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Pedrolino appears in forty-nine of the fifty scenarios of Flaminio Scala's Il teatro delle favole rappresentative (1611) and in three (undated) pieces of the "Corsini" collection of manuscripts; he also appears (as "Pedrolin") in a 1587 scripted comedy by Luigi Groto, La Alteria. All of these provide evidence of how he was conceived and played. He is obviously a type of what Robert Storey calls the "social wit", usually incarnated as "the go-between, the willing servant, the wily slave" who "survives in serving others". In the Scala scenarios, which offer the most revealing showcase of his character, he is invariably cast as the "first" zanni, a type to be distinguished from the "second" zanni by his or her function in the plot. The Commedia critic and historian Constant Mic clarifies the distinctions when he notes that the first ''zanni instigates confusion quite voluntarily, [but] the second creates disturbance through his blundering. The second zanni is a perfect dunce; but the first sometimes gives indication of a certain instruction. ... The first zanni incarnates the dynamic, comic element of the play, the second its static element.''

Since his function is "to keep the play moving", Pedrolino seems to betray, in Storey's words, "a Janus-faced aspect": "He may work cleverly in the interests of the Lovers in one play—Li Quattro finti spiritati [The Four Fake Spirits], for example—by disguising himself as a magician and making Pantalone believe that the 'madness' of Isabella and Oratio can be cured only by their coupling together; then, in Gli avvenimenti comici, pastorali e tragici [Comic, Pastoral, and Tragic Events], indulge his capricious sense of fun by compounding the young persons' misfortunes." So multiform is his character that his cleverness can often give way to credulity (as when he is tricked into believing that he was drunk when he learned of his wife's infidelity and so merely imagined the whole affair) and his calculation can sometimes be routed by grotesque sentimentality (as when he, Arlecchino, and Burratino share a bowl of macaroni, the three blubbering all the while). Despite such inconsistencies in character and behavior, he has (or at least had, for his Renaissance audiences) an "instantly recognizable" identity. "The recognizability came," as Richard Andrews writes, "from his costume; from his body language; and most of all from his style of speech, which for Italian audiences was based on a regional dialect as well as more personal idiosyncrasies." That recognizability also arose from his puckish love of mischief: "He takes a child-like delight in practical jokes and pranks," as a modern-day practitioner of the Commedia writes, "but otherwise his intrigues are on behalf of his master. ... At times, however, the best he can scheme for is to escape the punishment others have in store for him." Naively volatile, he can be moved to violence when angry, but, in obedience to the conventions of comedy, his pugnaciousness is usually deflected or foiled.

Pedrolino is most often presented as having an all-white wardrobe and wearing exaggeratedly over-sized and loose-fitting clothes, typically including a white jacket with large buttons and comically long sleeves, a large neck ruff, and a large, floppy hat. He is one of the few unmasked male characters that was not an Innamorati. Instead of a mask, Pedrolino was defined by his white "floured" makeup, also known as infarinato, which was later used as inspiration for the modern day white-faced clown. Pedrolino first appears among the records of the Commedia in 1576, when his interpreter Giovanni Pellesini (c. 1526-1616) turns up in Florence, apparently leading his own troupe called Pedrolino. A member of some of the most illustrious companies of the 16th and 17th centuries—the Confidenti, Uniti, Fideli, Gelosi, and Accessi—Pellesini was obviously "a much sought-after and highly paid guest star". His status is underscored by the fact that Pedrolino figures so prominently in Scala's scenarios, since, as K.M. Lea convincingly argues, Scala, in compiling them, drew upon the "chief actors of his day ... without regard to the composition of a company at any particular period." Pedrolino—and Pellesini—were, we must conclude, among the brightest luminaries of the early Commedia dell'Arte. Unfortunately, Pellesini performed too long to preserve the luster: when, in 1613, he appeared—at the age of eighty-seven—among the Duke of Mantua's company at both Fontainebleau and the court theater of the Louvre, the poet Malherbe was not amused:

Pellesini had a lengthy run as Pedrolino and performed for quite a number of significant people, including the Duke of Mantua at Fontainebleau while traveling with Confidenti; his last role as Pedrolino was in 1613 at the age of eighty-seven, performing with the Accessi company