Examples+of+Scenarios

Commedia dell'arte scenarios

Commedia dell'arte scenarios are usually relatively short flexible scenarios that can range from very bare skeletal plot outlines to a more detailed adaptable script. Many plot elements in commedia dell'arte scenarios can be traced all the way back to the Roman comedies written by Terence in the second century B.C.E. Some of which were in turn translations of earlier Greek comedies from the fourth century B.C.E.



These plots focused mainly around love intrigues or clever tricks to procure money or outwit a character, focusing on themes of adultery, jealousy, old age, and young love. One very classic, traditional plot is that the stock characters in this case young lovers ( innamorati ), are madly in love and wish to be married, but one elder (vecchio) are stopping this from happening, leading the lovers to ask one or more zanni (eccentric servants) for help. Typically the story ends happily, with the marriage of the innamorati and forgiveness for any wrongdoings. There are countless variations on this story, as well as many that diverge wholly from the structure.

Example of a commedia dell'arte scenario: COR. Lucrezia! Lucrezia, my beloved love!

LUC. Cornelio! Cornelio, my dearest! [She runs to the window and calls out.] He has gone out — you can come in.

[CORNELIO enters dramatically, leaping in through the window, dressed in scarlet and gold with a flowing cape and a plumed hat. He and LUCREZIA fly into each others' arms.]

COR. My rose! My spice! — Did you get my pomegranate? It was a symbol of love in the Greek myths.

LUC. Yes, I got it; it struck me to my very core. Oh, Cornelio! As happy as I am right now, you cannot imagine how it's marred by torment and anguish!

COR. Marred by anguish? Ah, my darling, never! When you are unhappy, it is as if the sky has been covered over with black clouds full of hailstones, that beat down upon me, and each second I endure under such a terrible scene, another hour of my life is sucked away —

LUC. Oh, Cornelio!

COR. Lucrezia! Lucrezia!

MEL. Ugh. I could make a fortune in amber from this much sap.

[THALA whacks Melpomene with her crook to silence her.]

LUC. Doctor Baloardo came by today, and finally succeeded with his disgusting efforts to secure me for marriage.

COR. For when is the wedding set?

LUC. Friday. Time is money — my father is not one to waste either.

COR. Cruel fates! Well then, we will just have to run away together and live a life of adventure and romance. Let us depart, my love!

LUC. What? Right now?

COR. [Mildly offended.] How perfectly unromantic you are!

LUC. No, no! I'll go off with you. I just need to pack a few things — you know I'm useless without my science books. And shoes. I'm going to need a pair of travel shoes, and some slippers, and some walking shoes, and some riding shoes…

COR. God help me; never let it be said that I'm one to separate a lady from her shoes. Let us accord then — we'll meet at midnight, in the cemetery by the church. Then, my love, we shall flee from this horrid region of Genoa! I'll get us a house and food somehow. Till then, we'll abide romantically in squalor and poverty!

LUC. Oh, Cornelio! My dearest!

[Exit CORNELIO and LUCREZIA.]

MEL. Squalor and poverty? Nice. My territory, for sure.

THA. Oh come, how can you call that a Tragedy? You think she'd be happier married to the Doctor?

MEL. No — and that's why it's mine, for it's a Tragedy either way!

THA. Come on, the first scene isn't even done yet. There's much more to this…

[The scene changes suddenly. MELPOMENE starts to laugh at Thalia, but then THALIA begins to laugh right along, silencing her with confusion.]

Bibliography https://sites .google.com/site/italiancommedia/plays-and-scenari/plays/combat-of-the-masks/scene-1 https://sites.google.com/site/italiancommedia/plays-and-scenari https://www.allartclassic.com/subj_pictures_zoom.php?p_number=&p=&number=LEE006&forder=1 https://www.seidiriminise.it/scopri-rimini-romagna/tempo-libero/curiosita/personaggi-famosi/personaggi-storici/francesca-rimini.html

Scenarios La Commedia usually features traditional characters and masks, and presently features works spanning the 16th through 21st centuries. The commedia dell'arte plays and scenari scripts collection spans the super-traditional (such as La Fortunata Isabella) to the new and modern (such as The Combat of the Masks.) Some of the works are available elsewhere or are in the public domain; others are original pieces that -- as far as we know -- are only available on this site. You can find in our free archive plenty of commedia dell'arte plays for study, for acting, or whatever your needs may be.

Ela. This does not divert me; Nor nothing will, till Scaramouch return, And bring me News of Cinthio. Mop. Truly I was so sleepy last Night, I know nothing of the Adventure, for which you are kept so close a Prisoner to day, and more strictly guarded than usual. Ela. Cinthio came with Musick last Night under my Window, which my Father hearing, sallied out with his Mirmidons upon him; and clashing of Swords I heard, but what hurt was done, or whether Cinthio were discovered to him, I know not; but the Billet I sent him now by Scaramouch will occasion me soon Intelligence. Mop. And see, Madam, where your trusty Roger comes. Enter Scaramouch, peeping on all sides before he enters. You may advance, and fear none but your Friends. Scar. Away, and keep the door. Ela. Oh, dear Scaramouch! hast thou been at the Vice-Roy's? Scar. Yes, yes. [In heat. Ela. And hast thou delivered my Letter to his Nephew, Don Cinthio? Scar. Yes, yes, what should I deliver else? Ela. Well—and how does he? Scar. Lord, how should he do? Why, what a laborious thing it is to be a Pimp? [Fanning himself with his Cap. Ela. Why, well he shou'd do. Scar. So he is, as well as a Night-adventuring Lover can be,—he has got but one Wound, Madam. Ela. How! wounded say you? Oh Heavens! 'tis not mortal. Scar. Why, I have no great skill; but they say it may be dangerous. Ela. I die with Fear, where is he wounded? Scar. Why, Madam, he is run—quite through the Heart,—but the Man may live, if I please. Ela. Thou please! torment me not with Riddles. Scar. Why, Madam, there is a certain cordial Balsam, call'd a Fair Lady; which outwardly applied to his Bosom, will prove a better cure than all your Weapon or sympathetick Powder, meaning your Ladyship. Ela. Is Cinthio then not wounded? Scar. No otherwise than by your fair Eyes, Madam; he got away unseen and unknown. Ela. Dost know how precious time is, and dost thou fool it away thus? What said he to my Letter? Scar. What should he say? Ela. Why, a hundred dear soft things of Love, kiss it as often, and bless me for my Goodness. Scar. Why, so he did. Ela. Ask thee a thousand Questions of my Health after my last night's fright. Scar. So he did.