Research Prospectus: La Commedia dell’arte in Durban (A Comparative Proposal Through The Lens of Carnevale di Venezia)
Title
How Did The Art of the Theatre, in Venice’s Carnival, Serve As A Critique to the Social Dynamics of Venetian Society During the Renaissance Era?
Introduction
The origins of carnival can be traced back to Greek mythological rites which center on the Greek goddess Dionysus. Within Venice itself carnival has been largely impacted and shaped by the Renaissance period. The Renaissance Era dates back from the fourteenth and right through the seventeenth century, and was characterized as an intellectual movement which was largely defined by the way it nourished and enriched the scene of the arts. However, the arts only cover one phenomenon of the entire movement — the artistic aspect. Beyond art, the Renaissance saw the fall of feudal structures and set the tone for the peasantry to eventually voice their grievances on the harsh economic and political policies they had to adhere to, administered by state heads and influenced by the aristocracy.
In lectures and text readings — one was introduced to one of the highlights which shaped the artistic prowess of the Venetian carnival. These were the plays famously known as the la commedia dell’arte (comedy of craft). The essence of these staged plays was believed by some historians, to comment on the socio-political dynamics of Venice during the era of the Renaissance. Hence, there may be a greater richness to explore in the development of these plays rather than the artistic appreciation revolving around entertainment infused with remarkably elaborate costumes and masks. These plays may have very well been a mirror of Venetian society and possibly been staged as an artistic criticism.
Hence, this focus on Venetian society during the Renaissance aims to establish my research question: How Did The Art of the Theatre, in Venice’s Carnival, Serve As A Critique to the Social Dynamics of Venetian Society During the Renaissance Era? What I hope to answer through this question is the way the arts, particularly theatre, was used as form of possible protests, against the socio-political inequality present in Venice during the era of the Renaissance. Ultimately, the question will divulge into how theatre has impacted Carnival processions by explaining the friction between peasantry and the upper-class.
Development
The avenues which I will reach in order to maneuver myself around my thesis that aims to explore how theater, as an art form, was used to critique social dynamics of Venetian society during the Renaissance, will be fundamental in basing a concrete argument. In order to establish direction and a degree of chronology, the use of several sources beginning with a contextual background of the Renaissance Era must be mentioned. Hence, the research paper itself will be broken down into three specific sub-topics. The first sub-topic will be titled: Influence of the Renaissance on Theatre Productions and Their Impact/Cultivation On Venice’s Carnival. The second sub-topic will be titled: The Structure of the Venetian Society: How Was This Structure Represented in The Carnival Processions? Lastly, the third sub-topic will be titled: Theatre As a Form of Protest.
The first source I aim to use is Linda L. Caroll’s write-up in the Sixteenth Century online journal, titled: Carnival Rites as Vehicles of Protest in Renaissance Venice. This source hones in on the social dynamics of Venetian society during the Renaissance and connects how this movement influenced artists to stage productions that criticized the state heads and the way they treated the peasantry. The journal will help me understand Venice’s social atmosphere during the Renaissance by augmenting how plays were used as a vehicle (form) of protest during Carnival. Caroll’s source laments the issue of the intellectual shift characterized by the influence of the Renaissance in the late fifteenth and sixteenth century by exploring political and social changes in Venice. Thereby, using plays as theatric platforms of the art, to be a social commentary on the conflict between peasantry and upper-class inhabitants of Venice during this particular era. Plays that thematically took form as peasant uprisings further expand on Caroll’s research of the tension between rich and poor and more importantly the discontent of the peasantry. This tension and discontent closely mirrored the discontent of the playwrights themselves who had their upward mobility in the feudal structure of Venice curtailed.
The second source is a video titled, Commedia dell’arte: Managing Chaos, which is a lecture in the production of commedia dell’artes. The lecture was conducted in conjunction with the Chicago Humanities Festival. The lecture, which is complemented by practical performances, is led by Thomas Simpson, senior lecturer in Italian at Northwestern University, Italian director and teacher Paola Coletto, and performers David Gaines and Sean Michael Kaplan, who trained at the legendary Jacques Lecoq School in Paris. Together, all three gentlemen collaborate, in partnership with the Istituto Italiano di Culture Chicago and the Alice Kaplan Center for the Humanities at Northwestern University, to demonstrate the traditional confines of this art form. The central message is to make the audience understand how these plays were the birth of masked and comedic theater productions. In essence the interactive lecture will give me a better understanding of how to interpret works by the Italian playwright, Carlo Goldini, as his works are central to understanding my third source.
The third source is Heinz Riedt’s Carlo Goldini. This source is titled after Venetian playwright, Carlo Goldini and describes both the historical origin of la commedia dell’ arte (Italian comedy plays), their criticism and interpretation. This book will help me understand and focus on Goldini’s plays and how they criticized the inequality of Venetian society, through his works. Riedt’s book is closely strengthened by the focus of Goldini and how his thematic concern for the relationship and interaction of humans pioneered his plays, rather than what many would assume to garner a religious focus, as he was a staunch Catholic. Goldini’s love for humanity is actually what thematically characterized his plays and Riedt’s book will help me showcase how Goldini’s concern for the livelihood of his fellow man made him develop plays which centered on honesty. Thus, expressing the ill treatment of the peasantry and therefore engaging his audience with the conflict between rich and poor in Venice, during the Renaissance.
The fourth source is credited to David Chamber and Brian Pullan. It is titled:- Venice: A Documentary History, 1450–1630 (RSART: Renaissance Society of America Reprint Text Series. This [text]is a translation from Italian to English and basically is a compilation of sources such as “diaries, chronicles, inquisitorial records, literature, legislation, and contemporary descriptions”, all divided into different themes. It talks about both mercantile power in Venice and Florence, and will help me gain some insight on Venetian society in terms of its social structure during the Renaissance. The variety of records within this compilation is the first of its kind as it is the first English compilation of primary sources which focus directly on the history of Venice as a city. It will effectively help me in gaining a better understanding of Venice’s governance as a city-state, its feudal structure and altogether the city’s historical rise to prominence as well as its questionable social disparities.
The fifth source is Eric Dursteler’s A Companion to Venetian History, 1400–1797. This book covers the “political culture, economy, religion, gender, art, literature, music, and the environment” of Venice. Hence, this book will help me thematically explore the socio-political structure of Venice and how it affected social dynamics. It will also help me explore the influence of the Renaissance on Venetian art but more importantly the combination of this source as a scholarly focus on Venetian history, with a political sub-focus, will aid me in further analyzing Venice’s mercantile system and how the strong presence of trade and amassing wealth, had a direct impact on the social atmosphere of the city-state. Therefore the source, along with Chamber and Pullan’s compilation, will strengthen my thesis by cross-referencing state’s concern of political and economic policies at the expense of the lower class (the peasantry in particular).
Lastly, the sixth source I aim to augment my research paper with is John Jeffries Martin’s book titled: Venice Reconsidered: The History and Civilization of an Italian City-State, 1297–1797. This book is a compilation of historical essays that were contributed by European and American professors of various reputable universities. The book is highly suitable for my research paper in that it explores, among other factual accounts, the anti-myth of Venice as a perfect city-state, both in its success over other mercantile empires and wealth of its inhabitants. Thus, this book strays from the glorification of Venice as a powerful empire and instead critiques its rise to prominence via the expense of its lower class citizens. It touches on various peasant uprisings, over the harsh taxes directed towards this social class, administered by what John Martin and Dennis Roman classified as a “harsh oligarchy” in the chapter titled: Reconsidering Venice. Hence, this source will complement my research paper by pairing what was portrayed through theater as a socio-economic protest against the ‘oligarchy’ of Venice, with true life events.
Conclusion
Through my sources I hope to establish a consistent correlation between the discontent of the peasantry in Venice during the Renaissance over the imbalance of economic contribution among classes, whereby the poor was victimized to the highest financial contribution, and the way this discontent manifested itself through the theater i.e. la commedia dell’arte as a social commentary characteristic of a protest of economic inequality. In order to cement the value of my topic and thesis I aim to follow a rigid structure that will see my research paper take form in a chronological and suitably organized manner. Thus, this research paper will be effectively supported by the structure through its sub topics.
The first sub-topic will explain what the Renaissance Era was, explore recurrent/prevalent themes in stage productions, who were famous theater producers and what works were they praised for. The second sub-topic is aimed at discussing the friction between peasants and upper class (aristocracy) i.e. inequality and how this manifested both socially and politically. Lastly, the third sub-topic aims to tie this altogether by divulging into which plays have captured the social dynamics of Venetian society during the Renaissance and how they have been used as a critique on standards of living for the peasantry and abuse of power by the upper-class. In order to guarantee the success of this orchestrated structure I will use several sources that boast relevance and scholarly acclaim. I foresee that this research paper will have historical significance in the way it reflects both on the social disparities of Venetian society during the Renaissance and by answering my thesis. A scholarly appreciation for the complex construction and success of Venice as a mercantile empire will be holistically explained, as well as the connection of Venice’s Carnivale within the make-up of its society, by isolating the la commedia dell’arte as a unique component to Venice’s carnival celebration.
Works Cited
Linda. L, Caroll. The Sixteenth Century Journal, Vol. 16, №4 (Winter, 1985), pp. 487–502
Thomas Simpson. Dir. Paola Coletto. Perf., David Gaines, and Sean Michael Kaplan. Commedia dell’arte: Managing Chaos, 2009. DVD.
Riedts, Heinz. Carlo Goldini.
Chamber, David & Pullan, Brian.Venice: A Documentary History, 1450–1630 (RSART: Renaissance Society of America Reprint Text.
Dursteler, Eric. A Companion to Venetian History, 1400–1797.
Martin, John Jeffries. Venice Reconsidered: The History and Civilization of an Italian City-State, 1297–1797.
