The Power of One Character
The character featured above is Brighella. As we know, Beaumarchais‘ Figaro is the culmination of the commedia dell’arte‘s Brighella. However, as Figaro, Brighella is no longer a “thief, a bully, and an intriguer.”[i] He is a clever and relatively good zanni, but he nevertheless wrestles Susanna away from Count Almaviva and becomes a national hero. Interestingly, although a bevy of French Enlightenment philosophes, from Montesquieu, to Voltaire, Diderot, Jean le Rond d’Alembert, Rousseau, etc. wrote thousands of pages on the societal ills of l’Ancien Régime, Figaro, one fictional character, drove the message home.
To what extent the Count had a droit du seigneur, i.e. the right to be the first man to sleep with the bride, we cannot know. The Church was very powerful, so I doubt very much that this “right” was listed in law books. It may have been a case of entitlement.
Bergamo: Arlecchino and Brighella
Bergamo: the Birthplace of Harlequin and Brighella
Brighella‘s importance is due not only to the role he ends up playing in France, as Figaro, but he is also connected to Bergamo, an area of current Northern Italy located near Milan. Bergamo is the birthplace of Arlecchino (Arlequin, Harlequin) and Brighella. Similarly, French dramatist Beaumarchais’ plays are the birthplace of a French Brighella, our Figaro, who differs from the commedia dell’arte‘s Brighella, but not that much.
Bergamo remembered: Debussy and Fauré
Which takes us to music. I will mention two composers. The first is Claude Debussy (22 August 1862 – 25 March 1918), who composed the lovely Suite bergamasque. The second, in alphabetical order, is Gabriel Fauré’s (12 May 1845 – 4 November 1924), the composer of Masques et Bergamasques. These are compositions inspired by the commedia dell’arte and written not long before Picasso started to paint Arlequins and guitars, or related instruments. The influence of the commedia dell’arte on French dramatists, comedians, artists and composers is considerable.
The Comédie italienne in France
In fact, France long had both its Comédie française and its Comédie italienne (until the second half of the nineteenth century). Italian comedians were driven out of France in 1697, because of a play entitled La Fausse [false] Prude. This play was offensive to Louis XIV‘s second wife, Madame de Maintenon. However, the Italians were soon recalled (in 1716). The plays of Marivaux (4 February 1688 – 12 February 1763) and Beaumarchais (24 January 1732 – 18 May 1799) are eloquent testimonials concerning the commedia dell’arte‘s influence on the history of French theatre.
Brighella’s Appearance and Gait
Brighella’s “wears a white shirt, black pants with a green tassel hanging from the side, a white cap, a belt with a purse, and a dagger.” His mask “is accented with a hooked nose, fleshy cheeks, and large eyebrows. He conveys a cynical-mawkish appearance.” (See Brighella.) He is a first among zanni and is never outdone. Zanni may originate in the lower classes, but without zanni, there may not be a happy ending to comedy. Brighella is smarter than Arlecchino (see Brighella, Wikipedia).
Distinguishing commedia dell’arte characters from one another includes the manner in which they move, which indicates they were professionals actors.
“Brighella’s weight is placed on a bent leg. The other is extended, lightly touching the ground. His elbows are up with his hands spread out. Whether or not he is moving, his feet are constantly moving, dancing back and forth. Like Arlecchino, his back is curved at the lumbar region. When Brighella walks, his head stays in place, but his legs come up to the side and his torso sways from side to side. It is a very soft walk, similar to tip-toeing, the difference being that his legs are spread.” (See Brighella.)
Wikipedia lists the names of characters modelled on Brighella. It’s impressive. By and large, Brighella’s descendants are gentler than their ancestor. The list includes Scapino, Mezzetino, Mascarille, Sganarelle, Turlupin, Figaro, etc. Brighella-Sganarelle is Leporello in Mozart’s Don Giovanni (K 527).
Molière (1722 – 1673) was both an actor and a dramatist. He therefore played the following Brighella associated roles:
- Mascarille (Les Précieuses ridicules), 1659;
- Sganarelle (Sganarelle ou le Cocu imaginaire and Dom Juan), 1660 (both);
- Scapino (Les Fourberies [deceits] de Scapin), 1671.
There is conflicting information regarding Brighella. According to some sources, he is a villain who fizzles out. Yet, if Figaro is heir to Brighella, he is clever and swift, but he is not a villain. It could be that Watteau‘s Fêtes galantes depictions of figures from the commedia dell’arte transformed Brighella and that the comédie larmoyante (the tearful comedy) and bourgeois drama reshaped the original Brighella, though not completely. I’ll remember him as an ancestor to Figaro. Mozart’s Nozze di Figaro and Rossini’s Barber of Seville. I suspect figures from the commedia dell’arte will remain a favourite with artists and composers: Debussy, Fauré, Mozart, Rossini…
And we close the commedia dell’arte series. Characters may reappear. They’re everywhere. For quick information, I suggest About.com, listed under sources and resources, below.
My kindest regards to all of you.
- Molière’s Tartuffe & Northrop Frye (21 July 2014)
- Beaumarchais’ Trilogy: The Guilty Mother (18 July 2014)
- The Figaro Trilogy (14 July 2014)
- Picasso in Paris (9 July 2014)
- Picasso’s Harlequin (3 July 2014)
- Arlecchino, Arlequin, Harlequin (30 June 2014)
- Pantalone: la Commedia dell’arte (20 June 2014)
- Molière’s Précieuses ridicules (7 October 2011)
Sources and Resources
- Brighella http://onkeljoe.deviantart.com/art/brighella-2012-280948677
- Watteau at the Royal Gallery, the Guardian, UK
- Brunelleschi http://www.arcadja.com/auctions/en/brunelleschi_enrico/artist/112813/
- Brighella http://web.archive.org/web/20091027100540/http://geocities.com/commedia_dellarte/Characters/brighella/brighella.html
- Commedia dell’arte About.com
- Suite bergamasque, Wikipedia
[i] “Brighella,” Phyllis Hartnoll, ed., The Oxford Companion to the Theatre, 3rd Edition (London: Oxford University Press, 1967 ).© Micheline Walker 23 July 2014 WordPress