She then analyzes the depiction of women in male-authored plays like Angelo Beolco
's L'Anconitana, Alessandro Piccolomini's Alessandro, Niccolo Secchi's Gl'inganni, Girolamo Parabosco's II Marinarlo, and Luca Contile's Ceserea Gonzaga, addressing the theme of women crossdressing for different purposes.
da Ruzante a Perduocimo." Momenti del Rinascimento veneto.
Among the comedies Giannetti analyzes are, Angelo Beolco
's Anconitana (1534?), Girolamo Parabosco's Il marinaio (1549), Comelio Lanci's Pimpinella (1588), Niccolo Secchi's Gl'inganni (1560), Giambattista Della Porta's Cintia (1601), Bemardo Dovizi da Bibbiena's Calandra (1521), the anonymously written GI'ingannati (1537), and, most famous of all, Machiavelli's Mandragola.
The research of other scholars showing that folk traditions were fundamental to the forerunners of commedia characters created by early sixteenth-century amateurs, particularly Angelo Beolco
, is neglected.
The Theatre of Angelo Beolco
(Ruzante): Text, Context and Performance.
I'm referring to Ruzzante ["The Joker," stage name of Angelo Beolco
, 1502-42], my greatest master along with Moliere; both were actor-playwrights, and both were mocked by the leading men of letters of their times.
, as the illegitimate (natural) offspring of a branch of an upperclass Milanese family transferred to the Venetian Republic and an anonymous lower-class mother, occupied the nether world between those two distant classes.
In this essay, I intend to provide evidence for the hypothesis that one of these written sources is the character of Ruzante, created and played on the stage by the Paduan Angelo Beolco
The central period of oral, improvised, professional comedy opens in Padua with the first-known contract for a troupe, three years after the era of individual court buffoons and author-actors was brought to a close with the death of Angelo Beolco
, detto il Ruzante, rappresenta una delle figure piU innovative del Rinascimento italiano.
Ronnie Ferguson, The Theatre of Angelo Beolco
(Ruzante): Text, Context and Performance
Gianfranco Folena, Padova: Antenore, 1965, 275) and Ludovico Zorzi ("Note a La pastoral," in Angelo Beolco
, Ruzante teatro, ed.