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Commedia dell'arte was an early form of professional theatre that originated in Italy and was popular across Europe from the 16th to the 18th centuries, known in English as Italian comedy.
Answer: True
The source defines Commedia dell'arte as an early professional theatre form originating in Italy, popular across Europe from the 16th to 18th centuries, and known as Italian comedy.
The widespread appeal of Commedia dell'arte was limited to Italy and France, with little influence in other parts of Europe.
Answer: False
The source indicates that Commedia dell'arte's popularity spread throughout Europe, reaching as far as Moscow, not just limited to Italy and France.
The character Il Magnifico, a precursor to Pantalone, was created by Andrea Calmo by 1570 and is linked to the origins of Commedia dell'arte through Venice's Carnival.
Answer: True
The source states that Andrea Calmo created the character Il Magnifico by 1570, who is considered a precursor to Pantalone and is linked to the origins of Commedia dell'arte through Carnival in Venice.
The Neapolitan tradition of Commedia dell'arte prominently featured the character Pulcinella, who later evolved into the puppet character Punch in England.
Answer: True
The source confirms that the Neapolitan tradition featured Pulcinella, who later evolved into the puppet character Punch in the Punch and Judy shows in England.
The first recorded Commedia dell'arte performances in Rome in 1551 were typically held indoors by untrained, unmasked actors, similar to *commedia erudita*.
Answer: False
The source states that the first recorded Commedia dell'arte performances in Rome in 1551 were typically held outdoors by professional, costumed, and masked actors, contrasting with *commedia erudita* which featured untrained and unmasked actors indoors.
The 17th-century publications like *Fruti della moderne commedia* and *La supplica* encouraged Commedia dell'arte to return to purely improvisational street performances.
Answer: False
The source indicates that 17th-century publications like *Fruti della moderne commedia* and *La supplica* led to a more formulaic and stylized acting style, moving Commedia dell'arte *away* from purely improvisational street performances.
In the 18th century, Pierre de Marivaux's contribution to Commedia dell'arte involved making it more overtly comedic and less focused on emotional depth.
Answer: False
The source states that Pierre de Marivaux softened Commedia dell'arte and introduced true emotion to the stage, which is contrary to making it less focused on emotional depth.
During the Napoleonic occupation, Commedia dell'arte was outlawed in 1797 because its impromptu style was used as a platform for political criticism against French Imperial rule.
Answer: True
The source confirms that Commedia dell'arte was outlawed by Napoleon in 1797 because its impromptu style was used to promote political agendas and criticize French Imperial rule.
Which of the following is NOT an alternative name for Commedia dell'arte mentioned in the source?
Answer: Commedia dell'opera
The source lists 'Italian comedy,' '*commedia alla maschera*,' '*commedia improvviso*,' and '*commedia dell'arte all'improvviso*' as alternative names for Commedia dell'arte. 'Commedia dell'opera' is not mentioned.
According to the text, where did Commedia dell'arte originate?
Answer: Italy
The source states that Commedia dell'arte originated from Italian theatre.
Which historical event led to Napoleon outlawing Commedia dell'arte in 1797?
Answer: The Napoleonic occupation of Italy
The source states that Napoleon outlawed Commedia dell'arte in 1797 during the Napoleonic occupation of Italy, as its impromptu style was used for political criticism.
What was Pierre de Marivaux's significant contribution to Commedia dell'arte in the 18th century?
Answer: He softened the Commedia and introduced true emotion to the stage.
The source states that Pierre de Marivaux's significant contribution was softening the Commedia and introducing true emotion to the stage.
A unique characteristic of Commedia dell'arte performances was the *lazzo*, which was a completely unscripted, spontaneous joke or routine performed by actors.
Answer: False
The source states that *lazzi* were well-rehearsed jokes or witty routines, often somewhat scripted, not completely unscripted and spontaneous.
Commedia dell'arte performances were exclusively held outdoors on platforms in public areas like piazzas, never in fixed theatres or at court.
Answer: False
While many performances were held outdoors, the source explicitly states that troupes also performed at court and in fixed theatres, such as Teatro Baldrucca in Florence.
Flaminio Scala's published scenarios were an effort to standardize and legitimize Commedia dell'arte, detailing highly structured plots based on character type symmetry.
Answer: True
The source states that Flaminio Scala's published scenarios were an effort to legitimize Commedia dell'arte and were highly structured around character type symmetry.
What was a unique feature of Commedia dell'arte performances, often somewhat scripted, involving a well-known joke or witty routine?
Answer: The *lazzo*
The source identifies the *lazzo* as a unique feature of Commedia dell'arte, described as a well-known joke or witty routine, often somewhat scripted.
What were the common plot themes in Commedia dell'arte, according to the source?
Answer: Sex, jealousy, love, and old age
The source states that conventional plot lines in Commedia dell'arte revolved around themes of sex, jealousy, love, and old age.
What type of improvised routines, typically involving practical jokes, were known as *burle* in Commedia dell'arte?
Answer: On-the-spot improvised and interpolated episodes
The source defines *burle* as on-the-spot improvised and interpolated episodes and routines, typically involving practical jokes.
The characters in Commedia dell'arte were primarily unique, individualistic figures designed to challenge audience expectations rather than represent fixed social types.
Answer: False
The source indicates that Commedia dell'arte characters were masked 'types' representing fixed social archetypes, often exaggerated, rather than unique individualistic figures.
The aesthetic principles of Commedia dell'arte, according to Castagno, emphasized originality and humanistic representation, contrasting with other Renaissance arts.
Answer: False
According to Castagno, the aesthetic principles of Commedia dell'arte emphasized exaggeration, distortion, anti-humanism, and extensive borrowing rather than originality, which contrasts with the idea of humanistic representation.
Commedia dell'arte characters were originally intended to represent specific Italian regions or towns, performing in the dialect of their represented area.
Answer: True
The source states that Commedia dell'arte characters were originally intended to represent specific Italian districts or towns and were performed in the dialect of their represented area.
The four primary stock character groups in Commedia dell'arte are Zanni, *Vecchi*, *Innamorati*, and Il Capitano.
Answer: True
The source explicitly lists Zanni, *Vecchi*, *Innamorati*, and Il Capitano as the four primary stock character groups in Commedia dell'arte.
Female characters in Commedia dell'arte, including female servants and *amorose*, were always masked to conceal their identities.
Answer: False
The source states that female characters, including female servants and *amorose*, were typically unmasked, with *amorose* wearing heavy makeup instead of masks.
Harlequin's costume originally featured symmetrical blue, red, and green triangles, which later evolved into odd-shaped patches.
Answer: False
The source states that Harlequin's original costume had odd-shaped patches, which later evolved into symmetrical triangles, the reverse of what the question suggests.
Which character archetype is described as a 'know-it-all doctor' in Commedia dell'arte?
Answer: il Dottore
The source describes il Dottore as a 'know-it-all doctor' among the typical Commedia dell'arte characters.
Which of the following is one of the four main stock character groups in Commedia dell'arte?
Answer: The *Vecchi*
The source explicitly lists Zanni, *Vecchi*, *Innamorati*, and Il Capitano as the four primary stock character groups. 'The *Vecchi*' is one of these groups.
What is the traditional costume of Il Dottore, satirizing academic dress?
Answer: An almost entirely black long gown or jacket
The source describes Il Dottore's costume as an almost entirely black long gown or jacket, satirizing the academic dress of Bolognese scholars.
Which character is described as a masked villager pretending to be rich, wearing a tunic and a cape?
Answer: Beltrame
The source describes Beltrame as a masked villager pretending to be rich, whose costume typically consists of a tunic and a cape.
What is the defining characteristic of the character Brighella?
Answer: A smart and vindictive servant or middle-class character
The source describes Brighella as a smart and vindictive servant or middle-class character.
Commedia dell'arte was significant for introducing the first known professional actresses in Europe since antiquity, with female roles being played by women as early as the 1560s.
Answer: True
The source explicitly states that Commedia dell'arte was instrumental in the rise of actresses, with female roles played by women as early as the 1560s, making them the first known professional actresses in Europe since antiquity.
The Gelosi troupe, formed by 1568, adopted the two-faced Roman god Janus as their impress, symbolizing their dual identity as actors and their traveling nature.
Answer: True
The source confirms that the Gelosi troupe, formed by 1568, adopted the two-faced Roman god Janus as their impress, symbolizing their traveling nature and the dual identity of the actor.
Despite initial denigration by English critics and attempts by Italian prelates to ban them, actresses became a standard feature on the Italian stage by the end of the 16th century.
Answer: True
The source details the denigration by English critics and attempts by Italian prelates to ban female performers, but confirms that actresses became a standard feature on the Italian stage by the end of the 16th century.
Actors in Commedia dell'arte troupes, known as 'compagnie,' typically had extensive prior theatre experience before joining.
Answer: False
The source states that actors in Commedia dell'arte troupes often came from diverse backgrounds and many joined without prior theatre experience.
Commedia dell'arte troupes preferred to stay in one location for extended periods to build a loyal local audience.
Answer: False
The source indicates that Commedia dell'arte troupes preferred not to stay in one place for too long to avoid their act becoming 'stale,' moving on while popular to ensure future invitations.
The Golden Age of Commedia dell'arte, from 1580 to 1605, included famous troupes such as the Gelosi, Confidenti, and Accessi, whose names conveyed daring and enterprise.
Answer: True
The source identifies the Golden Age of Commedia dell'arte as 1580 to 1605 and lists the Gelosi, Confidenti, and Accessi as famous troupes whose names conveyed daring and enterprise.
Who was the first Italian actress known by name from a 1564 contract, as mentioned in the source?
Answer: Lucrezia Di Siena
The source identifies Lucrezia Di Siena as the first Italian actress known by name from a 1564 contract.
What was the core group of the Gelosi troupe known as, consisting of two *vecchi*, four *innamorati*, two Zanni, a captain, and a *servetta*?
Answer: The 'usual ten'
The source identifies the core group of the Gelosi troupe, consisting of two *vecchi*, four *innamorati*, two Zanni, a captain, and a *servetta*, as the 'usual ten'.
Which of the following was NOT a common criticism faced by Commedia dell'arte troupes?
Answer: Lack of musical accompaniment in performances
The source lists criticisms such as actors stripping, crude storylines with overt sexuality, and persecution due to their nomadic lifestyle. Lack of musical accompaniment is not mentioned as a criticism; in fact, music and dance were fundamental to performances.
Molière, a French playwright, was significantly influenced by Commedia dell'arte, drawing from its plots and masks to create his own theatrical works.
Answer: True
The source explicitly states that Molière drew heavily from Commedia dell'arte plots and masks to create indigenous French theatrical treatments.
The term 'Commedia dell'arte' was coined in the early 17th century, and its influence on 18th-century pantomime is minimal.
Answer: False
The source states that the term 'Commedia dell'arte' was coined in the mid-18th century, and 18th-century pantomime, particularly the character of Harlequin, owes its origins to Commedia dell'arte character types, indicating significant influence, not minimal.
Which playwright is noted for drawing heavily from Commedia plots and masks to create indigenous French theatrical treatments?
Answer: Molière
The source specifically notes Molière as a French playwright who drew heavily from Commedia plots and masks.
The popular Punch and Judy puppet shows in England are based on which Commedia dell'arte mask?
Answer: Pulcinella
The source states that the popular Punch and Judy puppet shows in England are based on the Pulcinella mask from Neapolitan versions of Commedia dell'arte.
Which of Shakespeare's characters is derived from Pantalone?
Answer: Polonius in *Hamlet*
The source states that the character Polonius in Shakespeare's *Hamlet* is derived from Pantalone.
Which Commedia dell'arte characters became particularly refined and Parisian in the 17th century?
Answer: Pierrot, Columbine, and Harlequin
The source states that Pierrot, Columbine, and Harlequin became particularly refined and Parisian figures in the 17th century.
Where can Commedia dell'arte performances still be seen seasonally today, according to the source?
Answer: The Peacock Stage of Tivoli Gardens in Copenhagen
The source states that Commedia dell'arte is still performed seasonally at the Peacock Stage of Tivoli Gardens in Copenhagen, Denmark.