Zanni, Zani or Zane is a character type of commedia dell'arte best known as an astute servant and a trickster. The Zanni comes from the countryside and is known to be a "dispossessed immigrant worker". Through time, the Zanni grew to be a popular figure who was first seen in commedia as early as the 14th century. The English word zany derives from this character. The longer the nose on the characters mask, the more foolish the character.
Pierrot, a stock character of pantomime and commedia dell'arte, has his origins in the late 17th-century Italian troupe of players performing in Paris and known as the Comédie-Italienne. The name is a diminutive of Pierre (Peter), using the suffix -ot and derives from the Italian Pedrolino. His character in contemporary popular culture—in poetry, fiction, and the visual arts, as well as works for the stage, screen, and concert hall—is that of the sad clown, often pining for love of Columbine. Performing unmasked, with a whitened face, he wears a loose white blouse with large buttons and wide white pantaloons. Sometimes he appears with a frilled collaret and a hat, usually with a close-fitting crown and wide round brim and, more rarely, with a conical shape like a dunce's cap.
Michael McClure was an American poet, playwright, songwriter, and novelist. After moving to San Francisco as a young man, he found fame as one of the five poets who read at the famous San Francisco Six Gallery reading in 1955, which was rendered in barely fictionalized terms in Jack Kerouac's The Dharma Bums. He soon became a key member of the Beat Generation and was immortalized as Pat McLear in Kerouac's Big Sur.
The Fillmore is a historic music venue in San Francisco, California.
Bill Graham was a German-born American impresario and rock concert promoter.
Grammelot is an imitation of language used in satirical theatre, an ad hoc gibberish that uses prosody along with macaronic and onomatopoeic elements to convey emotional and other meaning, and used in association with mime and mimicry. The satirical use of such a format may date back to the 16th-century commedia dell'arte; the group of cognate terms appears to belong to the 20th century.
Saul Landau was an American journalist, filmmaker and commentator. He was also a professor emeritus at California State Polytechnic University, Pomona, where he taught history and digital media.
Vito Giusto Scozzari, also known as Vito Scotti, was an American character actor who played both dramatic and comedy roles on Broadway, in films, and later on television, primarily from the late 1930s to the mid-1990s. He was known as a man of a thousand faces for his ability to assume so many divergent roles in more than 200 screen appearances in a career spanning 50 years and for his resourceful portrayals of various ethnic types. Of Italian heritage, he played everything from a Mexican bandit, to a Russian doctor, to a Japanese sailor, to an Indian travel agent.
El Teatro Campesino is a Chicano theatre company in California. Performing in both English and Spanish, El Teatro Campesino was founded in 1965 as the cultural arm of the United Farm Workers and the Chicano Movement with the "full support of César Chávez." Originally based in Delano, California, during the Delano Strike, the theatre is currently based in San Juan Bautista, California.
Luis Miguel Valdez is an American playwright, screenwriter, film director and actor. Regarded as the father of Chicano film and playwriting, Valdez is best known for his play Zoot Suit, his movie La Bamba, and his creation of El Teatro Campesino. A pioneer in the Chicano Movement, Valdez broadened the scope of theatre and arts of the Chicano community.
I Gelosi was an Italian acting troupe that performed commedia dell'arte from 1569 to 1604. Their name stems form their motto: Virtù, fama ed honor ne fèr gelosi, long thought to mean "Virtue, fame and honour made us jealous", or "We are jealous of attaining virtue, fame, and honour", signifying that such rewards could only be attained by those who sought for them jealously. Modern reevaluations have considered "zealous" as a more accurate translation over "jealous", redefining their motto to signify that, as actors, they were zealous to please.
Carlo Mazzone-Clementi was a performer and founder of two schools of commedia, mime and physical theater as well as a contemporary and colleague of leaders of modern European theater. From his arrival in the US in 1957, he was largely responsible for the spreading of commedia dell'arte in North America.
Guerrilla theatre, generally rendered "guerrilla theater" in the US, is a form of guerrilla communication originated in 1965 by the San Francisco Mime Troupe, who, in spirit of the Che Guevara writings from which the term guerrilla is taken, engaged in performances in public places committed to "revolutionary sociopolitical change." The group performances, aimed against the Vietnam War and capitalism, sometimes contained nudity, profanity and taboo subjects that were shocking to some members of the audiences of the time.
Devised theatre – frequently called collective creation – is a method of theatre-making in which the script or performance score originates from collaborative, often improvisatory work by a performing ensemble. The ensemble is typically made up of actors, but other categories of theatre practitioners may also be central to this process of generative collaboration, such as visual artists, composers, and choreographers; indeed, in many instances, the contributions of collaborating artists may transcend professional specialization. This process is similar to that of commedia dell'arte and street theatre. It also shares some common principles with improvisational theatre; however, in devising, improvisation is typically confined to the creation process: by the time a devised piece is presented to the public, it usually has a fixed, or partly fixed form. Historically, devised theatre is also strongly aligned with physical theatre, due at least in part to the fact that training in such physical performance forms as commedia, mime, and clown tends to produce an actor-creator with much to contribute to the creation of original work.
Fratelli Bologna is a business theater company based in San Francisco.
Commedia dell'arte was an early form of professional theatre, originating from Italian theatre, that was popular throughout Europe between the 16th and 18th centuries. It was formerly called Italian comedy in English and is also known as commedia alla maschera, commedia improvviso, and commedia dell'arte all'improvviso. Characterized by masked "types", commedia was responsible for the rise of actresses such as Isabella Andreini and improvised performances based on sketches or scenarios. A commedia, such as The Tooth Puller, is both scripted and improvised. Characters' entrances and exits are scripted. A special characteristic of commedia is the lazzo, a joke or "something foolish or witty", usually well known to the performers and to some extent a scripted routine. Another characteristic of commedia is pantomime, which is mostly used by the character Arlecchino, now better known as Harlequin.
Kenneth Sawyer Goodman Dewey (1934-1972) was an American performance artist, playwright, and director who was active in the happening and action theatre movements in the U.S. and throughout Europe in the 1960s and early 1970s.
Jane Norling is a visual artist active in San Francisco Bay Area cultural venues since 1970. Her work addresses social & environmental justice and aesthetic concerns through public art, graphic design, painting, printmaking & small press publishing. She graduated from Bennington College in 1968 with a Bachelor of Arts in Visual Arts and began her career designing books at Random House before relocating to San Francisco in 1970.
Darryl Henriques is an author, satirist, stand-up comedian, and actor on stage and radio, and in TV and film.
The theatre of Italy originates from the Middle Ages, with its background dating back to the times of the ancient Greek colonies of Magna Graecia, in Southern Italy, the theatre of the Italic peoples and the theatre of ancient Rome. It can therefore be assumed that there were two main lines of which the ancient Italian theatre developed in the Middle Ages. The first, consisting of the dramatization of Catholic liturgies and of which more documentation is retained, and the second, formed by pagan forms of spectacle such as the staging for city festivals, the court preparations of the jesters and the songs of the troubadours.
