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258 - Pantomime

from Part XXVI - Shakespeare and the Performing Arts

Published online by Cambridge University Press:  17 August 2019

By
John O’Brien
Edited by
Bruce R. Smith
Edited in association with
Katherine Rowe
With
Ton Hoenselaars ,
Akiko Kusunoki ,
Andrew Murphy  and
Aimara da Cunha Resende
Bruce R. Smith
Affiliation:
University of Southern California
Katherine Rowe
Affiliation:
Smith College, Massachusetts
Ton Hoenselaars
Affiliation:
Universiteit Utrecht, The Netherlands
Akiko Kusunoki
Affiliation:
Tokyo Woman’s Christian University, Japan
Andrew Murphy
Affiliation:
Trinity College Dublin
Aimara da Cunha Resende
Affiliation:
Universidade Federal de Minas Gerais, Brazil
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Keywords

commedia dell’arteentertainentHarlequinpantomimepopular performanceRich, JohnRichardson, SamuelRoman pantomimi dancersScala, FlamenioWeaver, John
Type
Chapter
Information
The Cambridge Guide to the Worlds of Shakespeare , pp. 1839 - 1844
Publisher: Cambridge University Press
Print publication year: 2016

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References

Sources cited

Barasch, Frances K. “Harlequin/Harlotry in Henry IV, Part One.” Italian Culture in the Drama of Shakespeare and His Contemporaries. Ed. Marrapodi, Michele. Aldershot: Ashgate, 2007. 27–38.Google Scholar
Clubb, Louise George. “Commedia Grave and The Comedy of Errors.” The Comedy of Errors: Critical Essays. Ed. Miola, Robert S.. New York: Garland, 1997.Google Scholar
Dobson, Michael. The Making of the National Poet: Shakespeare, Adaptation, and Authorship, 1660–1769. Oxford: Clarendon, 1992.Google Scholar
Giffard, Henry. Harlequin Student: or, the Fall of Pantomime, with the Restoration of the Drama. London: 1741.Google Scholar
Goldoni, Carlo. The Comic Theater. Trans. Miller, John W., introd. Cheney, Donald. Lincoln: U of Nebraska P, 1969.Google Scholar
Henke, R. Performance and Literature in the Commedia Dell’Arte. Cambridge: Cambridge University Press, 2002.Google Scholar
Lea, Kathleen M. Italian Popular Comedy. New York: Russell and Russell, 1934.Google Scholar
O’Brien, John. Harlequin Britain: Pantomime and Entertainment, 1690–1760. Baltimore: Johns Hopkins UP, 2004.Google Scholar
Riccoboni, Luigi. Histoire du Theatre Italien depuis la decadence de la Comedie Latine. Paris: 1728.Google Scholar
Richards, K., and Richards, L.. The Commedia dell’Arte: A Documentary History. Oxford: Blackwell, 1990.Google Scholar
Richardson, Samuel. Letters Written to and for Particular Friends, on the most Important Occasions. London: 1741.Google Scholar
Sadlak, Antoni N. “Harlequin Comes to England: The Early Evidence of the Commedia dell’arte in England and the Formulation of English Harlequinades and Pantomimes.” PhD diss. Tufts U, 1999.Google Scholar
Salerno, Henry F. Scenarios of the Commedia dell’Arte: Flaminio Scala’s Il Teatro delle favole Rappresentative. New York: Limelight, 1967.Google Scholar
Weaver, John. An Essay Towards an History of Dancing. London: Jacob Tonson, 1712.Google Scholar
Weaver, John. The Loves of Mars and Venus. London: Mears and Browne, 1717.Google Scholar

Further reading

Duchartre, Pierre L. The Italian Comedy. 1929. New York: Dover, 1966.Google Scholar
Grewar, Andrew. “Shakespeare and the Actors of the Commedia Dell’Arte.” Studies in the Commedia Dell’Arte. Ed. George, David J. and Gossip, Christopher J.. Cardiff: U of Wales P, 1993. 13–47.Google Scholar
Stott, Andrew. The Pantomime Life of Joseph Grimaldi: Laughter, Madness, and the Story of Britain’s Greatest Comedian. London: Canongate, 2010.Google Scholar
Worrall, David. Harlequin Empire: Race, Ethnicity, and the Drama of the Popular Enlightenment. London: Pickering and Chatto, 2007.Google Scholar

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