In this, Robert Coover exemplifies what is possible when an author clowns literature, partners its naked logical structures, plays with it in virtuosic turns, in narrative lazzi
, and novelistic doggerel.
Erudita, popular plays, and novelle supplied matter for the new stages, while arte masks, gestures, and lazzi
became familiar tropes.
Given this good-humored fraud, it was little wonder that the remainder of the production consisted of Comrnedia dell'arte lazzi
rather than anything more significant or serious.
The inclusion of commedia figures in the play serves the purpose of comic relief by gags and other improvisations reminiscent of the lazzi
, but at the same time it reinforces the powerlessness of its characters.
Bellan C, Lazzi
S, De Falco G, Nyongo A, Giordano A, Leoncini L.
Modern pantomime or slapstick often relies on slightly more complex Lazzi
, such as 'The Surprise Embrace': a lover rushes towards the object of his affections, only for her to step aside at the last moment and the lover to embrace a broom handle or some other substitute instead.
The key to reading "Freya" as an Italian comedy is the narrator's claim that Antonia is "like a comedy cameristra" (48), whereby Nelson/Nielsen becomes Freya's innamorata, Jasper Allen is an inamorato and Capitano character, and Heemskirk becomes two Vecchi characters combined (49-50); there are examples of lazzi
, or physical comedy, in the story, as well.
Sandy, who trained with David W W Johnstone of Lazzi
and Zofia Kalinska of Ariel Teatr, looked at various ways of playing MacHeath.
S, Ferrari F, Nyongo A, et al HIV--associated malignant lymphomas in Kenya (Equatorial Africa).
2, Stephano (Simon Holland Roberts) produced some fine baritone singing; and he and Trinculo (Conrad Nelson) enacted abundant and effective comic pratfalls during the extended gabardine lazzi
Les deux premiers actes ne sont rien qu'une serie de lazzi
Inspired by the Commedia dell'Arte tradition Marivaux treasured, the physicalizations here act as emotional lazzi
, so communicative of characters' internal states that an audience could be truly ignorant of both Marivaux and the spoken language and still be able to follow the play's emotional line.