CHAPTER XI.
Italian Pantomime—Riccoboni—Broom's "Antipodes"—Gherardi—Extemporal Comedies—Salvator Rosa—Impromptu Acting.
Pantomime in Italy had two distinct features, one a species of buffoonery, termed Lazzi, and the other Extemporal or Improvised Comedies.
"Lazzi," mentions Riccoboni, in his "Histoire du Theâtre Italien," is a term corrupted from the old Tuscan Lacci, which signifies a knot, or something that connects. (Both the Lazzi and the Extemporal Comedies were all derived from the one original source, that of the Satirical drama of the Greeks, and perpetuated in the Fabulae Atellanae or Laudi Osci of Italy.)
Riccoboni continues: "These pleasantries, called Lazzi, are certain actions by which the performer breaks into the scene, to paint to the eye his emotions of panic or jocularity; but as such gestures are foreign to the business going on, the nicety of the art consists in not interrupting the scene, and connecting the Lazzi with it; thus to tie the whole together."
Lazzi is what we might term "bye play," which, by gesture and action, could not detract, but rather added to the effectiveness of the scene in progress.
In Broom's "Antipodes," which was performed at the Salisbury Court Theatre, London, in 1638, a by-play, as he calls it, is represented in this comedy—"A word (explains Malone) for the application of which we are indebted to this writer, there being no other term in our language that I know of, which so properly expresses that species of Interlude which we find in our poet's 'Hamlet,' and other pieces."
Riccoboni, in describing some Lazzi, says that Harlequin and Scapin being in a famished condition, Scapin, in order to bring their young mistress out, asks Harlequin to groan. Scapin explains to her the reason, and while they are talking, Harlequin is performing his Lazzi. This consists of eating an imaginary hatful of cherries, and throwing the stones at Scapin; or catching imaginary flies, and chopping off their wings.
"Lazzi," we are told, "although they seem to interrupt the progress of the action, yet in cutting it they slide back into it, and connect or tie the whole."
When Riccoboni and his company first appeared in France, though being unable to speak nothing but Italian, their audiences, though not being able to understand the words, yet the performers were such past-masters in the Mimetic Art that their representations were just as intelligible and as expressive as if they had been with words.
Gherardi, in his treatise, "Theâtre Italien," speaks of a Scaramouch, who, waiting for his master, Harlequin, seats and plays on the guitar. Suddenly, by Pasquariel, he is thrown into a fright. "It was then," says Gherardi, "that incomparable model of our most eminent actors displayed the miracles of his art; that art which paints the passions in the face, throws them into every gesture, and through a whole scene of frights upon frights, conveys the most powerful expression of ludicrous terror. This man moved all hearts by the simplicity of nature, more than skilful orators can with all the charms of persuasive rhetoric."
The Extemporal Comedies were all improvised, the actors underwent no rehearsal, and, as the name denotes, everything was impromptu. The Scenario, or plot, had just simply the scenes and the characters set forth, and it was then hung in a conspicuous place on the stage; and just in a similar way as the gas or lime light "plots" are affixed in present day theatres, though the Scenarios were not as elaborate as what some of our gas or limelight "plots" are.
Before going on the stage, the Mimes just inspected the Scenario of the Comedia Del' Arte, and for the dialogue and action everything depended solely upon their Pantomimic genius.
Disraeli mentions that men of great genius had a passion for performing in these Extemporal Comedies, and, amongst others, the great painter, Salvator Rosa. A favourite character of Rosa's was that of Formica, a Clown of Calabria. Passeri, in his life of Rosa, tells the following anecdote:—
One summer, Salvator Rosa joined a company of young persons, who were curiously addicted to the making of Comedie all' Improviso. In the midst of a vineyard they raised a rustic stage, under the direction of one Mussi, who enjoyed some literary reputation, particularly for his sermons preached in Lent.
Their second Comedy was numerously attended, and I went among the rest. I sat on the same bench by good fortune with Cavalier Bernini, Romanelli, and Guido, all well-known persons. Salvator Rosa, who had already made himself a favourite with the Roman people, under the character of Formica, opened with a prologue in company with other actors. He proposed for relieving themselves of the extreme heats and ennui that they should make a Comedy, and all agreed. Formica (Rosa) then spoke (in the satirical Venetian dialect) these exact words, which Mr. Disraeli translates as follows:—"I will not, however, that we should make a Comedy like certain persons who cut clothes, and put them on this man's back, and on that man's back; for at last the time comes which shows how much faster went the cut of the shears than the pen of the poet; nor will we have entering on the scene, couriers, brandy sellers, and goatherds, and there stare shy and blockish, which I think worthy the senseless invention of an ass."
Passeri continues: "At this time Bernini had made a Comedy in the Carnival very pungent and biting; and that summer he had one of Castelli's performed in the suburbs, where, to represent the dawn of day, appeared on the stage water-carriers, couriers, and goat-herds, going about—all which is contrary to rule, which allows of no character who is not concerned in the dialogue to mix with the groups. At these words of the Formica, I, who well knew his meaning, instantly glanced my eye at Bernini, to observe his movements; but he, with an artificial carelessness, showed that this 'cut of the shears' did not touch him; and he made no apparent show of being hurt. But Castelli, who was also near, tossing his head and smiling in bitterness, showed clearly that he was hit."
In concluding, Mr. Disraeli observes that: "This Italian story, told with all the poignant relish of these vivacious natives, to whom such a stinging incident was an important event, also shows the personal freedoms taken on these occasions by a man of genius, entirely in the spirit of the ancient Roman Atellanae or the Grecian Satyra."
Of Extemporal Comedies, Riccoboni mentions that: "This kind of spectacle is peculiar to Italy; one cannot deny that it has graces perfectly its own, and which written Comedy can never exhibit. This impromptu mode of acting furnishes opportunities for a perpetual change in the performance, so that the same Scenario repeated still appears a new one: thus one Comedy may become twenty Comedies. An actor of this description, always supposing an actor of genius, is more vividly affected than one who has coldly got his part by rote. But figure, memory, voice, and even sensibility, are not sufficient for the actor all' improvista; he must be in the habit of cultivating the imagination, pouring forth the flow of expression, and prompt in those flashes which instantly vibrate in the plaudits of an audience."
Again, Gherardi: "Anyone may learn a part by rote, and do something bad, or indifferent, on another theatre. With us the affair is quite otherwise; and when an Italian actor dies, it is with infinite difficulty that we can supply his place. An Italian actor learns nothing by head; he looks on the subject for a moment before he comes forward on the stage, and entirely depends upon his imagination for the rest. The actor who is accustomed merely to recite what he has been taught is so completely occupied by his memory, that he appears to stand, as it were, unconnected either with the audience or his companions; he is so impatient to deliver himself of the burthen he is carrying that he trembles like a schoolboy, or is as senseless as an echo, and could never speak if others had not spoken before. Such a tutored actor among us would be like a paralytic arm to a body: an unserviceable member, only fatiguing the healthy action of the sound parts."