277 KB37 KB268 KB39 KB201520252017Bucik, KajaGantar, Jureštevilka:2letnik:5str. 56-84ISSN:1855-4539ISSN:1855-850XCOBISSID:239685632COBISSID:249943040URN:URN:NBN:SI:DOC-BIKDBME5enslAkademija za gledališče, radio, film in televizijoDruštvo gledaliških kritikov in teatrologov SlovenijeAmfiteater (Ljubljana)commedia dell'artedramski likiFlaminio ScalaGelosigledališčeItalijaItalypoliticspolitikathe GelositheaterIl Capitanovi številni sovražniki| commedia dell'atre as a political commentary on early modern Europe| Il Capitano's many enemies| commedia dell'arte kot politični komentar Evrope v zgodnjem novem veku|With its cast of stock characters who come from all parts of Italy, commedia dell%arte was from the very beginning not only an aesthetic phenomenon but also an intensely political genre of theatre that offered a virtual battleground for resolving regional grievances and settling outstanding political accounts. This paper demonstrates how the seemingly innocuous quarrels between the vecchi and the zanni could be read by their original audiences as a statement of Realpolitik. Using four scenarios from Flaminio Scala%s collection for the Gelosi company, the paper explores the relationships between the Capitano and the rest of the characters, and interprets them as a microcosm of the Italian political situation of the era. One of the most obvious consequences of the Italian Wars was the shift in the distribution of political power. This new reality is very clearly reflected in the structure of commedia scenarios where a stereotypical braggart warrior in Spanish employ undergoes a series of transformations. Perhaps the most reliable clue to his character is the location of the scenario. Capitanos from Roman and Venetian scenarios often substantially differ from those set in cities within the Spanish sphere of influence such as Naples or Genoa, but in both cases they reflect faithfully the political views of commedia%s target audience and its influential patrons. After the centre of commedia activity moves from Italy to France in the seventeenth century, the political dynamics of its plots changes, too, and the transplanted genre now becomes a primarily escapist form of entertainmentCommedia dell'arte je bila z naborom tipiziranih likov, ki prihajajo z vseh koncev Italije, od nekdaj tako estetski fenomen kot tudi izrazito političen gledališki žanr, ki je ponujal nadomestno bojno polje za reševanje regionalnih zamer in plačevanje neporavnanih političnih računov. Članek poskuša pokazati, kako lahko občinstvo navidezno neškodljive prepire med vecchiji in zanniji pravzaprav bere kot odraz Realpolitik. Na podlagi štirih scenarijev iz zbirke Flaminia Scale za skupino Gelosi članek raziskuje razmerja med Capitanom in drugimi liki in jih interpretira kot mikrokozmos italijanskega političnega položaja tistega časa. Ena najočitnejših posledic italijanskih vojn je bila prerazporeditev politične moči. To novo resničnost jasno odraža struktura scenarijev commedie, kjer stereotipni bahavi vojščak, ki služi Španiji, podleže celi vrsti preobrazb. Najzanesljivejši namig na njegov značaj je prav dogajalni prostor scenarija. Capitani iz rimskih ali beneških scenarijev so pogosto povsem drugačni od tistih, ki so postavljeni v območje španskega vpliva, npr. v Neapelj ali Genovo, toda v obeh primerih zvesto odražajo politična prepričanja ciljne publike commedie in njenih vplivnih pokroviteljev. Potem ko se v sedemnajstem stoletju središče dogajanja commedie premakne iz Italije v Francijo, se spremeni tudi politična dinamika zgodb, premeščeni žanr pa postane predvsem eskapistična oblika zabaveTEXTznanstveno časopisjejournalsSlovenian National E-content AggregatorNational and University Library of SloveniaSlovenski gledališki inštitut (SLOGI)