Commedia dell’Arte in Context - Title page

pp iii-iii

Copyright page

pp iv-iv

Contents

pp v-vii

Notes on Contributors

pp viii-xiv

Acknowledgements

pp xv-xvi

Introduction

pp 1-14

Part I - Elements

pp 15-64

1 - Knots and Doubleness

pp 17-33

2 - Popular Traditions, Carnival, Dance

pp 34-45

3 - Notebooks, Prologues and Scenarios

pp 46-55

4 - Between Improvisation and Book

pp 56-64

Part II - Commedia dell’Arte and Europe

pp 65-130

5 - Journeys

pp 67-75

6 - France

pp 76-88

7 - The Iberian Peninsula

pp 89-97

8 - German-Speaking Countries

pp 98-105

9 - Eighteenth-Century Russia

pp 106-114

10 - England

pp 115-122

11 - Northern Europe

pp 123-130

Part III - Social and Cultural Conflicts

pp 131-164

12 - Commedia dell’Arte and the Church

pp 133-148

13 - Commedia dell’Arte and Dominant Culture

pp 149-164

Part IV - Opera, Music, Dance, Circus and Iconography

pp 165-226

14 - Commedia dell’Arte in Opera and Music 1550–1750

pp 167-176

15 - From Mozart to Henze

pp 177-185

16 - Commedia dell’Arte in Dance

pp 186-194

17 - The Circus and the Artist as Saltimbanco

pp 195-207

18 - Iconography of the Commedia dell’Arte

pp 208-226

Part V - Commedia dell’Arte from the Avant-Garde to Contemporary Theatre

pp 227-310