Арлекинада: Английский комедийный театральный жанр

British comic theatrical genre
the English theatrical genre

Harlequinade is an English comic theatrical genre, defined by the Oxford English Dictionary as "that part of a pantomime in which the harlequin and clown play the principal parts". It developed in England between the 17th and mid 19th centuries. It was originally a slapstick adaptation or variant of the commedia dell'arte, which originated in Italy and reached its apogee there in the 16th and 17th centuries. The story of the Harlequinade revolves around a comic incident in the lives of its five main characters: Harlequin, who loves Columbine; Columbine's greedy and foolish father Pantaloon (evolved from the character Pantalone), who tries to separate the lovers in league with the mischievous Clown; and the servant, Pierrot, usually involving chaotic chase scenes with a bumbling policeman. Originally a mime (silent) act with music and stylised dance, the harlequinade later employed some dialogue, but it remained primarily a visual spectacle. Early in its development, it achieved great popularity as the comic closing part of a longer evening of entertainment, following a more serious presentation with operatic and balletic elements. An often elaborate magical transformation scene, presided over by a fairy, connected the unrelated stories, changing the first part of the pantomime, and its characters, into the harlequinade. In the late 18th and 19th centuries, the harlequinade became the larger part of the entertainment, and the transformation scene was presented with increasingly spectacular stage effects. The harlequinade lost popularity towards the end of the 19th century and disappeared altogether in the 1930s, although Christmas pantomimes continue to be presented in Britain without the harlequinade.

During the 16th century, commedia dell'arte spread from Italy throughout Europe, and by the 17th century adaptations of its characters were familiar in English plays. In English versions, harlequinades differed in two important respects from the commedia original. First, instead of being a rogue, Harlequin became the central figure and romantic lead. Secondly, the characters did not speak; this was because of the large number of French performers who played in London, following the suppression of unlicensed theatres in Paris. Although this constraint was only temporary, English harlequinades remained primarily visual, though some dialogue was later admitted. By the early years of the 18th century, "Italian night scenes" presented versions of commedia traditions in familiar London settings. The basic plot remained essentially the same for more than 150 years. The theatre historian David Mayer explains the use of the "batte" or slapstick and the "transformation scene":
quote|Rich gave his Harlequin the power to create stage magic in league with offstage craftsmen who operated trick scenery. Armed with a magic sword or bat (actually a slapstick), Rich's Harlequin treated his weapon as a wand, striking the scenery to sustain the illusion of changing the setting from one locale to another. Objects, too, were transformed by Harlequin's magic bat. For the rest of the century this pattern persisted in London theatres. When producers ran short of plots from Greek or Roman mythology they turned to British folk stories, popular literature and, by 1800, nursery tales. Two developments in 1800, both involving Grimaldi, greatly changed the pantomime characters: For the pantomime Peter Wilkins: or Harlequin in the Flying World, new costume designs were introduced. Clown traded in his tatty servant's costume for a flamboyant, colourful one. Clown now appeared in a range of roles, from the rival suitor to household cook or nurse. Grimaldi's popularity changed the balance of the evening's entertainment, with the first, relatively serious, section soon dwindling to what Mayer calls "little more than a pretext for determining the characters who were to be transformed into those of the harlequinade." The pantomimes had double titles, describing the two unconnected stories such as "Little Miss Muffet and Little Boy Blue, or Harlequin and Old Daddy Long Legs." In an elaborate scene initiated by Harlequin's "slapstick", a Fairy Queen or Fairy Godmother transformed the pantomime characters into the characters of the harlequinade, who then performed the harlequinade.

Harlequin is the comedian and romantic male lead. He is a servant and the love interest of Columbine. His everlasting high spirits and cleverness work to save him from difficult situations into which his amoral behaviour leads during the course of the harlequinade. In some versions of the original commedia dell'arte, Harlequin is able to perform magic feats. He never holds a grudge or seeks revenge. John Rich brought the British pantomime and harlequinade to great popularity in the early 18th century and became the most famous early Harlequin in England.

Columbine (Colombina in Italian) is a lovely woman who has caught the eye of Harlequin. In the original commedia dell'arte she was variously portrayed as a Pantaloon's daughter or servant. In the English harlequinade she is always Pantaloon's daughter or ward. Her role usually centres on her romantic interest in Harlequin, and her costume often includes the cap and apron of a serving girl, though (unlike the other players) not a mask.

Originally a foil for Harlequin's slyness and adroit nature, Clown was a buffoon or bumpkin fool who resembled less a jester than a comical idiot. He was a lower class character, the servant of Pantaloon, dressed in tattered servants' garb. Despite his acrobatic antics, Clown invariably slowed Pantaloon in his pursuit of the lovers. However, two developments in 1800, both involving Joseph Grimaldi, greatly changed the pantomime characters. Grimaldi starred as Clown in Charles Dibdin's 1800 pantomime Peter Wilkins: or Harlequin in the Flying World at Sadler's Wells Theatre. For this elaborate production, Dibdin introduced new costume designs. Clown's costume was "garishly colourful patterned with large diamonds and circles, and fringed with tassels and ruffs", instead of the tatty servant's outfit that had been used for a century. The production was a hit, and the new costume design was copied by others in London.

In commedia dell'arte, Pantaloon (Pantalone in Italian) was a devious, greedy merchant of Venice. He is taken in readily by the various tricks and schemes of Harlequin. Pantaloon's costume usually included red tight fitting vest and breeches, slippers, a skullcap, an oversized hooked nose, and a grubby grey goatee. Pantaloon was familiar enough to London audiences for Shakespeare to refer to him at the turn of the 17th century as the exemplar of an elderly man, "the lean and slippered Pantaloon". In the English harlequinade, Pantaloon emerged as the greedy, elderly father of Columbine who tries to keep the lovers separated but was no match for Harlequin's cleverness. His servant Clown's antics, however, slowed him in his pursuit of the lovers. Later, Pantaloon became Clown's assistant. His face was whitened with flour. During the 17th century, the character was increasingly portrayed as stupid and awkward, a country bumpkin with oversized clothes. During the 19th century, the Pierrot character became less comic, and more sentimental and romantic, as his hopeless adoration for Columbine was emphasised. Also in the 19th century, Pierrot troupes arose, with all the performers in whiteface and baggy white costumes.