Is there a Commedia dell’Arte technique? Indeed, what is left of the knowledge that has been transmitted over time: from the Andreini family to Scaramouche and then down to Molière, Marivaux, Goldoni, Gozzi, Sacchi, Deburau, Petito, Scarpetta, Petrolini, de Curtis, Baseggio, Viviani, the De Filippos, Strehler, De Simone, Mnouchkine and, surprisingly, even Kantor?
Today, anyone who claims to teach Commedia dell’Arte, what do they really want to teach or transmit?
Undoubtedly, there is a tradition that has been betrayed! It is this very betrayal that makes it still essential. However, its specific tools must be identified and not be randomly selected. Which ones? The body; theatrical iconography; musical scores; Renaissance and Baroque dance; historical fencing; 17th and 18th century treatises on acting; canovacci or plot outlines; and, particularly, written plots.
We would like to propose the use of tools associated with the mask through everything that is defined as Commedia dell’Arte, not to breathe new life to a genre, which would make no sense, but to reinvent a concrete pragmatics of the actor and professional training by focusing on techniques, poetics, visions and suggestions that have captured the creativity and imagination of poets, painters, musicians and directors active between the 19th and the 20th centuries such as Gian Pietro Lucini, Jacques Copeau, Aleksandr Blok, Elena Guro, Vsevolod Meyerhold, Pablo Picasso, Gino Severini, Ferruccio Busoni, Arnold Schönberg and Igor Stravinsky.