La comédienne dell’arte et son public au XVIIe siècle : un modèle dramaturgique et sa réception
The article aims to study the first professional Italian actresses from the end of the sixteenth century to the early seventeenth century, and makes several hypotheses about female spectators. However, because of the lack of any direct female first-hand accounts about the actresses at that time, the...
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| Format: | Article |
| Language: | English |
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Institut du Monde Anglophone
2022-12-01
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| Series: | Etudes Epistémè |
| Subjects: | |
| Online Access: | http://journals.openedition.org/episteme/15924 |
| _version_ | 1811167944297676800 |
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| author | Cécile Berger |
| author_facet | Cécile Berger |
| author_sort | Cécile Berger |
| collection | DOAJ |
| description | The article aims to study the first professional Italian actresses from the end of the sixteenth century to the early seventeenth century, and makes several hypotheses about female spectators. However, because of the lack of any direct female first-hand accounts about the actresses at that time, the analysis tries to define the contours of their audience through the repertory of these actresses. The contemporary male gaze makes it possible to get some information about the expressiveness of the actress, whether it comes from post-Tridentine Church detractors and censors, or from admirers and/or fellow actors. But the rivalry between actresses is also revealing of a first female gaze that determines the subsequent interpretation and dramatic style of the heiresses. The first spectator of the actress is actually the actress herself, who imitates her rivals in order to outdo them in virtuosity. As the actress is sometimes presented as a possible role model for other women, this suggests that women were part of the audience of the theatre companies, in which the first actresses were performing. And finally, the article explores the question about the relationship between the professional actresses and their finest spectators who were the court ladies: whether the court ladies were imitated, admired, or simple spectators during the Italian court celebrations, their role cannot be more decisive. |
| first_indexed | 2024-04-10T16:17:40Z |
| format | Article |
| id | doaj.art-02941af03dc84948a5732d928b436967 |
| institution | Directory Open Access Journal |
| issn | 1634-0450 |
| language | English |
| last_indexed | 2024-04-10T16:17:40Z |
| publishDate | 2022-12-01 |
| publisher | Institut du Monde Anglophone |
| record_format | Article |
| series | Etudes Epistémè |
| spelling | doaj.art-02941af03dc84948a5732d928b4369672023-02-09T16:13:42ZengInstitut du Monde AnglophoneEtudes Epistémè1634-04502022-12-014210.4000/episteme.15924La comédienne dell’arte et son public au XVIIe siècle : un modèle dramaturgique et sa réceptionCécile BergerThe article aims to study the first professional Italian actresses from the end of the sixteenth century to the early seventeenth century, and makes several hypotheses about female spectators. However, because of the lack of any direct female first-hand accounts about the actresses at that time, the analysis tries to define the contours of their audience through the repertory of these actresses. The contemporary male gaze makes it possible to get some information about the expressiveness of the actress, whether it comes from post-Tridentine Church detractors and censors, or from admirers and/or fellow actors. But the rivalry between actresses is also revealing of a first female gaze that determines the subsequent interpretation and dramatic style of the heiresses. The first spectator of the actress is actually the actress herself, who imitates her rivals in order to outdo them in virtuosity. As the actress is sometimes presented as a possible role model for other women, this suggests that women were part of the audience of the theatre companies, in which the first actresses were performing. And finally, the article explores the question about the relationship between the professional actresses and their finest spectators who were the court ladies: whether the court ladies were imitated, admired, or simple spectators during the Italian court celebrations, their role cannot be more decisive.http://journals.openedition.org/episteme/15924commedia dell’arteIsabella AndreiniactressesVittoria PiissimiVincenza Armanicompetition |
| spellingShingle | Cécile Berger La comédienne dell’arte et son public au XVIIe siècle : un modèle dramaturgique et sa réception Etudes Epistémè commedia dell’arte Isabella Andreini actresses Vittoria Piissimi Vincenza Armani competition |
| title | La comédienne dell’arte et son public au XVIIe siècle : un modèle dramaturgique et sa réception |
| title_full | La comédienne dell’arte et son public au XVIIe siècle : un modèle dramaturgique et sa réception |
| title_fullStr | La comédienne dell’arte et son public au XVIIe siècle : un modèle dramaturgique et sa réception |
| title_full_unstemmed | La comédienne dell’arte et son public au XVIIe siècle : un modèle dramaturgique et sa réception |
| title_short | La comédienne dell’arte et son public au XVIIe siècle : un modèle dramaturgique et sa réception |
| title_sort | la comedienne dell arte et son public au xviie siecle un modele dramaturgique et sa reception |
| topic | commedia dell’arte Isabella Andreini actresses Vittoria Piissimi Vincenza Armani competition |
| url | http://journals.openedition.org/episteme/15924 |
| work_keys_str_mv | AT cecileberger lacomediennedellarteetsonpublicauxviiesiecleunmodeledramaturgiqueetsareception |