LEADER 04531nam 22006135 450 001 9910481954803321 005 20231109075322.0 010 $a9783030700713 010 $a3030700712 024 7 $a10.1007/978-3-030-70071-3 035 $a(CKB)5590000000442519 035 $a(MiAaPQ)EBC6531846 035 $a(Au-PeEL)EBL6531846 035 $a(OCoLC)1244628825 035 $a(DE-He213)978-3-030-70071-3 035 $a(EXLCZ)995590000000442519 100 $a20210330d2021 u| 0 101 0 $aeng 135 $aurcnu|||||||| 181 $ctxt$2rdacontent 182 $cc$2rdamedia 183 $acr$2rdacarrier 200 10$aBorder-Crossing and Comedy at the Théâtre Italien, 1716-1723 /$fby Matthew J. McMahan 205 $a1st ed. 2021. 210 1$aCham :$cSpringer International Publishing :$cImprint: Palgrave Macmillan,$d2021. 215 $a1 online resource (272 pages) 225 1 $aTransnational Theatre Histories,$x2946-5907 311 08$a9783030700706 311 08$a3030700704 327 $aChapter 1: Italian Cultural Capital on the French Stage -- Chapter 2: Prologues, Meta-Comedy, and Cross-Cultural Rapport -- Chapter 3: Bilingualism and Translation in Comedy -- Chapter 4: Stereotypes , Self-Deprecation, and Refracted Satire -- Chapter 5: Improvisation, Emotion, and the Italian Brand -- Chapter 6: Parody as Transcultural Critique. . 330 $a"Grounded in a thorough mastery of scholarly literature on eighteenth-century French theatre, McMahan's study ingeniously interprets Luigi Riccoboni and his troupe as theatrical migrants who used comedy as a means of cultural diplomacy. . . McMahan's innovative approach to commedia dell'arte as a "transnational brand" offers a robust contribution to Theatre and Performance Studies scholarship." -Daniel Smith, Michigan State University, USA "In bringing to the attention of an Anglophone audience a neglected theatrical figure, McMahan performs his own act of translational border crossing, which is revealing not just about its subject, but also about the value of critical work that itself moves fruitfully across all sorts of national, disciplinary, and temporal borders." -Jessica Goodman, St. Catherine's College, Oxford, UK "McMahan not only offers a vibrant, lucid history of a fascinating eighteenth-century institution, he also draws new insights from the Théâtre Italien's re-entry into France that illuminate the phenomenon of cross-cultural theatre, a defining feature of performance in the modern era." -Pannill Camp, Washington University in St. Louis, USA How do nationalized stereotypes inform the reception and content of the migrant comedian's work? How do performers adapt? What gets lost (and found) in translation? Border-Crossing and Comedy at the Théâtre Italien, 1716-1723 explores these questions in an Early Modern context. When a troupe of commedia dell'arte actors were invited by the French crown to establish a theatre in Paris, they found their transition was anything but easy. They had to learn a new language and adjust to French expectations and demands. This study presents their story as a dynamic model of coping with the challenges of migration, whereby the actors made their transnational identity a central focus of their comedy. Relating their work to popular twenty-first century comedians, this book also discusses the tools and ideas that contextualize the border-crossing comedian's work-including diplomacy, translation, improvisation, and parody-across time. Matthew McMahan is the Assistant Director of the Center for Comedic Arts at Emerson College, USA, where he teaches the history of comedy, sketch, and improvisation. 410 0$aTransnational Theatre Histories,$x2946-5907 606 $aTheater$xHistory 606 $aTheater 606 $aPerforming arts 606 $aTheatre History 606 $aGlobal and International Theatre and Performance 606 $aTheatre and Performance Arts 615 0$aTheater$xHistory. 615 0$aTheater. 615 0$aPerforming arts. 615 14$aTheatre History. 615 24$aGlobal and International Theatre and Performance. 615 24$aTheatre and Performance Arts. 676 $a792.0944361 676 $a792.0895104436109033 700 $aMcMahan$b Matthew J.$01229692 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910481954803321 996 $aBorder-Crossing and Comedy at the Théâtre Italien, 1716-1723$94329760 997 $aUNINA