What do the these characters all have in common?
Professor Gilderoy Lockhart - From the "Harry Potter" series.
Dr. Emmett Brown - From "Back to the Future."
Deputy Director Leslie Clapton - From "Brooklyn Nine-Nine."
Professor Farnsworth - From "Futurama."
Mr. Burns - From "The Simpsons."
Squidward Tentacles - From "SpongeBob SquarePants."
The Brain - From "Pinky and the Brain."
Dr. Heinz Doofenshmirtz - From "Phineas and Ferb."
Professor Hubert J. Kelp - From "The Nutty Professor"
Belle's Father, Maurice from "Beauty and the Beast"
They are all iterations of Il Dottore, a stock character from the 16th century Italian theater tradition, better known as Commedia dell'Arte. It's a form of theater renowned for its improvised performances. This art form, whose name translates to "comedy of the profession,"1 revolutionized the way theatrical performances were conceived, laying the groundwork for modern improvisational comedy.
The origins of Commedia dell'Arte are somewhat nebulous, but it's generally agreed that it emerged during the Italian Renaissance. Unlike the classical theater that preceded it, which was grounded in scripted dialogue and narratives, Commedia dell'Arte was characterized by improvised performances. Actors relied on a rough storyline and used their wit, humor, and physicality to bring the story to life.
Itinerant troupes, often consisting of family members, traveled across Europe, performing in market squares, courts, and eventually, in the first playhouses. These troupes were some of the first to include female performers, breaking the convention of male actors playing female roles.
Some of the most famous Commedia dell'Arte families include:
The Gelosi: One of the most famous troupes, active from 1568 to 1604. They were patronized by nobility and even performed for kings and queens. Isabella Andreini, one of the most famous actresses of the time, was a member of this troupe.
The Confidenti: Formed by Alberto Naselli, this troupe was renowned in the late 16th century. They were known for their skilled performances and were active in both Italy and France.
I Solimani: Known for their elaborate and expensive productions, I Solimani was a prominent troupe in the late 16th century. They were unique in their use of scenography and special effects.
The Fedeli: Active from the late 16th to the early 17th century, they were known for their high-quality performances. Flaminio Scala, a famous Commedia actor and author, was part of this troupe.
Key Elements of the Tradition
Stock Characters: Central to Commedia dell'Arte are its stock characters. Each character has distinctive traits, costumes, and masks.
Improvisation: Actors improvised dialogue and action based on a basic plot (canovaccio), making each performance unique. The improvisational nature required actors to be quick-witted and versatile.
Masks and Costumes: Masks were essential, as they helped the audience immediately identify each character. Costumes were also exaggerated and distinctive, often reflecting the character’s social status and personality.
Physical Comedy and Lazzi: The performances were known for their physical comedy, including slapstick. Lazzi were comedic pieces of business used to amuse the audience, like a funny dance or a mock fight.
The Characters
The hallmark of Commedia dell'Arte was its stock characters, each embodying a specific type with distinct costumes, masks, and characteristics. These included:
1. **Arlecchino (Harlequin):** Agile and witty, often a servant, known for his checkered costume.
2. **Pantalone:** A miserly Venetian merchant.
3. **Il Capitano:** The braggart soldier.
4. **Columbina:** The clever maid, often a counterpart to Arlecchino.
5. **Il Dottore:** The bumbling doctor or academic, often from Bologna.
And that's where I enter the story. I was a trained Dottore! I studied the character while at UCLA in the late 90s and played versions of him for nearly five years all across America.
In a majority of these performances, Il Dottore serves as the general narrator, sort of a master of ceremonies. I traveled the country serving as a master of ceremonies for multiple vaudville and stunt shows in different venues, including county fairs and major amusement parks. What's more, I actually ended up getting a doctoral degree in the field of education!
There are many similarities between the stock character of the doctor and my own character. I sometimes wonder if over the course of last two decades since last I donned the character if he has shaped my personality or if I have somehow manifested this character type in my everyday life.
In fact this entire blog is named in reference to my connection with Il Dottore character. The logo is that of a custom Il Dottore mask made for me by a mascherari in London!
Il Dottore: Character and Origination
Il Dottore (Latin for The Doctor) epitomizes the learned man who is comically out of touch with reality. His origins trace back to the academic milieu of Bologna, home to one of the oldest universities in Europe. This background is crucial to understanding his character, as Bologna was a center for learning, especially in medicine and law.
Some seven years ago, I drove through Bologna and stopped by the university there. My then wife found the architecture as interesting as I did, but it wasn't much different than a lot of the architecture in Italy. I recall her asking why I was so mesmerized by the place. That's when I let her know about my history with the character.
Il Dottore is often depicted as an academic or a legal expert, with his name sometimes varying to reflect his supposed area of expertise. However, despite his scholarly pretensions, he is typically portrayed as a character who masks his ignorance with verbosity and pomp. He frequently speaks in a mix of Italian and a garbled version of Latin, a comedic nod to his supposed erudition.
Traditionally, Il Dottore's costume is a play on the academic robes of a university professor. He is usually attired in a scholarly gown, sometimes accompanied by a hat resembling a scholar's cap. His mask, a distinguishing feature in Commedia dell'Arte, is often less elaborate than those of other characters, emphasizing his higher social status compared to the likes of Arlecchino or Columbina. It typically covers only the top half of his face, leaving his mouth free to articulate his verbose speeches.
Il Dottore is often portrayed as portly, signifying both his wealth and his gluttony. His movements are typically less agile than other characters, lending a physical comedy to his otherwise verbal humor.
In the typical plot of a Commedia dell'Arte performance, Il Dottore is either a father figure or a guardian to one of the young llovers. He himself laments for his dearest wife, often portrayed as lost at sea. Interestingly, I'm a widow now as well, having lost my wife to a horrible illness.
Il Dottore serves as an obstacle to the young couple's happiness, either through overprotectiveness or misguided advice. Despite his authority, he is often the butt of jokes, outwitted by his servants or tricked by other characters.
Il Dottore's interactions with other characters are central to the humor in Commedia dell'Arte. He often engages in verbal sparring with Arlecchino, his servant, who outsmarts him despite his lower social status. His pomposity also sets him up as a natural foil to Il Capitano, another braggart character, leading to humorous exchanges where their respective flaws are highlighted.
While Commedia dell'Arte was largely improvised, some scripted plays were written in the same style. "Servant of Two Masters" by Carlo Goldoni is one such example. Famous players like Isabella Andreini, known for her intelligence and beauty, and Francesco Andreini, a prominent actor-manager, were among the stars of this theatrical form.
Commedia dell'Arte, with its rich history and unique form, continues to captivate audiences and influence performers worldwide. Its legacy lives on in contemporary theater, reminding us of the enduring power of improvisation, humor, and the human experience as reflected on stage.
Meaning professional comedians