His legs are also much more muscled with the possibility of sustaining extreme forward positions of the torso or making large strides.
Bullying, aggressively and mean-minded, Pantalone, a pauper who had squandered his dignity along with his cash.
The teatro fliacico too was based on a dispute between stock characters - the miserly old man, the cunning servant, the idle lout, the ne'er-do-well.
Through contact with the Hellenic world, that intensified after Rome conquered Magna Grecia in the Third Century BC, plays of the Greek type began to be put up at Rome.
The Etruscans held a rustic festival (i fescennini, ancient Italic songs typical of the city of Fescennio), based on the coarse pranks the gleaners and harvesters would play on one another.
The Festival's traits are very like what later became the Atellane: crude farces and political satire, improvised on a sketchy scenario, and often recited by one actor, whilst another would illustrate the events in mime.Bowing to the new tastesn the Roman magistrates, had a Greek slave known as Livius Andronicus translate, and adapt into Latin, the Greek plays that were to be put up during the Games held in 240 BC.Thus did a Roman theatre "after the Greek" come into being, devouring its predecessors the Attelan farce and the teatro fliacico, while retaining their tendency to wordplay and improvisation.Throughout the Middle Ages, there survived on the Italian peninsula impromptu performances, comic or satirical in nature, rich in pantomime and dance, derived from the glorious Roman theatre, to a degree that the ad lib jests of Roman comedy, coarse perhaps, but droll nonetheless, continued to circulate late into the Renascence.These colourful events, that had never quite vanished with the Roman Empire, suddenly sprang to fresh life in the mid sixteenth century, in the form of a new street theatre known as Commedia dell'Arte.Players - mountebanks, mimes, musicians, actors, bravos (spadaccini) and jugglers and street singers - began to gather into small touring troupes, and play, at first, to the populace, on makeshift stages that they would themselves put up on a village square, on market day or on a feast day.This genre, through rooted in the theatre of ancient Rome, actually derives both from the Greeks, and from traditional Etruscan festivals, for in both the latter recur certain basic elements that were to become peculiar to the Commedia dell'Arte.His signature props are a gold chain hung around his neck with a large medallion as well as a dagger and a money pouch.He also carried a ubiquitous handkerchief and used a walking cane. Petite statue en plâtre peint (environ 100 cm) provenant du Théâtre Séraphin installé au Palais-Royal à la fin du XVIIIe siècle et conservée au musée Carnavalet à Paris (série de quatre pièces : Arlequin – Pantalone – by Wikipedia.He's always on the prowl and he could be termed a Beelzebub of sex.Any woman who happens to cross his path becomes at once an object of winks, leers and nudges...