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= Harlequin =
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Introduction
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Harlequin (, , ; , ) is the best-known of the comic servant characters
(Zanni) from the Italian commedia dell'arte, associated with the city
of Bergamo. The role is traditionally believed to have been introduced
by the Italian actor-manager Zan Ganassa in the late 16th century, was
definitively popularized by the Italian actor Tristano Martinelli in
Paris in 1584-1585, and became a stock character after Martinelli's
death in 1630.
The Harlequin is characterised by his checkered costume. His role is
that of a light-hearted, nimble, and astute servant, often acting to
thwart the plans of his master, and pursuing his own love interest,
Columbine, with wit and resourcefulness, often competing with the
sterner and melancholic Pierrot. He later develops into a prototype of
the romantic hero. Harlequin inherits his physical agility and his
trickster qualities, as well as his name, from a mischievous "devil"
character in medieval Passion Plays.
The Harlequin character first appeared in Bergamo, Italy, early in the
17th century and took centre stage in the derived genre of the
Harlequinade, developed in the early 18th century by John Rich. As the
Harlequinade portion of the English dramatic genre pantomime
developed, Harlequin was routinely paired with the character Clown. As
developed by Joseph Grimaldi around 1800, Clown became the mischievous
and brutish foil for the more sophisticated Harlequin, who became more
of a romantic character. The most influential portrayers of the
Harlequin character in Victorian England were William Payne and his
sons the Payne Brothers, the latter active during the 1860s and 1870s.
Origin of the name
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The name Harlequin is taken from that of a mischievous "devil" or
"demon" character in popular French Passion Plays. It originates with
an Old French term 'herlequin', 'hellequin', first attested in the
11th century, by the chronicler Orderic Vitalis, who recounts a story
of a monk who was pursued by a troop of demons when wandering on the
coast of Normandy, France, at night. These demons were led by a
masked, club-wielding giant and they were known as 'familia herlequin'
(var. 'familia herlethingi'). This medieval French version of the
Germanic Wild Hunt, 'Mesnée d'Hellequin', has been connected to the
English figure of 'Herla cyning' ('host-king'; German:
'Erlkönig').Martin Rühlemann, 'Etymologie des wortes harlequin und
verwandter wörter' (1912).
See also Normand R. Cartier, 'Le Bossu désenchanté: Étude sur le Jeu
da la Feuillée', Librairie Droz, 1971,
[
https://books.google.com/books?id=ERF5OUazvTUC&pg=PA132 p. 132] .
Hellequin was depicted as a black-faced emissary of the devil, roaming
the countryside with a group of demons chasing the damned souls of
evil people to Hell. The physical appearance of Hellequin offers an
explanation for the traditional colours of Harlequin's red-and-black
mask. The name's origin could also be traced to a knight from the 9th
century, Hellequin of Boulogne, who died fighting the Normans and
originated a legend of devils. In Cantos XXI and XXII from Dante's
'Inferno' there is a devil by the name of Alichino. The similarities
between the devil in Dante's 'Inferno' and the Arlecchino are more
than cosmetic. The prank-like antics of the devils in the
aforementioned antics reflect some carnivalesque aspects.
The first known appearance on stage of Hellequin is dated to 1262, the
character of a masked and hooded devil in 'Jeu da la Feuillière' by
Adam de la Halle, and it became a stock character in French passion
plays.
History
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The re-interpretation of the "devil" stock character as a Zanni
character of the commedia dell'arte took place in the 16th century in
France. Zan Ganassa, whose troupe is first mentioned in Mantua in the
late 1560s, is one of the earliest known actors suggested to have
performed the part, although there is "little hard evidence to support
[it]". Ganassa performed in France in 1571, and if he did play the
part there, he left the field open for another actor to take up the
role, when he took his troupe to Spain permanently in 1574.
Among the earliest depictions of the character are a Flemish painting
() in the Museum of Bayeux and several woodblock prints probably
dating from the 1580s in the Fossard collection, discovered by Agne
Beijer in the 1920s among uncatalogued items in the Nationalmuseum, in
Stockholm.
Tristano Martinelli is the first actor definitely known to have used
the name "Harlequin" (or "Arlequin") from French folklore and adapted
it for the comic 'secondo' Zanni role, and he probably first performed
the part in France in (or just before) 1584 and only later did he
bring the character to Italy, where he became known as Arlecchino. The
motley costume is sometimes attributed to Martinelli, who wore a linen
costume of colourful patches, and a hare-tail on his cap to indicate
cowardice. Martinelli's Harlequin also had a black leather half-mask,
a moustache and a pointed beard. He was very successful, even playing
at court and becoming a favourite of Henry IV of France, to whom he
addressed insolent monologues ('Compositions de Rhetorique de Mr. Don
Arlequin', 1601).
Martinelli's great success contributed to the perpetuation of his
interpretation of the Zanni role, along with the name of his
character, after his death in 1630, among others, by Nicolò Zecca,
active in Bologna as well as Turin and Mantua.
The character was also performed in Paris at the Comédie-Italienne in
Italian by Giambattista Andreini and Angelo Costantini () and in
French as 'Arlequin' in the 1660s by (1636-1688), who combined the
Zanni types, "making his Arlecchino witty, neat, and fluent in a
croaking voice, which became as traditional as the squawk of Punch".
The Italians were expelled from France in 1697 for satirizing King
Louis XIV's second wife, Madame de Maintenon, but returned in 1716
(after his death), when Tommaso Antonio Vicentini ("Thomassin",
1682-1739) became famous in the part. The rhombus shape of the patches
arose by adaptation to the Paris fashion of the 17th century by
Biancolelli.
Physicality
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The primary aspect of Arlecchino was his physical agility. He was very
nimble and performed the sort of acrobatics the audience expected to
see. The character would never perform a simple action when the
addition of a cartwheel, somersault, or flip would spice up the
movement.
Early characteristics of Arlecchino paint the character as a "second"
Zanni servant from northern Italy with the paradoxical attributes of a
dimwitted fool and an intelligent trickster. Arlecchino is sometimes
referred to as putting on a show of stupidity in a metatheatrical
attempt to create chaos within the play. Physically, Arlecchino is
described as wearing a costume covered in irregular patches, a hat
outfitted with either a rabbit or fox's tail, and a red and black
mask. The mask itself is identified by carbuncles on the forehead,
small eyes, a snub nose, hollow cheeks, and sometimes bushy brows with
facial hair. Arlecchino is often depicted as having a wooden sword
hanging from a leather belt on his person, and sometimes holding a
marotte (fool's scepter).
Aside from his acrobatics, Arlecchino is also known for having several
specific traits such as:
* Appearing humpbacked without artificial padding
* The ability to eat large amounts of food quickly
* Using his wooden sword like a fan
* A parody of 'bel canto'
and several other techniques.
Speech
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One of the major distinctions of commedia dell'arte is the use of
regional languages. Arlecchino's speech evolved with the character.
Originally speaking in a Bergamo dialect of Lombard language, the
character adopted a mixture of French, Lombard and Italian dialects
when the character became more of a fixture in France so as to help
the performers connect to the common masses.
Dramatic function
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Various troupes and actors would alter his behaviour to suit style,
personal preferences, or even the particular 'scenario' being
performed. He is typically cast as the servant of an 'innamorato' or
'vecchio' much to the detriment of the plans of his master. Arleqin
often had a love interest in the person of Columbine, or in older
plays any of the soubrette roles, and his lust for her was only
superseded by his desire for food and fear of his master.
Occasionally, Harlequin would pursue the 'innamorata', although rarely
with success, as in the 'Recueil Fossard' of the 16th century where he
is shown trying to woo Donna Lucia for himself by masquerading as a
foreign nobleman. He also is known to try to win any given lady for
himself if he chances upon anyone else trying to woo her, by
interrupting or ridiculing the new competitor. His sexual appetite is
essentially immediate, and can be applied to any passing woman.
Between the 16th and 17th centuries Harlequin gained some function as
a politically aware character. In the 'Comédie-Italienne' Harlequin
would parody French tragedies as well as comment on current events.
==Variants==
Duchartre lists the following as variations on the Harlequin role:
Trivelino or Trivelin. Name is said to mean "Tatterdemalion". One of
the oldest versions of Harlequin, dating to the 15th century. Costume
almost identical to Harlequin's, but had a variation of the 17th
century where the triangular patches were replaced with moons, stars,
circles and triangles. In 18th century France, Trivelino was a
distinct character from Harlequin. They appeared together in a number
of comedies by Pierre de Marivaux including 'L'Île des esclaves'.
Truffa, Truffaldin or Truffaldino. Popular characters with Gozzi and
Goldoni, but said to be best when used for improvisations. By the 18th
century was a Bergamask caricature.
Guazzetto. In the seventeenth century, a variety of anonymous
engravings show Guazzetto rollicking, similar to Arleqin. He wears a
fox's brush, a large three-tiered collarette, wide breeches, and a
loose jacket tied tightly by a belt. He also dons a neckerchief
dropped over the shoulders like a small cape. Guazzetto's mask is
characterised with a hooked nose and a mustache. His bat is shaped
like a scimitar-esque sword.
Zaccagnino. Character dating to the 15th century.
Bagatino. A juggler.
Pedrolino or Pierotto. A servant or valet clad in mostly white,
created by Giovanni Pellesini.
Famous Harlequins
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16th century
* Alberto Naselli (Zan Ganassa)
17th century
* Tristano Martinelli
* Domenico Biancolelli
* Evaristo Gherardi
18th century
* Pier Francesco Biancolelli
* Tommaso Visentini
* Carlo Bertinazzi
19th century
* William Payne
* The Payne Brothers
20th century
* Marcello Moretti
21st century
* Ben-Jamin Newham ‘The Zanni Virtuoso’ (Fools In Progress Theatre
Company)
English harlequinade and pantomime
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The Harlequin character came to England early in the 17th century and
took center stage in the derived genre of the Harlequinade, developed
in the early 18th century by the Lincoln's Fields Theatre's
actor-manager John Rich, who played the role under the name of Lun. He
developed the character of Harlequin into a mischievous magician who
was easily able to evade Pantaloon and his servants to woo Columbine.
Harlequin used his magic batte or "slapstick" to transform the scene
from the pantomime into the harlequinade and to magically change the
settings to various locations during the chase scene. As the
Harlequinade portion of English pantomime developed, Harlequin was
routinely paired with the character Clown.
Two developments in 1800, both involving Joseph Grimaldi, greatly
changed the pantomime characters. Grimaldi starred as Clown in Charles
Dibdin's 1800 pantomime, 'Peter Wilkins: or Harlequin in the Flying
World' at Sadler's Wells Theatre. For this elaborate production,
Dibdin and Grimaldi introduced new costume designs. Clown's costume
was "garishly colourful ... patterned with large diamonds and circles,
and fringed with tassels and ruffs", instead of the tatty servant's
outfit that had been used for a century. The production was a hit, and
the new costume design was copied by others in London. Later the same
year, at the Theatre Royal, Drury Lane, in 'Harlequin Amulet; or, The
Magick of Mona.' Harlequin was modified to become "romantic and
mercurial, instead of mischievous", leaving Grimaldi's mischievous and
brutish Clown as the "undisputed agent" of chaos, and the foil for the
more sophisticated Harlequin, who retained and developed stylized
dance poses during the 19th century. The most influential pair playing
Harlequin and Clown in Victorian England were the Payne Brothers,
active during the 1860s and 1870s, who contributed to the development
of 20th-century "slapstick" comedy.
Popular culture
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Representations of or characters based on in contemporary popular
culture include Harley Quinn, an American comic book character
originally serving as a sidekick to the Joker, and Arlekin, a puppet
from Karabas Barabas' theatre in the Soviet children's film and the
novel it was based on, The Adventures of Buratino. Video game
representations of the character include the Knave from 'Genshin
Impact', Fourth of the Eleven Fatui Harbingers and Father of the House
of the Hearth, , King of Riddles from 'Lies of P', as part of the "Les
Quatre" from Karakuri Circus and from 'Call of Duty: Modern Warfare
III', a French Army soldier from the 'commedia della morte'.
See also
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* Commedia dell'arte
* 'Arlecchino' (opera)
* Clown
* Harlequin (DC Comics)
* Harley Quinn
* Jester
* Joker (character)
* 'Mr. Harley Quin'
* Punch and Judy
* "Repent, Harlequin!" Said the Ticktockman
* Tricky slave
* Genshin Impact
* Mime
Bibliography
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Translation and Analysis of 30 Scenarios'. Lanham, Maryland: The
Scarecrow Press. .
* Banham, Martin, editor (1995). 'The Cambridge Guide to the Theatre'
(new edition). Cambridge: Cambridge University Press. .
* Beijer, Agne; Duchartre, Pierre-Louis (1928). 'Recueil de plusieurs
fragments des premières comédies italiennes qui on été représentées en
France sous le règne de Henri III. Recueil, dit de Fossard, conservé
au musée national de Stockholm'. Paris: Duchartre & Van
Buggenhoudt. .
* Duchartre, Pierre-Louis (1929; Dover reprint 1966). 'The Italian
Comedy'. London: George G. Harrap and Co., Ltd. .
* Ferrone, Siro (2006). 'Arlecchino. Vita e avventure di Tristano
Martinelli attore'. Bari: Lateraz. .
* Gambelli, Delia (1993). 'Arlecchino a Parigi'. Rome: Bulzoni. .
* Henke, Robert (2002). 'Performance and Literature in the Commedia
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Records'. Amsterdam & New York: Rodopi B. V. .
* Lea, K.M. (1934). 'Italian popular comedy: a study in the Commedia
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* McConnell Stott, Andrew (2009). 'The Pantomime Life of Joseph
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* Neville, Giles (1980). 'Incidents In the Life of Joseph Grimaldi'.
London: Jonathan Cape Ltd. .
* Oreglia, Giacomo (1968). 'The Commedia dell'arte'. New York: Hill
and Wang. pp. 55-70. .
* Rudlin, John (1994). 'Commedia dell’Arte, An actor's handbook'.
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* Rudlin, John; Crick, Olly (2001). 'Commedia dell'arte: A Handbook
for Troupes'. London: Routledge. .
* Sand, Maurice (1860). 'Masques et Bouffons. Comédie italienne', vol.
1. Paris: Michel Levy Frères.
[
https://books.google.com/books?id=zl1sn5guZ_cC&pg=PP9 Copy] at
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* Scuderi, Antonio. "Arlecchino Revisited: Tracing the Demon from the
Carnival to Kramer and Mr. Bean." 'Theatre History Studies', vol. 20,
2000., pp. 143-155.
* Sterling, Charles (1943). "Early Paintings of the Commedia dell'arte
in France." 'Metropolitan Museum of Art Bulletin', New ser., v. 2, no.
1 (Summer, 1943). .
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