Companies
Compagnie, or companies, were troupes of actors, each of whom had a specific function or role. These compagnie traveled throughout Europe from the early period, beginning with the Soldati, then, the Ganassa, who traveled to Spain—never to be heard from again—and the famous troupes of the Golden Age (1580–1605): Gelosi, Confidenti, Accessi. These names which signified daring and enterprise were appropriated from the names of the academies—in a sense, to lend legitimacy. However, each troupe had its impresse (like a coat of arms) which symbolized its nature. The Gelosi, for example, used the two-headed face of the roman god Janus, to signify its comings and goings and relationship to the season of carnival, which took place in January. Janus also signified the duality of the actor, who is playing a character or mask, while still remaining oneself.
Magistrates and clergy were not always receptive to the traveling compagnie (companies), particularly during periods of plague, and because of their itinerant nature. The term vagabondi was used in reference to the comici, and remains a derogatory term to this day (vagabond). A troupe often consisted of ten performers of familiar masked and unmasked types, and included women.
Read more about this topic: Commedia Dell'arte
Famous quotes containing the word companies:
“The recent attempt to secure a charter from the State of North Dakota for a lottery company, the pending effort to obtain from the State of Louisiana a renewal of the charter of the Louisiana State Lottery, and the establishment of one or more lottery companies at Mexican towns near our border, have served the good purpose of calling public attention to an evil of vast proportions.”
—Benjamin Harrison (1833–1901)
“In the U.S. for instance, the value of a homemaker’s productive work has been imputed mostly when she was maimed or killed and insurance companies and/or the courts had to calculate the amount to pay her family in damages. Even at that, the rates were mostly pink collar and the big number was attributed to the husband’s pain and suffering.”
—Gloria Steinem (20th century)
“Socialite women meet socialite men and mate and breed socialite children so that we can fund small opera companies and ballet troupes because there is no government subsidy.”
—Sugar Rautbord, U.S. socialite fund-raiser and self-described “trash” novelist. As quoted in The Great Divide, book 2, section 7, by Studs Terkel (1988)