In writing my play, then, I have used for my own purposes the folk-tale material treated differently by Gozzi, and in so doing I have entirely reconceived the story and its situations, omitting many characters of the old tale, introducing and creating several new ones, and characterizing all from a fresh standpoint.[[1]]
The chief male character of my play, for instance, Capocomico, is wholly new. The name is that which was given to the director or choregus of the old Italian troupes of the Commedia dell’ Arte, concerning which Symonds writes in his Preface before referred to:
“The Choregus was usually the Capo Comico, or the first actor and manager of the company. He impressed his comrades with a certain unity of tone, brought out the talents of promising comedians, enlarged one part, curtailed another, and squared the piece to be performed with the capacities he could control. ‘When a new play has to be given,’ says another writer on this subject, ‘the first actor calls the troupe together in the morning. He reads them out the plot, and explains every detail of the intrigue. In short, he acts the whole piece before them, points out to each player what his special business requires, indicates the customary sallies of wit and traits of humor, and shows how the several parts and talents of the actors can be best combined into a striking work of scenic art.’”
The four “Maskers” of my play, followers of Capocomico, are, of course, my own renderings of the types familiar to the old Italian comedies.
For their dialogue in the introductory scene of this modern comedy in English, I have invented for them (or rather made use of, for the first time, for modern actors) a form of spoken verse suggestive perhaps of the voluble, capricious, unnaturalistic spirit of fantasy common to them: embodied especially in their leader and spokesman, Capocomico.
Needless to say, “A Thousand Years Ago” historically speaking, there were no disciples of the school of la Commedia dell’ Arte to invade old China, but fantasy and comedy are older (and younger) than the schools. As Capocomico himself remarks to Punchinello:
“Here is China the world lies a-dream, like a thousand
Years ago, and the place of our dreams is eternal.”
To the stage production of the play Mr. J. C. Huffman has brought the admirable powers of his vital directorship.
The theatrical rights are owned and reserved by the Shubert Theatrical Company, of New York.