripted or improvised, sacred or secular, tragic or comic, and in prose or in verse. Francesco Cotticelli, Anne Goodrich Heck, and Thomas F. Heck have expertly translated the treatise, presenting it in a dual-language format in parallel columns that enables the instant cross-checking of the English version with the original Italian. The volume is complete with an informative foreword by Nancy D'Antuono, a bi-lingual introduction, a translator's preface, a bibliography, and an index. Unprecedented in scope and detail, this treatise on acting is now available for the first time in its entirety in English.
Contents
Part 1 Foreword Part 2 Translators' Preface Part 3 Introduction Part 4 Facsimile and Translation of Title Page Part 5 Facsimile of Original Table of Contents Part 6 Your Excellencies [Dedication] Part 7 To the Reader Part 8 Part One [Acting from Memory] Chapter 9 Preface Chapter 10 1. What the Art of Acting Is, and What Its Parts Are Chapter 11 2. Concerning the State, or Theatre, and Its Disposition Chapter 12 3. Concerning Costumes Appropriate to Tragedy, Comedy, Satire, etc. Chapter 13 4. On the Choice of Tragedy, Comedy, and Pastorale, and before Them, Opera Chapter 14 5. About Dramas in Prose Chapter 15 6. About Choosing Actors Capable of Performing Chapter 16 7. About the Best Pronunciation for Acting, and What Defects Are to Be Noted in Various Dialects Chapter 17 8. On Memory, and How It Is Used to Learn the Parts Chapter 18 9. On Delivering a Speech, or Acting Chapter 19 10. About the Voice and How to Regulate and Vary It in Performance Chapter 20 11. On Appropriate Gestures for the Actor Chapter 21 12. On Certain Actions Performed on Stage Chapter 22 13. On Defects that Occur while Performing, and How to Correct Them Chapter 23 14. On Particular Characters in Tragedies, Comedies, Pastorales, and Tragicomedies Chapter 24 15. On Prologues, Intermezzi, Choruses, Music, and Dance Chapter 25 Endnotes—Annotations to Part I Part 26 Part Two [Acting by Improvisation] Chapter 27 Preface - On Improvisation in Performance Chapter 28 1. On the Roles of Lovers Chapter 29 2. On the Soliloquies in Tuscan Roles Chapter 30 3. On the Roles of Female Lovers Chapter 31 4. On Amorous Dialogues, etc. Chapter 32 5. On Closing Couplets and Verses Chapter 33 6. On the Roles of Fathers and Old Men Chapter 34 7. On the Capitan Bravo Roles, and Others Chapter 35 8. On the Comic Roles of First and Second Zanni Chapter 36 9. On the Roles of the Maidservant and the Old Woman Chapter 37 10. On Jests, Witticisms, Quips, and Other Pleasantries for the Comic Parts Chapter 38 11. On Scenes with Extended, Equivocal Metaphors, and Others Chapter 39 12. On Ridiculous Actions, Gestures, Disguises, Nocturnal Scenes, and Songs Chapter 40 13. On the Improvised Soggetto Chapter 41 14. On How to Coordinate the Soggetto Chapter 42 15. On Improvised Intermezzi Chapter 43 Endnotes—Annotations to Part 2 Part 44 Bibliography Part 45 Nota filologica Part 46 Index Part 47 About the Editors
