Harlequin # 3

Harlequin # 3From Wikipedia

The re-interpretation of the “devil” stock character as a zanni character of the commedia dell’arte[7] took place in the 16th century. Zan Ganassa, whose troupe is first mentioned in Mantua in the late 1560s, was one of the earliest known actors believed to have performed the part[clarification needed].[8] The patched costume is due to Tristano Martinelli, whose zanni wore a linen costume of colourful patches, and a hare-tail on his cap to indicate cowardice. Tristano’s Harlequin also had a black leather half-mask, a moustache and a pointed beard. The name Harlequin (Arlequin) was Tristano’s choice for his character, loaned from the name of the popular French devil character it resembled. He was very successful, performing in Italy and in France, even playing at court and becoming a favourite of Henry IV of France, to whom he addressed insolent monologues (Compositions de Rhetorique de Don Arlequin, 1601).[9] Tristano’s great success contributed to the perpetuation of his interpretation of the zanni role, along with the name of his character, after his death in 1630, among others, by Nicolò Zecca, active c. 1630 in Bologna as well as Turin and Mantua.[10]

Further transformations of the character occurred in France, where Arlecchino was performed at the Comédie-Italienne in Italian by Tristano Martinelli, Giovan Battista Andreini, and Angelo Costantini (c. 1654–1729). The role was played in French as Arlequin in the 1660s by Dominique Biancolelli(it) (1636–1688), who combined the zanni types, “making his Arlecchino witty, neat, and fluent in a croaking voice, which became as traditional as the squawk of Punch.”[11] The Italians were expelled from France in 1697 for satirizingKing Louis XIV’s second wife, Madame de Maintenon,[12] but returned in 1716 (after his death), when Tommaso Antonio Vicentini (“Thomassin”, 1682–1739) became famous in the part.[7][13] The rhombus shape of the patches arose by adaptation to the Paris fashion of the 17th century by Biancolelli.

Harlequin # 1

Hallequin 2014


From Wikipedia, the free encyclopedia

The classical appearance of the Harlequin stock character in thecommedia dell’arte of the 1670s, complete with batte or “slapstick”, in origin a magic wand used by the devil character to change the scenery of the play.[1] (Maurice Sand, 1860)

Harlequin (/ˈhɑrləˌkwɪn/; Italian: Arlecchino, French: Arlequin) is the most popularly known of the zanni or comic servant characters from the Italian Commedia dell’arte. It was introduced by the successful Italian actor Tristano Martinelli in the 1580s, and it became astock character after Tristano’s death in 1630. The derived genre of the Harlequinade, where the Harlequin character takes center stage, came to England in the 18th century (John Rich).

The Harlequin is characterized by his chequered costume. His role is that of a light-hearted, nimble and astute servant, often acting to thwart the plans of his master, and pursuing his own love interest, Colombina, with wit and resourcefulness, often competing with the sterner and melancholic Pierrot. He later develops into a prototype of the romantic hero. Harlequin inherits his physical agility and his trickster qualities, as well as his name, from a mischievous “devil” character in medieval passion plays.

In Victorian England, the Harlequin was routinely paired with the clown figure. The clown with his brutishness acted as a foil for the more sophisticated Harlequin. The most influential such pair were the Payne Brothers, active during the 1860s and 1870s, substantially shaping the 20th-century “slapstick” genre.

Charleston Fantasy

Shadows on the wall Charleston SC

Shadows on the wall, Charleston SC

The Charleston in the tourist’s fantasy is a city that’s done and gone. What today the vacationer sees South of Broad street is a pastiche of the romantic, chivalrous Old South. While still charming as a well-cultivated nostalgia industry and fortress of the lost cause, Charleston struggles to maintain an illusion. Riding the horse-drawn carriages and hearing the guide’s tales of Old Charleston, the modern tourists, while respectful, are unmoved by the city’s past. But the carriage drivers  nonetheless press the tourists toward awe and acceptance of Charleston’s special place. The murders, divorces, and political scandals of Antebellum’s Holy City, while all true, are not uniquely Southern. Why shouldn’t these houses give up their toxic family secrets? Any city in America has them. But the last weapon in his arsenal, as the guide reminds us, are Charleston’s ghosts haunting the nocturnal streets and alleys, what the locals call the “night walkers”. There’s that cadre of Citadel cadets, who fired on Fort Sumter and started a war, now proud watchmen of the darkened city.

So, while the Charleston visitor yearns for the authentic city, he’s confronted by a flood of souvenir seekers disgorged daily from the tour ships docked on the wharf. It’s not long before the tourist gives up on the fantasy and settles for today’s Charleston and, being a good sport, is willing to go along with and to some extent enjoy the charade of nostalgia.

Louisville, KY 2012 – Archway to Belvedere Square

This is a reworked image I took last year (2012). I have read one artist’s comment on her own work that she would like to take one of her works and redo it over and over for the rest of her life seeing what else there is in it.

Louisville 2012 Archway

Cincinnati 2013 – Morning shadows

Cincinnati 2013 Lady and shadow

Lady and the shadow

For this shot I used a common practice of street photographers. I chose a place with great light and interesting background and waited. I like architectural shots, but am happy when a living creature enters the scene. This lady is clearly elderly and normally I would not photograph her with no other compelling reason, but here she is completely anonymous and in my mind symbolizes old age with her stoop. I know at my age I look like this.

Without the lighting she would simply be another citizen on the sidewalk. I believe placing her here with the interesting lighting adds to her dignity.

As always I would enjoy your comments.