03163cam a22003733u 4500 76429 UtSlPG 20260610134753.0 m cr n 260607r20251915utu|||||o|||||||||||||| d UtSlPG en iso639-1 PQ Sand, Maurice, 1823-1889 The history of the harlequinade, volume 2 (of 2) Salt Lake City, UT : Project Gutenberg, 2025 1 online resource : multiple file formats text txt rdacontent computer c rdamedia online resource cr rdacarrier Translation of the second part of: Masques et bouffons. Release date is 2025-07-02 deaurider and the Online Distributed Proofreading Team at https://www.pgdp.net (This file was produced from images generously made available by The Internet Archive) "The history of the harlequinade, volume 2 (of 2)" by Maurice Sand is a historical and theatrical study written in the mid-19th century. It explores the lineage, traits, costumes, and stage business of commedia dell’arte figures and their European offshoots, blending scholarship with anecdotes about performers and productions. This volume especially follows the “old man” masks (like Pantaloon and the Doctor), their transformations across regions, and the transition from improvised comedy toward musical theatre and the cantatrice. The opening of the book traces the comic “old man” archetype from Greek and Roman comedy to the Italian stage, then concentrates on Pantaloon—his Venetian roots, miserly and credulous temperament, stock scenes and pranks with Harlequin, social variants (from shabby shopkeeper to Don Pantaleone), costume shifts, and notable interpreters through the centuries. It next profiles related types: the Bolognese Doctor (pedant or quack, spouting macaronic Latin), Naples’s Pangrazio Biscegliese (a provincial butt), the miserly Cassandro, Rome’s polished puppet Cassandrino, Venice’s marionette Facanappa, Sicily’s Baron, and French counterparts like Gaultier-Garguille and Guillot-Gorju, always tying character to costume, dialect, and stage tradition. The narrative then turns to the Cantatrice, sketching how sung drama evolved from Greek choruses through Italian interludes into opera buffa, and how these forms mingled with comic masks; it recalls Mazarin’s importation of Italian opera to Paris, interlude business with Scaramouche, and emblematic performers from “Babet la Chanteuse” to Madame Favart, alongside lively anecdotes and composer namechecks that anchor the history in performance. (This is an automatically generated summary.) Originally published: London: Martin Secker, 1915 Pantomime Commedia dell'arte Italian drama (Comedy) -- History and criticism Comedy -- History and criticism Harlequin (Fictitious character) https://archive.org/details/historyofharlequ02sanduoft https://www.gutenberg.org/ebooks/76429 117154 117154