Commedia dell’arte et enseignement-apprentissage des langues:: des idées reçues au potentiel pédagogique et performatif

Filippo Fonio

doi:10.33178/scenario.19.2.5

Authors

Filippo Fonio

DOI:

https://doi.org/10.33178/scenario.19.2.5

Keywords:

Commedia dell'Arte, De-folklorisation

Abstract

Commedia dell'arte is a dramatic art form rooted in the Italian theatrical tradition, with a strong cultural heritage and a high educational potential. It has enjoyed lasting international popularity in professional artistic circles and remains firmly embedded in the popular imagination of audiences, teachers and learners, regardless of their knowledge of the Italian language and culture. However, commedia dell'arte has also generated multiple stereotypes that teachers may choose to ignore, debunk, or use as a basis for enquiry and understanding in education. The flexibility and adaptability of Commedia dell'arte make it both a method and toolbox that can be useful for (critical) learning in a wide range of educational fields and contexts.

References

Capozza, N. (2006). Tutti i lazzi della commedia dell’arte. Dino Audino.

Colli, G.G. (2008). Commedia dell’Arte techniques : Theater research and Italian language interplay. In N. Marini-Maio & C. Ryan-Schutz, Set the Stage. Teaching Italian through Theatre. Yale University Press, 187-211. https://doi.org/10.12987/9780300152753-011

Fonio, F. (2012). Stuffed pants ! Staging full-scale comic dramas with students of Italian as a foreign language. Scenario, 12, 2, 17-26. https://doi.org/10.33178/scenario.6.2.4

Gambelli, D. (1971). “Quasi un recamo di concertate pezzette” : le composizioni sul comico dell’Arlecchino Biancolelli. Biblioteca teatrale, 1, 47-95.

Gration, S. & Peelgrane, N. (2008), Commedia Oz. Playing Commedia in contemporary Australia. Currency Press.

Henke, R. (2002). Performance and literature in the Commedia dell’Arte. Cambridge University Press.

Mastrocicco-Longe (2025). Pratiques artistiques et transmission de contenus littéraires, linguistiques et culturels. Mémoire de master 2. Université Grenoble Alpes, Université de Padoue.

Milza, P. (1995). Voyage en Ritalie. Payot & Rivages (première édition Plon, 1993).

Pietropaolo, D. (2016). Semiotics and pragmatics of stage improvisation. Bloomsbury. https://doi.org/10.5040/9781474225830

Stanislavski, C. (2001). La formation de l’acteur. Payot.

Van Watson (2008). Acting Italian: From the piazza to the stage. In N. Marini-Maio & C. Ryan-Schutz, Set the Stage. Teaching Italian through Theatre, 50-80. https://doi.org/10.12987/9780300152753-006