169:
239:. Scala also held the position as director with the Ganassa Company from 1571 up until practicing under Francesco Andreini in 1577. Members of the company included Vittoria Piisimi, Isabella Arreini, Lodovico da Bologna, Giulio Pasquati, Simone da Bologna, Gabriele Panzanini, Orazio Nobili and a host of other notable playmakers. Records also show that Scala also invested his time into another theatre company under the name Confidenti, which also ended up being successful. Confidenti made a home for itself in France in the year 1571. While the company had established a positive reputation for itself, much of its members were shareholders. This stock character made up the male half of the pair of young lovers that were central to the plots of scenarios in Italian
303:
essential movements and skills involved in the staging of some stock characters that Scala uses in his work; physical skills such as sword handling, dancing, singing, and the use of musical instruments might need to be known and used. Another important aspect that Scala emphasized is the use of facial expressions, with or without a mask on the actor. Masks were worn for some stock characters, such as
Burattino, but sometimes the mask would not cover the full face, or the mask would need to be used in such a way to really accentuate the facial features and movements of the character's head. Thus, the importance of gesturing in the face and with the body is needed for fully portraying Scala's work.
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action to be done by the actor. It is unknown as to why Scala chose to format his work like this. Evidence suggests that the Scala collection may have been written to cater to both actors and recreational readers. Between the seventeenth and eighteenth century's collections, documentation proves that 750 canovacci have survived over time. The collection has been translated into
English by Henry F. Salerno in 1967 as
315:, Italy, on 27 September 1552. Little is known about his early life and his aristocratic family, except that his father's name was Giacomo. Scala is thought to have one recorded child, a daughter named, Orsola. Orsola is documented to be an active actress, normally playing the role of Flaminia, a play on femininity of Scala's first name.
382:
in the sixteenth and early seventeenth century in Europe. At this time, audiences were seeking out ways to cope with stress and dissociate from lives in which they felt trapped by "widespread dissimulation" (Schmitt, 2015). Scala related much of his work to the topic of dissimulation which had become
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was a very expressive and physical art form and furthers the importance of expressive body and facial gestures. Scala provided the lines and written language for the verbal aspect of the performance, but the portrayal also requires a very physicalized manner. Actors should understand that there are
343:
also called the Scala collection. Out of the fifty scenarios, only one is considered a tragedy, nine are considered elaborate fantasies and the remaining forty are comedies. Scala's approach to creating was unique. His scenarios did not require dialogue. The scenarios only provide in detail the
140:, scenario writer, playwright, director, producer, manager, agent, and editor. Considered one of the most important figures in Renaissance theatre, Scala is remembered today as the author of the first published collection of commedia scenarios,
1024:
Il teatro delle favole rappresentative, overo La ricreatione comica, boscareccia, e tragica: Divisa in cinquanta giornate, composte da
Flaminio Scala detto Flavia Comico del Sereniss. Sig. Duca di Mantova.
366:'s 1974 novel of the same name. During the musical's original Pittsburgh run, Flaminio Scala was played by Paul Schoeffler. For the New York run, the role was played by
348:. A new Italian edition edited by Ferruccio Marotti was published in 1976. A new partial translation (30 scenarios out of 50) by Richard Andrews was published in 2008.
404:
Richard
Andrews (in the Introduction to Scala 2008) gives Scala's date of birth as 27 September 1552 and states it is based on a will that Scala drew up in 1616 (see
235:, Scala became the company's resident stock character, Flavio. Much of the company had been made up of actors who were seeking work after separating themselves from
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247:
were as much in love with one another as they were with themselves and frequently kept apart by circumstances outside their control.
1135:
1130:
1093:
Schmitt. (2015). Dissimulation in the
Commedia dell'Arte Scenarios of Flaminio Scala, 1611. New Theatre Quarterly, 31(4), 312–328.
370:. In the Canadian premiere by the Toronto Civic-Light Opera Co., Scala was played by the company's artistic director, Joe Cascone.
266:(whose stage name was Capitan Spavento), went on to become such a celebrated actress in her own right that a new role known as the
294:
Scala"s writings called for a specific facility in order for his scenarios to be performed – they called for a great amount of
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Schmitt, Natalie Crohn. "The Style of
Commedia dell'Arte Acting: Observations Drawn from the Scenarios of Flaminio Scala."
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Scala's career as an actor began sometime prior to 1577 in
Florence, where he is thought to have played the role of the
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262:, making him considered the stage's first professional producer. Isabella, the sixteen-year-old wife of the actor
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Comici dell'Arte: Corrispondenze G. B. Andreini, N. Barbieri, P. M. Cechini, S. Fiorillo, T. Martinelli, F. Scala
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was created in her honor. She later died while traveling from Paris to Italy in 1604. Following his work with
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Cappelletti, Salvatore (2008). "Flaminio Scala (27 September 1552-9 December 1624)", pp. 244–249 in
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so prevalent and this connection can be seen in multiple ways throughout his work (Schmitt, 2015).
976:, volume 339, edited by Albert N. Mancini and Glenn Palen Pierce. Detroit: Gale Cengage Learning.
631:"The Style of Commedia dell'Arte Acting: Observations Drawn from the Scenarios of Flaminio Scala"
362:, with book and music by Lynn Ahrens and Stephen Flaherty. The New York production was based on
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Scenarios of the
Commedia dell'Arte: Flaminio Scala's Il Teatro delle Favole Rappresentative
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The
Commedia dell'arte of Flaminio Scala: A Translation and Analysis of 30 Scenarios
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Seventeenth-Century
Italian Poets and Dramatists. Dictionary of Literary Biography
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990:"Those Smutty, Nutty Kids With Heart, Treading the Boards in Merry Olde Italy"
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860:"Those Smutty, Nutty Kids With Heart, Treading the Boards in Merry Olde Italy"
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Scala is credited with bringing the famous sixteenth-century actress and poet
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924:"Dissimulation in the Commedia dell'Arte Scenarios of Flaminio Scala, 1611"
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1090:, vol. 28, no. 4, 2012, pp. 325–333. doi:10.1017/s0266464x12000620.
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130:(27 September 1552 – 9 December 1624), commonly known by his stage name
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short comic plays that served as inspiration to playwrights such as
208:(1568–1604), whose name was established after the company's creed:
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1041:, foreword by Kenneth McKee. New York: New York University Press.
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The World of Harlequin: A Critical Study of the Commedia dell'Arte
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The World of Harelquin: A Critical Study of the Commedia dell'Arte
592:
The World of Harlequin: A Critical Study of the Commedia dell'Arte
532:
The World of Harlequin: A Critical Study of the Commedia dell'Arte
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Landolfi, Domenica (1993). "Flaminio Scala", pp. 437–449 in
741:"How — and Why — Does One Print Scenarios? Flaminio Scala, 1611"
373:
298:. Within the style and staging of Scala's works, he understood
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Scala, Flaminio; Salerno, Henry F., translator (1967).
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Scala, Flaminio; Andrews, Richard, translator (2008).
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Scala, Flaminio; Marotti, Ferruccio, editor (1976).
549:. New York: Dover Publications, Inc. pp. 74–75.
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We are jealous of attaining virtue, fame, and honour
564:. New York: A Dramabook Hill and Wang. p. 140.
504:. New York: A Dramabook Hill and Wang. p. 140.
695:. Cambridge at The University Press. p. 171.
680:. Cambridge at The University Press. p. 171.
594:. Cambridge at the University Press. p. 166.
579:. Cambridge at The University Press. p. 172.
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728:. New York: Dover Publications, Inc. p. 51.
609:. New York: Dover Publications, Inc. p. 60.
489:. New York: Dover Publications, Inc. p. 74.
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335:In 1611 Scala published the first collection of
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922:Schmitt, Natalie Crohn (November 2015).
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142:Il Teatro delle Favole Rappresentative,
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1054:Il Teatro delle Favole Rappresentative
1026:. Venice: Giovanni Battista Pulciani.
988:Isherwood, Charles (6 November 2007).
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286:(United Ones) from 1579 through 1596.
119:Il Teatro delle Favole Rappresentative
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16:Italian playwright and stage actor
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519:. A Dramabook: Hill and Wang.
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352:Appearance in popular culture
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940:10.1017/S0266464X15000640
724:Duchartre, Pierre Louis.
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605:Duchartre, Pierre Louis.
560:Oreglia, Giacomo (1968).
515:Oreglia, Giacomo (1968).
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470:Oreglia, Giacomo (1968).
455:Oreglia, Giacomo (1968).
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1022:Scala, Flaminio (1611).
899:The Civic-Light Opera Co
757:10.1179/007516306X96674
339:plays, under the title
1056:. Milan: Il Polifilo.
1032:Bavarian State Library
577:The World of Harlequin
562:The Commedia dell'Arte
517:The Commedia dell'Arte
502:The Commedia dell'Arte
472:The Commedia dell'Arte
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319:The Scala Collections
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839:"The Glorious Ones"
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607:The Italian Comedy
547:The Italian Comedy
500:Oreglia, Giacomo.
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359:The Glorious Ones
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276:i Accesi
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268:Isabella
256:I Gelosi
177:I Gelosi
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93:director
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844:Variety
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