'Death and resurrection' in the English Folk Play and Italian Commedia
Abstract
A common theme that runs through both the English folk play and many of the stories of the Italian Commedia dell'Arte is that of death and resurrection. In the latter, this generally involves the character or 'mask' of Pulcinella/Punchinello, who is frequently killed through misadventure or executed as a result of some misdemeanor, but revived through some intervention, usually magical or demonic. In the English Folk Play (or 'Mummers' play) this theme is even more central to the basic story: the hero kills (or gets killed by) his rival, usually as a result of conflict over a woman, but all is resolved when the 'doctor' steps in to revive the fallen champion.
Whether there is any direct link between these two theatrical forms is rather difficult to determine, although various hypotheses might be made. At some point in the late 17th or 18th century the Italian character Punchinello becomes the 'Mr Punch' of the English 'Punch & Judy' show - presumably through the introduction of travelling puppet theatre versions of Italian commedia (initially) or later as versions of the English pantomime, as a cost-effective way of bringing such entertainments to the general populace. It is a relatively short step from there to seeing Punch as a sort of 'everyman' hero able to escape from any threatened execution or be revived from death at the hands of an opponent. Of course, the character must live on if only to ensure the continuation of the drama. The St George of the Folk Play as the embodiment of Mr Punch (though without the wife-beating aspect!) is an easy transition to make.
This is not our real interest here, however. 'Death and resurrection' is a primary theme of many religions and 'world-views', not only of Christianity, and it is this aspect of the popular drama that we wish to explore. In many ways the Italian Commedia dell'Arte has addressed this with rather more sophistication (and certainly with greater variety) than has the English Folk Play. By looking at the ways in which commedia has dealt with it, and the range of underlying interpretations, we may gain a better insight into its possible significance within the Folk Play context.
In particular, we may consider the interpretation given to this theme by the Venetian painter Domenico Tiepolo. Towards the end of the 18th century - at a time when the Grand Tour was at its height - this artist created a vast series of illustrations featuring Punchinello, including several showing the death and resurrection of this character. These and similar works may well have influenced a sophisticated English audience and created an awareness of the deeper layers of meaning to be found within even such rustic productions as the Folk Play.
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About the author
Bill Tuck is a director of theatre company Chalemie and performs in commedia with Barry Grantham's Intentions Commedia Company. He also has considerable experience as a musician in a number of fields. An interest in early music led him to study baroque flute at the Guildhall School of Music in London and then to become involved in the problems of stage production of early music theatre and dance. At the same time he pursued an academic career as research fellow and lecturer in several universities. Since retiring from UCL several years ago he has devoted himself entirely to musical and theatrical interests. He holds a PhD in Mathematics and an OU Diploma in Music.
Last year, Bill spoke on 'Experiments in the reconstruction of early 18th century English pantomime'
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