The myth of the Commedia dell’arte

What is the theatre of the Italian professional performers who travelled and established themselves, from the late sixteenth century onwards, in the courts and theatres of Europe — the form we call “commedia dell’arte”? In retrospect, it is seen as a theatre of masks, lazzi and actors performing on public stages. At its origin, however, lay the actors’ and actresses’ ability to “concertare”: to coordinate and improvise together. Its roots go back to ancient practices: mime as a theatrical genre with its own autonomy, distinct from the major genres. Between history and myth — as Ariane Mnouchkine has said — it is the kind of theatre people often draw inspiration from without knowing exactly what it is. Or, to use an image by Ferdinando Taviani, it is the constellation we believe shapes us, but onto which we in fact project our own hopes and expectations.