STAN MULAIK scribeva:
>Esque tote le italianos parla con le un le altere como Mario parla con su
>angelo?  Su conversationes es justo similar al conversationes inter duo
>chefs de cocina italian que face publicitate de un restaurante italian in
>Atlanta in le radio. Illo es multo amusante.

Soliloquies. Le fascino del nostre historia europee.

Le facto es que io face exercitio e que me manca le anglese. Pensa a un texto
de conversation intra personages qui parla Interlingua e, a vices, anglese e
italiano pro poner sempre in evidentia le ligamines que curre intra
italiano-interlingua-anglese.
De quando io usa massivemente le glossarios per Babylon, io sempre plus me
convince que Interlingua es un grande opportunitate pro le integre humanitate.

Sape tu Stan? Nos poterea scriber un obra a plus manos pro le web e pro
interlingua, obviemente.
Io face le parte de Mario (o illo de Pantalone, o le Dottore), tu illo de
Stan,
per exemplo Kjell R. face le sue, e ancora alteres.
E nos discute, e discute, e discute. And nos discuss, and discuss, and
discuss.
E noi parliamo, e parliamo, e parliamo. E nealtri parlemo, e parlemo , e
parlemo.
Ubi es nos? Solitemente in LE PLACIA, un belle placia italian, ma que illo non
es in Italia, perque nos es in le mundo, sin un precise collocation. Nos debe
facer le fiction.

Como facerea nos a scriber un tal obra. Simplemente es uno qui scribe e le
altere recipe le texto al scopo de melio personalisar su 'parte o rolo' e
inviar occasiones al autor.

Io ama iste genere de texto. Illo es in le tradition litterari italian, a
initiar del commedia dell'arte e, Amicas e Amicos, vide vos ubi nos pote
portar
un simple clic con Babylon.
Pro me, Stan, illo que io reporta hic subtus es un completamento a alcun
previe
nostre messages e vide, per exemplo, quando on scribe: (the commedia
erudita was
in Latin, or in an Italian not easily comprehensible to the general public).
Observa como nos trova in le passato qui es nos ora. E observa le qualitate de
iste texto anglese e dice me: non es illo jam international? Assi nos poterea
sempre scriber in un bon texto, comprensibile al plus.

Lege, lege iste furto al derecto de autor que Mario Malaguti ha facite:

commedia dell'arte 
(Italian: "comedy of art"), Italian theatrical form that flourished throughout
Europe from the 16th through the 18th century. Outside Italy, the form had its
greatest success in France, where it became the Comédie-Italienne. In England,
elements from it were naturalized in the harlequinade in pantomime (see
mime and
pantomime) and in the Punch-and-Judy show, a puppet play involving the
commedia
dell'arte character Punch.
The commedia dell'arte was a form of popular theatre that emphasized ensemble
acting; its improvisations were set in a firm framework of masks and stock
situations, and its plots were frequently borrowed from the classical literary
tradition of the commedia erudita, or literary drama. Professional players who
specialized in one role developed an unmatched comic acting technique, which
contributed to the popularity of the itinerant commedia troupes that traveled
throughout Europe. Despite contemporary depictions of scenarios and masks and
descriptions of particular presentations, impressions today of what the
commedia dell'arte was like are secondhand. The art is a lost one, its mood
and
style irrecoverable.

Origins and development. 
Many attempts have been made to find the form's origins in preclassical and
classical mime and farce and to trace a continuity from the classical Atellan
play to the commedia dell'arte's emergence in 16th-century Italy. Though
merely
speculative, these conjectures have revealed the existence of rustic regional
dialect farces in Italy during the Middle Ages. Professional companies then
arose; these recruited unorganized strolling players, acrobats, street
entertainers, and a few better-educated adventurers, and they experimented
with
forms suited to popular taste: vernacular dialects (the commedia erudita
was in
Latin, or in an Italian not easily comprehensible to the general public),
plenty of comic action, and recognizable characters derived from the
exaggeration or parody of regional or stock fictional types. It was the actors
who gave the commedia dell'arte its impulse and character, relying on their
wits and capacity to create atmosphere and convey character with little
scenery
or costume.
The first date certainly associated with an Italian commedia dell'arte troupe
is 1545. The most famous early company was the Gelosi, headed by Francesco
Andreini and his wife, Isabella; the Gelosi performed from 1568 to 1604. Of
the
same period were the Desiosi, formed in 1595, to which Tristano Martinelli (c.
1557-1630), the famous Arlecchino, belonged; the Comici Confidènti, active
from
1574 to 1621; and the Uniti, under Drusiano Martinelli and his wife,
Angelica, a
company first mentioned in 1574. Troupes of the 17th century included a second
Confidènti troupe directed by Flaminio Scala, and the Accesi and the
Fedeli, to
which Giovambattista Andreini, called Lelio, one of the great commedia
dell'arte actors, belonged. The first mention of a company in France is in
1570-71. The Gelosi, summoned to Blois in 1577 by the king, later returned to
Paris, and the Parisians embraced the Italian theatre, supporting resident
Italian troupes who developed additional French characters. The
Comédie-Italienne was formally established in France in 1653 and remained
popular until Louis XIV expelled the Italian troupes in 1697. The Italian
players were also popular in England, Spain, and Bavaria.
Each commedia dell'arte company had a stock of scenarios, commonplace books of
soliloquies and witty exchanges, and about a dozen actors. Though there was
some doubling of masks, most players created their own masks or developed ones
already established. This helped to keep a traditional continuity while
allowing diversity. Thus, though many players are individually associated with
parts--the elder Andreini is said to have created the Capitano, and Tiberio
Fiorillo (1608-94) is said to have done the same for Scaramuccia (the French
Scaramouche,)--for an understanding of the commedia dell'arte, the mask is
more
important than the player.
The masks, or characters. 
A typical scenario involved a young couple's love being thwarted by their
parents. The scenario used symmetrical pairs of characters: two elderly men;
two lovers; two zanni (; madcap servants); a maidservant; a soldier; and
extras.
The lovers, who played unmasked, were scarcely true commedia dell'arte
characters--their popularity depending on looks, grace, and fluency in an
eloquent Tuscan dialect. The parents were clearly differentiated. Pantalone
(Pantaloon;) was a Venetian merchant: serious, rarely consciously comic, and
prone to long tirades and good advice. Dottore Gratiano (see Dottore) was, in
origin, a Bolognese lawyer; gullible and lecherous, he spoke in a pedantic
mixture of Italian and Latin. 
Other characters began as stock masks and developed into well-known characters
in the hands of the most talented players. The Capitano developed as a
caricature of the Spanish braggart soldier, boasting of exploits abroad,
running away from danger at home. He was turned into Scaramuccia by Tiberio
Fiorillo, who, in Paris with his own troupe (1645-47), altered the captain's
character to suit French taste. As Scaramouche, Fiorillo was notable for the
subtlety and finesse of his miming. The zanni, who were often acrobats, or
"tumblers," had various names such as Panzanino, Buratino, Pedrolino (or
Pierrot), Scapino, Fritellino, Trappolino, Brighella, and most notably,
Arlecchino and Pulcinella (related to the English Punchinello, or Punch).
Pulcinella, like Capitano, "outgrew" his mask and became a character in his
own
right, probably created by Silvio Fiorillo (d. c. 1632), who had earlier
created
a famous Capitano, Mattamoros. Columbina, a maidservant, was often paired in
love matches with Arlecchino, Pedrolino, or the Capitano. With Harlequin she
became a primary character in the English pantomime, the harlequinade. The
zanni
had already been differentiated as comic rustic and witty fool. They were
characterized by shrewdness and self-interest: much of their success depended
on improvised action and topical jokes. Arlecchino (Harlequin;), one of the
zanni, was created by Tristano Martinelli as the witty servant, nimble and
gay:
as a lover he became capricious, often heartless. Pedrolino was his
counterpart. Doltish yet honest, he was often the victim of his fellow
comedians' pranks. As Pierrot, his winsome character carried over into later
French pantomimes. The zanni used certain tricks of their trade: practical
jokes
(burle)--often the fool, thinking he had tricked the clown, had the tables
turned on him by a rustic wit as clever, if not so nimble, as his own--and
comic business (lazzi).

Decline. 
The decline of the commedia dell'arte was due to a variety of factors. The
rich
verbal humour of the regional dialects was lost on foreign audiences.
Eventually the physical comedy came to dominate the performance, and, as the
comic business became routine, it lost its vitality. As time went on, the
actors stopped altering the characters, so that the roles became frozen and no
longer reflected the conditions of real life, thus losing an important comic
element. The efforts of such playwrights as Carlo Goldoni (1707-93) to reform
Italian drama sealed the fate of the decaying commedia dell'arte. Goldoni
borrowed from the older style to create a new, more realistic form of Italian
comedy, and audiences greeted the new comedy with enthusiasm.
The commedia dell'arte's last traces entered into pantomime as introduced in
England (1702) by John Weaver at Drury Lane Theatre and developed by John Rich
at Lincoln's Inn Fields. It was taken from England to Copenhagen (1801),
where,
at the Tivoli Gardens, it still survives. Revivals, notably in the 1960s by a
Neapolitan troupe led by Peppino de Filippo, by puppet companies in Prague,
and
by students and repertory players in Bristol and London, however carefully
their masks copied contemporary illustrations, however witty their
improvisation, could only approximate what the commedia dell'arte must have
been.
A more important, if less obvious, legacy of the commedia dell'arte is its
influence on other dramatic forms. Visiting commedia dell'arte troupes
inspired
national comedic drama in Germany, eastern Europe, and Spain. Other national
dramatic forms absorbed the comic routines and plot devices of the commedia.
Molière, who worked with Italian troupes in France, and Ben Jonson and William
Shakespeare in England incorporated characters and devices from the commedia
dell'arte in their written works. European puppet shows, the English
harlequinade, French pantomime and the cinematic slapstick of Charlie Chaplin
all recall the glorious comic form that once prevailed.

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