The World of Harlequin: A Critical Study of The Commedia Dell Arte by Allardyce Nicoll

Abstract

Reviews 181 AUardyce Nicoll. The World of Harlequin: A Critical Study of The Commedia Dell Arte. Cambridge: Cambridge University Press, 1976. Pp. xv + 243. $9.95. It is a rare thing indeed to have the opportunity to review a book that is a reprint of a volume now 14 years old, and which was highly esteemed at the time it originally was issued. In 1963 Cambridge Uni­ versity Press brought out Allardyce Nicoll’s The World of Harlequin. The edition sold out within a reasonable time and has remained out of print since then. The Cambridge Press has recently reissued the book (1976) in paperback format, possibly to make it more economically available. The new edition is the identical book reprinted from the original plates of the 1963 edition with a single change; the colorplate frontispiece has been omitted, which is regrettable, but hardly a monu­ mental loss. There is little need here to reinforce the pretensions of Allardyce Nicoll to theatre research or theatre scholarship. From the publication of The Development of the Theatre (1927) his writings have gained world recognition. This early book, which presented the whole panoply of Western theatre from its beginnings on up, touched perceptively but briefly on all great theatre forms and periods. Many of his publications since then have been attempts to “flesh out” these several periods in greater detail. Such books as Masques, Mimes and Miracles, Stuart Masques and the Renaissance Stage, British Drama, and others were part of this process. To these now must be added The World Of Harle­ quin which provides form and detailed color to the account of the Commedia Dell Arte. One may hazard a guess that Professor Nicoll was spurred on to this research after seeing a performance by the Piccolo Teatro of Milan of Carlo Goldoni’s II Servatore Di Due Padrone featuring a stunning characterization by Marcello Moretti in the role of Arlecchino. Indeed, Mr. Nicoll implies as much and his enjoyment is reflected in the title of the book The World Of Harlequin. The fascination of our modem theatre for the Renaissance improvised stage of the Commedia Dell Arte has produced many, many books. Some are brilliant, such as Pierre Louis Duchartre’s The Italian Comedy; some are palpably thin and tend toward mere adulation. Mr. Nicoll’s volume must now be included in the list of excellent studies, for within its own self-imposed limitations it provides many new insights. The World Of Harlequin begins in the year of 1550. At that time the Commedia had already achieved the superb comic form, characteri­ zations, individualized and distinctive costumes so familiar to us. Du­ chartre’s book takes the Commedia story back to its possible roots in Roman Comedy and the Atellan Farces, pointing out the amazing parallels and similarities to the ancient comic plots and type characters of classic Rome. Professor Nicoll avoids this by suggesting that the record of origins is too dim and that there is no evidence to explain this extra­ ordinary notion that these plots and characters remained in the Italian racial memory for some 1700 years. He states: “Nothing is said here concerning the origins of Commedia Dell Arte . . . partly because it 182 Comparative Drama throws but little light on the qualities inherent in the Italian improvised theatre from 1550 onwards.” This results in the picture of a theatre that burst, like Athena, fully formed from the forehead of Zeus into the exciting world of the Renaissance. This is all very well, and is no doubt excellent scholarship; yet one can hardly help wondering how it evolved into such glory. Nevertheless, once launched, the accounts of the troupes from that magical date of 1550, are full and detailed. The evidence he summons, and there are records galore by this date, is presented with affectionate and enthusiastic care. As with Duchartre, Nicoll relies heavily on the existing scenarios; most notably on the collection assembled by Flaminio Scala in his 11 Teatro Délie Frivole Rappresentative of 1611. To these scenarios he brings an imaginative and recreative sense, fleshing out the bare plot outlines with a sure knowledge of the characteristic perform­ ances of each actor shown in the...