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040			_aUtSlPG
041		7	_aen _2iso639-1
050		4	_aPQ
100	1		_aSand, Maurice, _d1823-1889
245	1	4	_aThe history of the harlequinade, volume 1 (of 2)
264		1	_aSalt Lake City, UT : _bProject Gutenberg, _c2025
300			_a1 online resource : _bmultiple file formats
336			_atext _btxt _2rdacontent
337			_acomputer _bc _2rdamedia
338			_aonline resource _bcr _2rdacarrier
500			_aTranslation of the first part of: Masques et bouffons.
500			_aRelease date is 2025-07-02
508			_adeaurider and the Online Distributed Proofreading Team at https://www.pgdp.net (This file was produced from images generously made available by The Internet Archive)
520			_a"The history of the harlequinade, volume 1 (of 2)" by Maurice Sand is a historical study of theatre and performance written in the early 20th century. The work explores the lineage of the commedia dell’arte—its masks, costumes, improvisational methods, and touring troupes—tracing how figures like Harlequin, Pantaloon, Columbine, and Pierrot developed from ancient mime and Atellane farce through the Italian Renaissance and into French popular theatre. It focuses especially on Harlequin’s iconography, stagecraft, and shifting character, setting the scene for a detailed typology of the classic masks. At the start of this study, the author surveys a long prehistory: Greek mimes and dancers, Roman pantomime and masks, and the use of marionettes, showing how comic performance survived Church prohibitions to re-emerge in medieval and Renaissance Italy. He explains the scenari and improvisation of the commedia dell’arte, the stock roles and regional variants, the acoustics and staging of Renaissance theatres, and the spread of Italian troupes into France, where they influenced fairground stages and the Opéra-Comique amid legal quarrels with established companies. The introduction closes by narrowing the scope to the masks and improvisers themselves. The opening chapter then turns to Harlequin, beginning with a playful first-person monologue that sketches his poverty, gluttony, cowardice, agility, and amorous intrigues, before unpacking his probable descent from ancient phallophores and planipes, the evolution of his black half-mask, patchwork costume, bat, and rabbit-tail emblem, and the shift from simpleton to witty trickster. It culminates with the transformation of the role by the famed actor Domenico Biancolelli, whose lively dancing and invention helped fix the modern Harlequin. (This is an automatically generated summary.)
534			_pOriginally published: _cLondon: Martin Secker, 1915
653			_aPantomime
653			_aCommedia dell'arte
653			_aItalian drama (Comedy) -- History and criticism
653			_aComedy -- History and criticism
653			_aHarlequin (Fictitious character)
856	4		_uhttps://archive.org/details/historyofharlequ01sanduoft
856	4	0	_uhttps://www.gutenberg.org/ebooks/76428
999			_c117153 _d117153