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Border-crossing and comedy at the Théâtre Italien, 1716-1723 / Matthew J. McMahan.

1st ed.

9783030700713 (electronic bk.)
3030700712 (electronic bk.)
3030700704
9783030700706

Cham : Palgrave Macmillan, 2021.

English

1 online resource

10.1007/978-3-030-70071-3 doi

PN2049 .M36 2021

792.0895104436109033

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.

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.

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Transnational theatre histories.

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