La Commedia dell\u2019Arte, forme th\u00e9\u00e2trale de provenance populaire, dispose des traits distinctifs propres \u00e0 lui, de sorte qu\u2019 elle peut \u00eatre approch\u00e9e et per\u00e7ue par lui. Le but de notre communication porte \u00e0 pr\u00e9ciser les codes communicatifs dont elle se sert, et par la suite \u00e0 circonscrire leur fonctionnalit\u00e9 chez les spectaters aux quels elle s\u2019adresse. A l\u2019 aide de ces constatations, nous envisageons d\u2019 explorer, dans la suite leur application potentielle dans un genre sp\u00e9cifique du th\u00e9\u00e2tre, celui qui s\u2019 adresse aux jeunes publics.<\/p>\n\n\n\n\n\n\n\n
Au d\u00e9but de notre analyse, parlant de th\u00e9\u00e2tre populaire, nous pouvons remarquer comme des particularit\u00e9s fondamentales les points suivants:<\/p>\n\n\n\n
La pi\u00e8ce du th\u00e9\u00e2tre populaire n\u2019 existe point dans la forme \u00e9crite du texte. Elle constitue une synth\u00e8se orale, transmise de bouche \u00e0 l\u2019 oreille, de sorte que sa repr\u00e9sentation sc\u00e9nique puisse subire des transformations et des changements multiples, selon son contexte de r\u00e9f\u00e9rence, chaque fois, les conditions perceptives du public, au quel elle s\u2019 adresse, et les possibilit\u00e9s expressives des com\u00e9diens sur sc\u00e8ne.<\/p>\n\n\n\n
b. Improvisation<\/p>\n\n\n\n
L\u2019 absence du texte \u00e9crit et la tranformation orale, favorise (et quelque fois impose) l\u2019 improvisation du com\u00e9dien. Lui, il se sent \u00e0 son tour donc oblig\u00e9 de suivre plut\u00f4t son talent et son instinct du jeu sc\u00e9nique, pour qu\u2019 il approche plus \u00e0 l\u2019 horizon d\u2019 attente des spectateures dans la salle, que de s\u2019 exprimer avec des codes th\u00e9\u00e2trales th\u00e9oriques et g\u00e9n\u00e9raux.<\/p>\n\n\n\n
c. Evolution cal\u00e9idoscopique<\/p>\n\n\n\n
Si nous tentons de faire une recherche du type \u00abarch\u00e9ologique\u00bb pour confirmer la naissance et la prov\u00e9nance du th\u00e9\u00e2tre populaire, nous pouvons remarquer que, le plus souvent, nous nous appercevons d\u2019 une \u00e9volution en couches ou en \u00e9tapes succ\u00e9ssives de mani\u00e8re cal\u00e9idoscopiuque, remontant jusqu\u2019 \u00e0 la pr\u00e9histoire de la culture humaine. Par le biais des coutumes carnavalesques, le th\u00e9\u00e2tre populaire se d\u00e9ploie et se transforme par des formes archetypiques et simples, au d\u00e9but, aux autress plus complexes et synth\u00e9tiques, qui englobent les ant\u00e9rieures.<\/p>\n\n\n\n
L\u2019 action sch\u00e9matis\u00e9e et les h\u00e9ros st\u00e9r\u00e9otypes, le jeu codifi\u00e9 des com\u00e9diens et le th\u00e8me simplifi\u00e9, forment \u00e9galement des poins distincts du th\u00e9\u00e2tre populaire, gr\u00e2ce aux quels s\u2019 \u00e9ffectue une relation imm\u00e9diate entre la sc\u00e8ne et la salle.<\/p>\n\n\n\n
La pi\u00e8ce du th\u00e9\u00e2tre populaire exprime des id\u00e9es et des notions g\u00e9n\u00e9rales, d\u2019 int\u00e9r\u00eat commun pour le public qui la fr\u00e9quent, cat\u00e9gories du contenu universel (amour, mort, peur, libert\u00e9, justice, e.t.c.) qui, sans disposer d\u2019 une valeur cognitive limit\u00e9e, se pr\u00e9sentent d\u2019 une fa\u00e7on simplifi\u00e9, d\u00e9nnot\u00e9e, proche \u00e0 la conscience des spectateurs qui assistent au spectacle, \u00e9quivalent \u00e0 leur besoins et leurs exigeances sociales, existantielles ou m\u00e9taphysiques.<\/p>\n\n\n\n
f. Horizon d\u2019 attente du public homog\u00e8ne<\/p>\n\n\n\n
Les spectateurs dans une repr\u00e9sentation du th\u00e9\u00e2tre populaire disposent des capacit\u00e9s perceptives communes ou semblables, d\u00e9codant de la m\u00eame mani\u00e8re les messages sc\u00e9niques, selon leurs points de r\u00e9f\u00e9rences communs, leurs possibilit\u00e9s intellectuelles, emotionelles et psychiques pareils. C\u2019 est ainsi que non pas seulement la relation bilat\u00e9rale entre la sc\u00e8ne et la salle est assur\u00e9e, mais aussi le fonctionnement curatif (de fa\u00e7on aristotelienne) et p\u00e9dagogique du th\u00e9\u00e2tre est r\u00e9alisable.<\/p>\n\n\n\n
Si, \u00e0 la fin, nous ajoutons d\u2019 autres \u00e9l\u00e9ments, secondaires selon notre propre point de vue, mais qui caract\u00e9risent pourtant le th\u00e9\u00e2tre populaire, tels que l\u2019 absence de l\u2019 espace th\u00e9\u00e2tral permanent, l\u2019 absence de distance entre le jeu des com\u00e9diens sur sc\u00e8ne et la pr\u00e9sence des spectateurs dans la salle e.t.c., il devient bien clair le cadre total dans le quel se place, \u00e0 son tour, la Commedia dell\u2019 Arte, comme cat\u00e9gorie th\u00e9\u00e2trale de provenance populaire.<\/p>\n\n\n\n
Or, l\u2019 absence compl\u00e8te du texte dramatique et l\u2019 existance simple d\u2019 un canevas de jeu des comm\u00e9diens, qui peuvent le modifier selon leur go\u00fbt, et les r\u00e9actions du public dans la repr\u00e9sentation pr\u00e9cise, l\u2019 improvisation et la masque, forment les premiers points communs entre elle et le th\u00e9\u00e2tre populaire. En suite, il faut souligner la formalisation des ses h\u00e9ros, la codification stricte de leurs actions sc\u00e9niques bas\u00e9e aux codes de jeu connus auparavant, le sch\u00e9matisation de l\u2019 action, l\u2019 imm\u00e9diat\u00e9t\u00e9 de la communication entre le com\u00e9dien sur sc\u00e8ne et le spectateur dans la salle, qui consistent les \u00e9l\u00e9ments le plus repr\u00e9sentatifs de la Commedia dell\u2019 Arte, gr\u00e2ce aux quels elle est vite devenue le spectacle bien aim\u00e9 aux masses populaires et elle a r\u00e9ussi \u00e0 influencer d\u00e9cisivement la com\u00e9die moderne (Moli\u00e8re – Goldoni).<\/p>\n\n\n\n
Apr\u00e8s ces remarques th\u00e9oriques et historiques, concernant la pr\u00e9sence de la Commedia dell\u2019 Arte et son aventure dans l\u2019 Histoire du Th\u00e9\u00e2tre Occindental, nous envisageons \u00e0 soutenir une th\u00e8se personnelle, selon laquelle, par ses capacit\u00e9s communicatives ses potentialit\u00e9s expressives, et son jeu codifi\u00e9, elle devient le syst\u00e8me de repr\u00e9sentation id\u00e9al pour un genre de th\u00e9\u00e2tre nouveau: le th\u00e9\u00e2tre adress\u00e9 aux jeunes publics.<\/p>\n\n\n\n
Parlant de th\u00e9\u00e2tre \u00ab pour l\u2019 enfance et la jeunesse\u00bb, le \u00abth\u00e9\u00e2tre jeunes spectateurs\u00bb ou encore le \u00abth\u00e9\u00e2tre pour l\u2019 enfant\u00bb, nous nous r\u00e9f\u00e9rons \u00e0 cette cat\u00e9gorie sp\u00e9cifique du th\u00e9\u00e2tre, qui est pr\u00e9cis\u00e9e exclusivement par son destinataire final, le spectateur mineur dans la salle.<\/p>\n\n\n\n
C\u2019 est lui \u00e0 qui s\u2019 adresse le spectacle sc\u00e9nique, c\u2019 est par son jugement que d\u00e9pend le succ\u00e8s ou l\u2019 echec de la repr\u00e9sentation, c\u2019 est \u00e0 ses capacit\u00e9s intelleuctuelles et \u00e9motionelles que s\u2019 adapte le jeu des com\u00e9diens. Etant donn\u00e9 que sa conscience peut \u00eatre p\u00e9r\u00e7ue comme une \u00abtabula rasa\u00bb \u00e0 laquelle s\u2019 inscrit facilement quelquonque message de l\u2019 \u00e9crivain, et que son homog\u00e9n\u00e9it\u00e9 perceptive favorise la transmission des id\u00e9es et des valeurs p\u00e9dagogiques, il devient clair que le genre du th\u00e9\u00e2tre pr\u00e9cis peut former le moyen id\u00e9al pour l\u2019 \u00e9ducation de la jeunesse.<\/p>\n\n\n\n
Pour qu\u2019 on y arrive, pourtant, il faut que le spectateur s\u2019 identifie aux com\u00e9diens – h\u00e9ros de la pi\u00e8ce, qu\u2019 il suive de pr\u00e8s l\u2019 action sc\u00e9nique des actants, qu\u2019 il se touche par le spectacle, afin d\u2019 activiser, dans la suite, tout son potentiel psychique et intellectuel et d\u00e9codifier les signifi\u00e9s de la repr\u00e9sentation.<\/p>\n\n\n\n
Or, le r\u00f4le du com\u00e9dien devient primordial, puisque c\u2019 est par lui que le spectateur peut suivre les \u00e9nonc\u00e9s sc\u00e9niques et apprendre le message de la pi\u00e8ce, tandis que celui des autres collaborateurs du spectacle (metteur en sc\u00e8ne, sc\u00e9nographe, musicien, e.t.c.) dispose d\u2019 une importance consid\u00e9rable, mais moyenne que celle du com\u00e9dien.<\/p>\n\n\n\n
C\u2019 est lui qui contribue essentiellement au d\u00e9veloppement de la relation bilat\u00e9rale entre la sc\u00e8ne et la salle, qui renforce l\u2019 imm\u00e9diat\u00e9t\u00e9 et la repr\u00e9sentativit\u00e9 de l\u2019 action sc\u00e9nique.<\/p>\n\n\n\n
C\u2019 est lui qui, par l\u2019 expressivit\u00e9 corporelle, la transformation des ses traits caract\u00e9ristiques du visage, les changements de sa voix et la diversification de son mouvement sc\u00e9nique, arrive \u00e0 d\u00e9clarer ses sentiments et les situations psychiques qu\u2019 il vit \u00e0 chaque instant du spectacle, \u00e0 exprimer imm\u00e9diatement les impressions et les exp\u00e9riences qu\u2019 il teste, tout en convainquant le public pour la v\u00e9rit\u00e9 de ces faits.<\/p>\n\n\n\n
Car, le spectateur dans ce genre du th\u00e9\u00e2tre, comme dans le th\u00e9\u00e2tre populaire d\u2019 ailleurs, r\u00e9\u00e7oit comme vraie celui qui est illusioniste. Par cons\u00e9quent il arrive facilement \u00e0 l\u2019 identification personnelle aux actants sur sc\u00e8ne, parce que il est le spectateur innocent du type \u00abtabula rasa\u00bb et point celui de type \u00abres cogitans\u00bb du th\u00e9\u00e2tre pour adultes.<\/p>\n\n\n\n
Donc, l\u2019 enfant spectateur dans la salle s\u2019 \u00e9mu et craint, esp\u00e8re et devient content selon les sentiments \u00e9prouv\u00e9s par le com\u00e9dien – h\u00e9ros sur sc\u00e8ne, manipul\u00e9 ainsi facilement par lui, selon l\u2019 intention et la volont\u00e9 du metteur en sc\u00e8ne et de l\u2019 \u00e9crivain.<\/p>\n\n\n\n
Pour qu\u2019 il arrive, le com\u00e9dien doit modifier son jeu, de sorte qu\u2019 il devienne imm\u00e9diatement perceptif par les spectateurs mineurs de la salle, qu\u2019 il puisse les emparer dans l\u2019 illusion th\u00e9\u00e2trale de l\u2019 action sc\u00e9nique. C\u2019 est ainsi que la formalisation compl\u00e8te de leur appartition, leur r\u00f4le repr\u00e9sent\u00e9 et leur jeu codifi\u00e9, constituent des conditions pr\u00e9alables, chez les enfants spectateurs, pour qu\u2019 ils puissent communiquer imm\u00e9diatement avec les messages du spectacle.<\/p>\n\n\n\n
Or, les codes expressifs, et le jeu des com\u00e9diens de la Commedia dell\u2019 Arte, deviennent par excellent les moyens n\u00e9cesaires pour une repr\u00e9sentation d\u2019 une pi\u00e8ce de th\u00e9\u00e2tre adress\u00e9 aux jeunes spectateurs. Car, comme on s\u2019 apper\u00e7oit facilement d\u2019 ailleurs, tous les \u00e9l\u00e9ments formels de cette genre de th\u00e9\u00e2tre, coincident et s\u2019 identifient presque \u00e0 ceux de l\u2019 autre: expressivit\u00e9 du corps, exageration du mouvement, emphase \u00e0 la spectacularit\u00e9 de l\u2019 action, grotesque signification du jeu des acteurs, d\u00e9nnotation des ennonc\u00e9s sc\u00e9niques e.t.c. forment certains parmi le points communs de ces deux cat\u00e9gories du th\u00e9\u00e2tre.<\/p>\n\n\n\n
Si nous y ajoutons d\u2019 autres, secondaires, tels que les effets audio-visuels, le d\u00e9cor sc\u00e9nique, les lumi\u00e8res, la musique, e.t.c. qui disposent autant d\u2019 une valeur s\u00e9miotique importante, nous pouvons comprendre les raisions pour qui la comparaison entre la repr\u00e9sentation du th\u00e9\u00e2tre jeunes publics et celle de la Commedia dell\u2019 Arte est non pas sulement legitime, mais aussi r\u00e9ussite.<\/p>\n\n\n\n
\u0392\u0399\u0392\u039b\u0399\u039f\u0393\u03a1\u0391\u03a6\u0399\u0391<\/p>\n\n\n\n
APOLLONIO [M.] Storia della Commedia dell\u2019 Arte, Milano,1930<\/p>\n\n\n\n
AUBAILLY [J.Cl.]\u00a0 \u00abTh\u00e9\u00e2tre medieval et f\u00eates calendaires\u00bb in \u00abLa litt\u00e9rature populaire au XVe et XVIe si\u00e8cles\u00bb R\u00e9forme Humanisme Renaissance, 1:11 [1980]\u00a0 5-12<\/p>\n\n\n\n
AUGUET [R.] F\u00eates et spectacles populaires, Paris, Flammarion, 1974<\/p>\n\n\n\n
BOAL [Aug.]\u00a0\u00a0\u00a0\u00a0\u00a0 \u00abCat\u00e9gories du th\u00e9\u00e2tre populaire\u00bb. Travail Th\u00e9\u00e2tral 6.[1972] 3-26<\/p>\n\n\n\n
\u0393\u03a1\u0391\u039c\u039c\u0391\u03a4\u0391\u03a3 [\u0398] \u00ab\u0397 \u03c0\u03b1\u03c1\u03bf\u03c5\u03c3\u03af\u03b1 \u03c4\u03b7\u03c2 commedia dell\u2019 Arte \u00a0\u03c3\u03c4\u03bf \u03b5\u03c6\u03c4\u03b1\u03bd\u03b7\u03c3\u03b9\u03b1\u03ba\u03cc \u03b8\u03ad\u03b1\u03c4\u03c1\u03bf \u03c4\u03bf\u03c5 \u0399\u0397\u0384\u03b1\u03b9\u03ce\u03bd\u03b1. \u0397 \u03c0\u03b5\u03c1\u03af\u03c0\u03c4\u03c9\u03c3\u03b7 \u03c4\u03b7\u03c2 \u00ab\u0399\u03c6\u03b9\u03b3\u03ad\u03bd\u03b5\u03b9\u03b1\u03c2\u00bb \u03c4\u03bf\u03c5 \u03a0\u03ad\u03c4\u03c1\u03bf\u03c5 \u039a\u03b1\u03c4\u03c3\u03b1\u03ca\u03c4\u03b7\u00bb \u03c3\u03c4\u03bf: \u039d\u03b5\u03bf\u03b5\u03bb\u03bb\u03b7\u03bd\u03b9\u03ba\u03cc \u03b8\u03ad\u03b1\u03c4\u03c1\u03bf. \u0399\u03c3\u03c4\u03bf\u03c1\u03af\u03b1-\u0394\u03c1\u03b1\u03bc\u03b1\u03c4\u03bf\u03c5\u03c1\u03b3\u03af\u03b1, \u0391\u03b8\u03ae\u03bd\u03b1, \u039a\u03bf\u03c5\u03bb\u03c4\u03bf\u03cd\u03c1\u03b1, 1987 24-41<\/p>\n\n\n\n
\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 –\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u00a0Fantasyland. \u0398\u03ad\u03b1\u03c4\u03c1\u03bf \u03b3\u03b9\u03b1 \u03c0\u03b1\u03b9\u03b4\u03b9\u03ba\u03cc \u03ba\u03b1\u03b9 \u03bd\u03b5\u03b1\u03bd\u03b9\u03ba\u03cc \u03ba\u03bf\u03b9\u03bd\u03cc, \u0391\u03b8\u03ae\u03bd\u03b1, \u03a4\u03c5\u03c0\u03c9\u03b8\u03ae\u03c4\u03c9, \u03c3\u03b5\u03b9\u03c1\u03ac \u00ab\u0398\u03b5\u03b1\u03c4\u03c1\u03b9\u03ba\u03ae \u03a0\u03b1\u03b9\u03b4\u03b5\u03af\u03b1\u00bb, 1996<\/p>\n\n\n\n
CHAVANON [Cl]\u00a0 Le\u00a0 th\u00e9\u00e2tre pour enfants, Lausanne, La Cit\u00e9 L\u2019 Age d\u2019 Homme, 1974.<\/p>\n\n\n\n
DELDIME (R.) Le th\u00e9\u00e2tre pour enfants. Approche psycho-p\u00e9dagogique, s\u00e9mantique et s\u00e9miologique, Bruxelles, De Boeck, 1976.<\/p>\n\n\n\n
–\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u0398\u03ad\u03b1\u03c4\u03c1\u03bf \u03b3\u03b9\u03b1 \u03c4\u03b7\u03bd \u03c0\u03b1\u03b9\u03b4\u03b9\u03ba\u03ae \u03ba\u03b1\u03b9 \u03bd\u03b5\u03b1\u03bd\u03b9\u03ba\u03ae \u03b7\u03bb\u03b9\u03ba\u03af\u03b1 (\u03bc\u03b5\u03c4. \u0398. \u0393\u03c1\u03b1\u03bc\u03bc\u03b1\u03c4\u03ac\u03c2), \u0391\u03b8\u03ae\u03bd\u03b1, \u03a4\u03c5\u03c0\u03c9\u03b8\u03ae\u03c4\u03c9, \u03c3\u03b5\u03b9\u03c1\u03ac \u00ab\u0398\u03b5\u03b1\u03c4\u03c1\u03b9\u03ba\u03ae \u03a0\u03b1\u03b9\u03b4\u03b5\u03af\u03b1\u00bb, 1996.<\/p>\n\n\n\n
GAIGNEBET (Cl.) – FLORENTIN (M. Cl.) Le carnaval. Essais de mythologie populaire, Paris, Payot, 1974.<\/p>\n\n\n\n
GRINBERG (M.) \u00abCarnaval et soci\u00e9t\u00e9 urbaine XIVe -XVIe si\u00e8cles: le royaume dans la ville\u00bb Ethnologie fran\u00e7aise 4: 3 (1974) 215-244.<\/p>\n\n\n\n
JAKOBSON (R.) – BOGATYREV (P.) \u00abLe folklore forme sp\u00e9cifique de cr\u00e9ation\u00bb in: Questions de po\u00e9tique, Paris, Seuil, 1973, 59-72.<\/p>\n\n\n\n
\u039a\u0391\u039a\u039f\u03a5\u03a1\u0397 (\u039a.)\u00a0 \u00ab\u0391\u03c5\u03c4\u03bf\u03c3\u03c7\u03b5\u03b4\u03b9\u03b1\u03c3\u03bc\u03bf\u03af \u03ba\u03b1\u03b9 \u0398\u03ad\u03b1\u03c4\u03c1\u03bf. \u03a4\u03bf \u03bb\u03b1\u03ca\u03ba\u03cc \u03c0\u03b1\u03bd\u03b7\u03b3\u03cd\u03c1\u03b9 \u03c0\u03c1\u03bf\u03b1\u03b9\u03ce\u03bd\u03b9\u03b1 \u03c1\u03af\u03b6\u03b1\u00bb, \u0398\u03ad\u03b1\u03c4\u03c1\u03bf 22-23 (19645) 79-84.<\/p>\n\n\n\n
– \u0397 \u03c0\u03c1\u03bf\u03ca\u03c3\u03c4\u03bf\u03c1\u03af\u03b1 \u03c4\u03bf\u03c5 \u03b8\u03b5\u03ac\u03c4\u03c1\u03bf\u03c5, \u0391\u03b8\u03ae\u03bd\u03b1, \u03b5\u03ba\u03b4. \u03a5\u03a0.\u03a0\u039f, 1974.<\/p>\n\n\n\n
\u039a\u039f\u039d\u039f\u039c\u039f\u03a3 (\u039d\u03c4.) \u00ab\u03a4\u03bf \u03c0\u03b1\u03bb\u03b9\u03cc \u03b6\u03b1\u03ba\u03c5\u03bd\u03b8\u03b9\u03bd\u03cc \u03ba\u03b1\u03c1\u03bd\u03b1\u03b2\u03ac\u03bb\u03b9\u00bb \u03a6\u03b9\u03bb\u03bf\u03bb\u03bf\u03b3\u03b9\u03ba\u03ae \u03a0\u03c1\u03c9\u03c4\u03bf\u03c7\u03c1\u03bf\u03bd\u03b9\u03ac (1953), 263-275.<\/p>\n\n\n\n
KOPFERMAN (E.) Le th\u00e9\u00e2tre populaire, pourquoi? Paris, Masp\u00e9ro, 1969.<\/p>\n\n\n\n
\u039a\u039f\u03a0\u03a6\u0395\u03a1\u039c\u0391\u039d (\u0395\u03bc.) \u00ab\u03a4\u03bf \u03bb\u03b1\u03ca\u03ba\u03cc \u03b8\u03ad\u03b1\u03c4\u03c1\u03bf \u03ba\u03b1\u03b9 \u03bf \u03c0\u03bf\u03bb\u03b9\u03c4\u03b9\u03c3\u03bc\u03cc\u03c2 \u03c8\u03c5\u03c7\u03b1\u03b3\u03c9\u03b3\u03af\u03b1\u03c2\u00bb \u0391\u03bd\u03bf\u03b9\u03c7\u03c4\u03cc \u0398\u03ad\u03b1\u03c4\u03c1\u03bf 2 (1971) 44-50.<\/p>\n\n\n\n
\u039c\u0395\u03a1\u0391\u039a\u039b\u0397\u03a3 (\u039c.) \u00ab\u03a4\u03b9 \u03b5\u03af\u03bd\u03b1\u03b9 \u03bf Folklorismus\u00bb \u039b\u03b1\u03bf\u03b3\u03c1\u03b1\u03c6\u03af\u03b1 28 (1972) 27-38<\/p>\n\n\n\n
–\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u00ab\u03a4\u03bf \u03c0\u03c1\u03cc\u03b2\u03bb\u03b7\u03bc\u03b1 \u03c4\u03b7\u03c2 \u03c0\u03c1\u03bf\u03ad\u03bb\u03b5\u03c5\u03c3\u03b7\u03c2 \u03c4\u03c9\u03bd \u03bf\u03bc\u03b9\u03bb\u03b9\u03ce\u03bd\u00bb \u03a6\u03b9\u03bb\u03bf\u03bb\u03bf\u03b3\u03b9\u03ba\u03ac 5 (1981), 34-38.<\/p>\n\n\n\n
\u039ccCASLIN Theater for young Audiences, New York, Longman, 1978.<\/p>\n\n\n\n
MESNIL (M.)\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Trois essais sur la F\u00eate. Du folklore \u00e0 l\u2019 ethnos\u00e9miotique, Bruxelles, \u00e9d. de l\u2019 Universit\u00e9, 1974.<\/p>\n\n\n\n
MICCLACHEVSKI (C.) \u00abT\u03b1 \u03bc\u03c5\u03c3\u03c4\u03b9\u03ba\u03ac \u03c4\u03b7\u03c2 Commedia. H \u03c4\u03b5\u03c7\u03bd\u03b9\u03ba\u03ae \u03c4\u03b7\u03c2 \u03c0\u03b1\u03c1\u03ac\u03c3\u03c4\u03b1\u03c3\u03b7\u03c2\u00bb, (\u03bc\u03b5\u03c4. \u03a4. \u0394\u03c1\u03b1\u03b3\u03ce\u03bd\u03b1), \u0398\u03ad\u03b1\u03c4\u03c1\u03bf 22 (1965) 40-51.<\/p>\n\n\n\n
\u00a0–\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 La Commedia dell\u2019 Arte ou le th\u00e9\u00e2tre des comdiens italiens des XVIe, XVIIe et XVIIIe si\u00e8cles, Paris, \u00e9d. de la Pl\u00e9iade, 1927.<\/p>\n\n\n\n
\u03a0\u039f\u03a1\u03a6\u03a5\u03a1\u0397\u03a3 (\u039a.) \u00ab\u03a4\u03bf \u03b6\u03b1\u03ba\u03c5\u03bd\u03b8\u03b9\u03bd\u03cc \u03bb\u03b1\u03ca\u03ba\u03cc \u03b8\u03ad\u03b1\u03c4\u03c1\u03bf\u00bb \u0395\u03c0\u03b9\u03b8\u03b5\u03ce\u03c1\u03b7\u03c3\u03b7 \u03a4\u03ad\u03c7\u03bd\u03b7\u03c2 2: 8 (1955), 145 – 148.<\/p>\n\n\n\n
–\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u00ab\u0396\u03b1\u03ba\u03c5\u03bd\u03b8\u03b9\u03bd\u03ad\u03c2 \u039f\u03bc\u03b9\u03bb\u03af\u03b5\u03c2. \u039c\u03b9\u03b1 \u03bc\u03bf\u03c1\u03c6\u03ae \u03bb\u03b1\u03ca\u03ba\u03bf\u03cd \u0398\u03b5\u03ac\u03c4\u03c1\u03bf\u03c5\u00bb, \u0398\u03ad\u03b1\u03c4\u03c1\u03bf 17, 24-27.<\/p>\n\n\n\n
\u03a0\u039f\u03a5\u03a7\u039d\u0395\u03a1 (\u0392.)\u00a0\u00a0 \u0398\u03b5\u03c9\u03c1\u03af\u03b1 \u03c4\u03bf\u03c5 \u039b\u03b1\u03ca\u03ba\u03bf\u03cd \u0398\u03b5\u03ac\u03c4\u03c1\u03bf\u03c5. \u039a\u03c1\u03b9\u03c4\u03b9\u03ba\u03ad\u03c2 \u03c0\u03b1\u03c1\u03b1\u03c4\u03b7\u03c1\u03ae\u03c3\u03b5\u03b9\u03c2 \u03c3\u03c4\u03bf \u03b3\u03b5\u03bd\u03b5\u03c4\u03b9\u03ba\u03cc \u03ba\u03ce\u03b4\u03b9\u03ba\u03b1 \u03c4\u03b7\u03c2 \u03b8\u03b5\u03b1\u03c4\u03c1\u03b9\u03ba\u03ae\u03c2 \u03c3\u03c5\u03bc\u03c0\u03b5\u03c1\u03b9\u03c6\u03bf\u03c1\u03ac\u03c2 \u03c4\u03bf\u03c5 \u03b1\u03bd\u03b8\u03c1\u03ce\u03c0\u03bf\u03c5, \u0391\u03b8\u03ae\u03bd\u03b1, \u03a0\u03b1\u03c1\u03ac\u03c1\u03c4\u03b7\u03bc\u03b1 \u00ab\u039b\u03b1\u03bf\u03b3\u03c1\u03b1\u03c6\u03af\u03b1\u00bb \u03b1\u03c1. 9, 1985.<\/p>\n\n\n\n
PANDOLFI (V.) La Commedia dell\u2019 Arte. Storia e testo, I-II, Firenze, 1957.<\/p>\n\n\n\n
ROSENBERG (M.) – PRENDERGAST (C.) Theater for Young People. A sense of occasion , New York, Holt Rinehart, Winston, 1983.<\/p>\n\n\n\n
\u03a1\u03a9\u03a4\u0391\u03a3 (\u0392.)\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u00ab\u03a4\u03ad\u03c7\u03bd\u03b7 \u03b1\u03c0\u03cc \u03c4\u03bf \u039b\u03b1\u03cc. \u03a4\u03bf \u03b8\u03b1\u03cd\u03bc\u03b1 \u03c4\u03b7\u03c2 \u039a\u03bf\u03bc\u03bc\u03ad\u03bd\u03c4\u03b9\u03b1\u00bb \u0398\u03ad\u03b1\u03c4\u03c1\u03bf 22 (1965), 40-51.<\/p>\n\n\n\n
\u03a3\u039f\u039b\u039f\u039c\u039f\u03a3 (\u0391.) \u00abCommedia dell\u2019 Arte. \u0397 \u03c0\u03b1\u03bd\u03c4\u03bf\u03ba\u03c1\u03b1\u03c4\u03bf\u03c1\u03af\u03b1 \u03c4\u03bf\u03c5 \u03b7\u03b8\u03bf\u03c0\u03bf\u03b9\u03bf\u03cd\u00bb, \u0398\u03ad\u03b1\u03c4\u03c1\u03bf 22, 15-26.<\/p>\n\n\n\n
SIMON (Al.)\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Le Signes et les Songes. Essais sur le th\u00e9\u00e2tre et la f\u00eate, Paris, Seuil, 1976.<\/p>\n\n\n\n
VALLON (Cl.)\u00a0\u00a0 \u00a0Pratiques du th\u00e9\u00e2tre pour enfants, Lausanne, Pierre Marcel Favre,\u00a01981.<\/p>\n","protected":false},"excerpt":{"rendered":"
La Commedia dell\u2019Arte, forme th\u00e9\u00e2trale de provenance populaire, dispose des traits distinctifs propres \u00e0 lui, de sorte qu\u2019 elle peut \u00eatre approch\u00e9e et per\u00e7ue par lui. Le but de notre communication porte \u00e0 pr\u00e9ciser les codes communicatifs dont elle se sert, et par la suite \u00e0 circonscrire leur fonctionnalit\u00e9 chez les spectaters aux quels elle s\u2019adresse. A l\u2019 aide de ces constatations, nous envisageons d\u2019 explorer, dans la suite leur application potentielle dans un genre sp\u00e9cifique du th\u00e9\u00e2tre, celui qui s\u2019 adresse aux jeunes publics.<\/p>\n","protected":false},"author":2,"featured_media":2292,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_feature_clip_id":0,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_post_was_ever_published":false},"categories":[128,122,120],"tags":[961,962,524],"class_list":["post-2291","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-global-theatre","category-theatre-history","category-theory-of-theatre","tag-commedia-dell-arte","tag-spectateurs","tag-theatre-history"],"jetpack_featured_media_url":"https:\/\/i0.wp.com\/theodoregrammatas.com\/wp-content\/uploads\/2020\/07\/7917979_orig.jpg?fit=1100%2C484&ssl=1","jetpack-related-posts":[{"id":2471,"url":"https:\/\/theodoregrammatas.com\/?p=2471&lang=en","url_meta":{"origin":2291,"position":0},"title":"“Popular” and “Highbrow” in the theatre. Cultural interaction and osmosis between the genres*","author":"Theodore Grammatas","date":"August 5, 2021","format":false,"excerpt":"Popular \/ Folk theatre The term \u201cpopular theatre\u201d denotes a cultural creation the specific features of which remain constant and characteristic of this theatrical category (Grammatas 2006 : 239-241) despite any changes that might have taken place over the times. Its basic source of origin is the \u201critual\u201d, which, though\u2026","rel":"","context":"In "Global Theatre"","block_context":{"text":"Global Theatre","link":"https:\/\/theodoregrammatas.com\/?cat=128&lang=en"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/theodoregrammatas.com\/wp-content\/uploads\/2021\/08\/TRISEVGENI-1958.jpg?fit=907%2C720&ssl=1&resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/theodoregrammatas.com\/wp-content\/uploads\/2021\/08\/TRISEVGENI-1958.jpg?fit=907%2C720&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/theodoregrammatas.com\/wp-content\/uploads\/2021\/08\/TRISEVGENI-1958.jpg?fit=907%2C720&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/theodoregrammatas.com\/wp-content\/uploads\/2021\/08\/TRISEVGENI-1958.jpg?fit=907%2C720&ssl=1&resize=700%2C400 2x"},"classes":[]},{"id":2459,"url":"https:\/\/theodoregrammatas.com\/?p=2459&lang=en","url_meta":{"origin":2291,"position":1},"title":"Cultural Consciousness and Theatrical Creation in Postwar Modern Greek Theatre: The “Hellenism Syndrom” phase","author":"Theodore Grammatas","date":"May 19, 2021","format":false,"excerpt":"The search for cultural identity is an ever-lasting demand for the Greek dramatology. During the post-war years the presence of this search is intensive, and the variety of its forms and versions depends each time on the specific historical and social conditions. On the basis of this quest for theatrical\u2026","rel":"","context":"In "Modern Greek Theatre"","block_context":{"text":"Modern Greek Theatre","link":"https:\/\/theodoregrammatas.com\/?cat=126&lang=en"},"img":{"alt_text":"Sevastikoglou","src":"https:\/\/i0.wp.com\/theodoregrammatas.com\/wp-content\/uploads\/2021\/05\/4f428854bee71dd5a29e3952aa77fe84.jpg?fit=985%2C1021&ssl=1&resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/theodoregrammatas.com\/wp-content\/uploads\/2021\/05\/4f428854bee71dd5a29e3952aa77fe84.jpg?fit=985%2C1021&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/theodoregrammatas.com\/wp-content\/uploads\/2021\/05\/4f428854bee71dd5a29e3952aa77fe84.jpg?fit=985%2C1021&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/theodoregrammatas.com\/wp-content\/uploads\/2021\/05\/4f428854bee71dd5a29e3952aa77fe84.jpg?fit=985%2C1021&ssl=1&resize=700%2C400 2x"},"classes":[]},{"id":2653,"url":"https:\/\/theodoregrammatas.com\/?p=2653&lang=en","url_meta":{"origin":2291,"position":2},"title":"Drama and Theatre in ancient Greece. A database and a spectators\u2019 school.","author":"Theodore Grammatas","date":"November 1, 2022","format":false,"excerpt":"Abstract Drama always consisted of an invaluable \u201cdatabase\u201d for the culture and education of the ancient Greek spectators, who used to watch it as a performance that derived from the already existing literary types and forms (epic and lyric poetry) on which it was based and which included up to\u2026","rel":"","context":"In "Ancient Drama"","block_context":{"text":"Ancient Drama","link":"https:\/\/theodoregrammatas.com\/?cat=124&lang=en"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/theodoregrammatas.com\/wp-content\/uploads\/2022\/11\/9366fa7c6158d5780d3c2d34c3643dd8.jpg?fit=768%2C601&ssl=1&resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/theodoregrammatas.com\/wp-content\/uploads\/2022\/11\/9366fa7c6158d5780d3c2d34c3643dd8.jpg?fit=768%2C601&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/theodoregrammatas.com\/wp-content\/uploads\/2022\/11\/9366fa7c6158d5780d3c2d34c3643dd8.jpg?fit=768%2C601&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/theodoregrammatas.com\/wp-content\/uploads\/2022\/11\/9366fa7c6158d5780d3c2d34c3643dd8.jpg?fit=768%2C601&ssl=1&resize=700%2C400 2x"},"classes":[]},{"id":2336,"url":"https:\/\/theodoregrammatas.com\/?p=2336&lang=en","url_meta":{"origin":2291,"position":3},"title":"Absent Presence of Illusion and Present Absence of the Picture from the Pictorial Symbols of the Theatre to the Virtual Symbolisation of the Real","author":"Theodore Grammatas","date":"October 21, 2020","format":false,"excerpt":"he problem of the existence or not of a reality, which outside the dimension of the intelligent subject, that is, the relationship of the subjectivity of conscience and the objectivity of the world, comprises an issue lending itself to a multiplicity of approaches and dimensions such as ontology, gnosology, psychology\u2026","rel":"","context":"In "Theory of Theatre"","block_context":{"text":"Theory of Theatre","link":"https:\/\/theodoregrammatas.com\/?cat=120&lang=en"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/theodoregrammatas.com\/wp-content\/uploads\/2020\/10\/virtual.jpg?fit=1170%2C585&ssl=1&resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/theodoregrammatas.com\/wp-content\/uploads\/2020\/10\/virtual.jpg?fit=1170%2C585&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/theodoregrammatas.com\/wp-content\/uploads\/2020\/10\/virtual.jpg?fit=1170%2C585&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/theodoregrammatas.com\/wp-content\/uploads\/2020\/10\/virtual.jpg?fit=1170%2C585&ssl=1&resize=700%2C400 2x, https:\/\/i0.wp.com\/theodoregrammatas.com\/wp-content\/uploads\/2020\/10\/virtual.jpg?fit=1170%2C585&ssl=1&resize=1050%2C600 3x"},"classes":[]},{"id":2660,"url":"https:\/\/theodoregrammatas.com\/?p=2660&lang=en","url_meta":{"origin":2291,"position":4},"title":"The Transmission and Reception of the Values of the Ancient Greek Culture in Theater via “Digital Dialogue”","author":"Theodore Grammatas","date":"December 13, 2022","format":false,"excerpt":"Abstract[1] Our age is characterized by the instantaneous transmission of information and the redefinition of distances and boundaries of human relationships and communication. Theater, as a \"sensitive indicator of reality\", does not remain unaffected, but seeks new ways of expressing the \"timelessness\" and \"universality\" which brings viewer\u2019s consciousness. Dialogue as\u2026","rel":"","context":"In "Theatre for Young Audiences"","block_context":{"text":"Theatre for Young Audiences","link":"https:\/\/theodoregrammatas.com\/?cat=1&lang=en"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/theodoregrammatas.com\/wp-content\/uploads\/2022\/12\/3c22db160aa2be52d2c5beeb0ab1bffe.jpg?fit=1200%2C675&ssl=1&resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/theodoregrammatas.com\/wp-content\/uploads\/2022\/12\/3c22db160aa2be52d2c5beeb0ab1bffe.jpg?fit=1200%2C675&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/theodoregrammatas.com\/wp-content\/uploads\/2022\/12\/3c22db160aa2be52d2c5beeb0ab1bffe.jpg?fit=1200%2C675&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/theodoregrammatas.com\/wp-content\/uploads\/2022\/12\/3c22db160aa2be52d2c5beeb0ab1bffe.jpg?fit=1200%2C675&ssl=1&resize=700%2C400 2x, https:\/\/i0.wp.com\/theodoregrammatas.com\/wp-content\/uploads\/2022\/12\/3c22db160aa2be52d2c5beeb0ab1bffe.jpg?fit=1200%2C675&ssl=1&resize=1050%2C600 3x"},"classes":[]},{"id":2788,"url":"https:\/\/theodoregrammatas.com\/?p=2788&lang=en","url_meta":{"origin":2291,"position":5},"title":"Mnemonic recording of the theatre","author":"Theodore Grammatas","date":"July 3, 2023","format":false,"excerpt":"If by performance we mean the \u201cpoetics of remembrance\u201d, since it is there that the playwright\u2019s and the actor\u2019s memory as well as the spectators memory and social memory\u00a0 creatively meet, then the theatre can be called the \u201cart of memory\u201d ( Samuel 1994), reflection and repetitive appearance of the\u2026","rel":"","context":"In "Theatre for Young Audiences"","block_context":{"text":"Theatre for Young Audiences","link":"https:\/\/theodoregrammatas.com\/?cat=1&lang=en"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/theodoregrammatas.com\/wp-content\/uploads\/2023\/07\/cc6619a6085de8ad68cdd421470287f3.jpg?fit=1200%2C575&ssl=1&resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/theodoregrammatas.com\/wp-content\/uploads\/2023\/07\/cc6619a6085de8ad68cdd421470287f3.jpg?fit=1200%2C575&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/theodoregrammatas.com\/wp-content\/uploads\/2023\/07\/cc6619a6085de8ad68cdd421470287f3.jpg?fit=1200%2C575&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/theodoregrammatas.com\/wp-content\/uploads\/2023\/07\/cc6619a6085de8ad68cdd421470287f3.jpg?fit=1200%2C575&ssl=1&resize=700%2C400 2x, https:\/\/i0.wp.com\/theodoregrammatas.com\/wp-content\/uploads\/2023\/07\/cc6619a6085de8ad68cdd421470287f3.jpg?fit=1200%2C575&ssl=1&resize=1050%2C600 3x"},"classes":[]}],"jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/theodoregrammatas.com\/index.php?rest_route=\/wp\/v2\/posts\/2291","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/theodoregrammatas.com\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/theodoregrammatas.com\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/theodoregrammatas.com\/index.php?rest_route=\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/theodoregrammatas.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=2291"}],"version-history":[{"count":1,"href":"https:\/\/theodoregrammatas.com\/index.php?rest_route=\/wp\/v2\/posts\/2291\/revisions"}],"predecessor-version":[{"id":2293,"href":"https:\/\/theodoregrammatas.com\/index.php?rest_route=\/wp\/v2\/posts\/2291\/revisions\/2293"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/theodoregrammatas.com\/index.php?rest_route=\/wp\/v2\/media\/2292"}],"wp:attachment":[{"href":"https:\/\/theodoregrammatas.com\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=2291"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/theodoregrammatas.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=2291"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/theodoregrammatas.com\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=2291"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}