Border-crossing and comedy at the Théâtre Italien, 1716-1723 / Matthew J. McMahan.
McMahan, Matthew J., author.
2021
PN2049 .M36 2021
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Title Border-crossing and comedy at the Théâtre Italien, 1716-1723 / Matthew J. McMahan.
Author McMahan, Matthew J., author.
Edition 1st ed.
ISBN 9783030700713 (electronic bk.)
3030700712 (electronic bk.)
3030700704
9783030700706
DOI https://doi.org/10.1007/978-3-030-70071-3
Published Cham : Palgrave Macmillan, 2021.
Language English
Description 1 online resource
Other Standard Identifiers 10.1007/978-3-030-70071-3 doi
Call Number PN2049 .M36 2021
Dewey Decimal Classification 792.0895104436109033
Summary How do nationalized stereotypes inform the reception and content of the migrant comedians work? How do performers adapt? What gets lost (and found) in translation? Border-Crossing and Comedy at the Theatre Italien, 1716-1723 explores these questions in an Early Modern context. When a troupe of commedia dellarte actors were invited by the French crown to establish a theatre in Paris, they found their transition was anything but easy. They had to learn a new language and adjust to French expectations and demands. This study presents their story as a dynamic model of coping with the challenges of migration, whereby the actors made their transnational identity a central focus of their comedy. Relating their work to popular twenty-first century comedians, this book also discusses the tools and ideas that contextualize the border-crossing comedians workincluding diplomacy, translation, improvisation, and parodyacross time. Matthew McMahan is the Assistant Director of the Center for Comedic Arts at Emerson College, USA, where he teaches the history of comedy, sketch, and improvisation.
Bibliography, etc. Note References -- 4 Bilingualism and Translation in Comedy -- Language Barriers -- Translations -- Macaronics -- Dialect Play in Italian Comedy -- Tempering Expectations -- The First Francophone Play -- Love, the Master of Tongues -- Conclusion -- References -- 5 Stereotypes, Self-Deprecation, and Refracted Satire -- Italian Volatility -- French Liberty -- Self-Deprecation -- L'Italien Marié à Paris -- L'Italien Francisé -- Le Jaloux -- Conclusion -- References -- 6 Improvisation, Emotion, and Nationalized Esthetics -- Improvisation Versus Déclamation -- The Italian Way -- Je Ne Sais Quoi.
Access Note Access limited to authorized users.
Source of Description Description based on print version record.
Series Transnational theatre histories.
Available in Other Form Border-crossing and comedy at the Théâtre Italien, 1716-1723.
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Intro
Acknowledgments
Contents
List of Figures
1 Introduction
Approach
Border-Crossing Comedy
Organization
References
2 The Italian Brand on the French Stage
France in Transition
Migrant Troupes, National Legacies
Failures, at Home and Abroad
First Impressions
Excellent Actors, Miserable Plays
Conclusion
References
3 Prologues, Metacomedy, and Cross-Cultural Rapport
Foreign Identities
Rapport
The Two Arlequins
Malleability
Comedy as Mode of Discourse
Comedy About Comedy
Comédie-Italienne Vs Comédie-Française
Conclusion

Limitations of Improvisation
Emotion
Conclusion
References
7 Parody as Transcultural Critique
Transcultural Parody
Practice in Eighteenth-Century France
Œdipe Travesti
Agnès de Chaillot
Defense of Parody
Conclusion
References
8 Epilogue
Other Italians in France
Cultural Improvisations
References
Index

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