20:
143:, for his performance to a Parisian audience. His character wore a linen costume of colourful patches, and a hare-tail on his cap to indicate cowardice, a black leather half-mask, a moustache and a pointed beard. It is also plausible that Martinelli used a tail or plume to imitate the style of the Bergamask people native to the region where Arlecchino is typically depicted as being from.
177:
territories. Martinelli, in service of the Duke, acted as both police and a tax collector for the actors and other street performers and merchants. A decree from the Duke mandated that
Arlecchino and Martinelli were superior to all other performers and street vendors, and that all were required to
227:
urged him to return to Paris in 1611; after some careful advance publicity he arrived in Paris and played for the court from August 1613 to July 1614. The
Italian players were immensely popular in Paris, with Tristano writing that, "The comedy was most successful, contrary to all expectation; but
235:
Martinelli returned in 1621 to play for the court of Louis XIII and remained in Paris through 1624, going so far as to accompany the King to
Fontainebleau and back. His company is recorded to have had 10-11 members in 1621.
207:
He is documented as having toured in Italy, France, Spain, Austria, and
Bohemia. He and his brother, Drusiano are first recorded in Spain as early as 1587, along with Drusiano's wife. They joined with a troupe called
192:, a renowned actress in her own right, wrote to a Cardinal in 1611 to demand that Martinelli not be granted a license to create his own theatrical company, as she believed it would be purely self-serving.
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have a license from
Tristano in order to perform, lest they be heavily fined. It was also declared that Arlecchino would act as a supervisor for public events as the Duke's personal representative.
195:
He was the most famous harlequin of his generation, pressed to divide his time between Mantua and the court of France. Martinelli played
Arlecchino for several famous companies, including
255:
Martinelli commissioned numerous dramatic portraits of himself, three of which he sent to France when wishing to return to that country in 1626. One may have been
232:
was willing to hold the child at the christening of one of
Martinelli's children in 1614. They returned to Italy in 1614, where Martinelli remained until 1620.
181:
Martinelli's personality and the appeal of his character created tension with other players, particularly the
Andreini, who felt that he was usurping the
413:
The
Italian Comedy: The Improvisation Scenarios Lives Attributes Portraits and Masks of the Illustrious Characters of the Commedia dell'Arte
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676:
613:. The association of the name Martinelli with the portrait was first documented in 1912, when a copy in pastel, attributed to
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The comedy was most successful, contrary to all expectation; but they are wild about comedies here so everything seems good.
173:, with a regular stipend, about 1596–97. Within a few years he was overseeing all the professional acting troupes in the
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character it resembled. The name
Herlequin likely came from Helle-kin, an Old French derivative of the Germanic
646:
The Art of Commedia: A Study in the Commedia dell'Arte, 1560-1620, with Special Reference to the Visual Records
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The Art of Commedia: A Study in the Commedia dell'Arte, 1560-1620, with Special Reference to the Visual Records
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The Art of Commedia: A Study in the Commedia dell'Arte, 1560-1620, with Special Reference to the Visual Records
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were held in Turin for quite a while, as the Savoyard Duke was so enamored with their performance.
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Martinelli was active in France in 1584 to 1585, where he presumably first acted in his
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Rühlemann, Martin. (1912). "Etymologie des Wortes harlequin und verwandter Wörter",
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Commedia Dell' Arte and the Mediterranean: Charting Journeys and Mapping "Others"
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He chose the name Harlequin (Arlequin) after the name of the popular French
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yet Tristano Martinelli would follow his name in 1590s signatures with "'
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Inventaire de tous les meubles du Cardinal Mazarin. Dressé en 1653...
577:. Charlottesville, VA: University Press of Virginia. pp. 17–18.
79:
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pp. 153–154. Chemnitz ; Leipzig: Gronau. PPN3456170025856
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136:
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The World of Harlequin: A Critical Study of the Commedia dell'Arte
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Arlecchino first clearly appears in Martinelli's 1601 publication
248:. Martinelli is known to have addressed himself later in life as
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of 1584, he picked a name taken from French folklore, the devil
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328:(Florence) 1896:12, noted by Askew 1978:64 note 32; M.K. Lea,
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Inventoried as "Harlequin, sur toile, par Fety" in 1653 (see
314:. New York: Coward-McCann, Inc. pp. 77–79, 140–141, 165.
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they are wild about comedies here so everything seems good."
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tradition. He is probably the first actor to use the name "
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72:, the "Master of Harlequins", was an Italian actor in the
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in 1601, then returned to Mantua. On their way to Paris,
648:. Amsterdam & New York: Rodopi B. V. pp. 103.
627:(1978). "Fetti's 'Portrait of an Actor' Reconsidered",
532:. New York: Benjamin Blom. pp. 59, 63, 154, 167.
386:. Amsterdam & New York: Rodopi. pp. 103–104.
346:. Amsterdam & New York: Rodopi. pp. 103–104.
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Etymologie des Wortes harlequin und verwandter Wörter
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542:
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s traditional position at the top of the hierarchy.
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Zeitschrift für französische Sprache und Literatur.
617:(1732–1806), was sold in Paris (Askew 1978, p. 64).
292:. New York: Hill and Wang. pp. 59–60, 138–139.
539:
668:
633:, vol. 120, no. 899 (February), pp. 59–65.
445:. Leipzig: Gronau. pp. 153–154 – via
110:character prior to Martinelli's time in Paris.
416:. New York: Dover Publications, Inc. pp.
562:. New York: Benjamin Blom, Inc. p. 178.
486:(New York, 1912:63. (Askew 1978:64 note 33).
482:The decree is translated in Winifred Smith,
609:). An inventory of 1661 gives it the title
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575:The Commedia dell'Arte in Paris 1644-1697
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500:. New York, NY: Routledge. p. 35.
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371:. London: Cambridge University Press.
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102:role. There is no mention of the
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558:Kennard, Joseph Spencer (1964).
447:http://www.digizeitschriften.de/
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441:RĂĽhlemann, Martin (1913).
367:Nicoll, Allardyce (1963).
201:La Compagnia Degli Accesi,
644:Katritzky, M. A. (2006).
382:Katritzky, M. A. (2006).
342:Katritzky, M. A. (2006).
288:Oreglia, Giacomo (1968).
171:Duke Ferdinando I Gonzaga
573:Scott, Virginia (1990).
528:Smith, Winifred (1964).
310:Smith, Winifred (1930).
197:La Compagnia Dei Desiosi
630:The Burlington Magazine
215:by 1599 and played for
530:The Commedia dell'Arte
484:The Commedia dell'Arte
330:Italian Popular Comedy
290:The Commedia dell'Arte
119:detto Arlechino comico
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70:Dominus Arlecchinorum
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324:Jarro (G. Picceni),
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154:(Elf-King), or from
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560:The Italian Theatre
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548:Askew 1978, p. 64.
242:Francesco Andreini
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273:References
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82:" for the
702:Harlequin
615:Fragonard
455:cite book
169:court of
141:Herlequin
108:Harlequin
94:Biography
80:Harlequin
265:, since
238:I Fideli
221:I Accesi
217:Henri IV
152:Erlkönig
137:Carnival
135:For the
100:Arlequin
418:135–136
175:Gonzaga
167:Mantuan
84:secondo
40:–1622,
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