WAIT WAIT WAIT WAIT WAIT WAIT

commedia dell'arte was the fanficton of its time.

I was rewatching Brian David Gilbert’s fire emblem video wherein he’s describing Commedia Dell’Arte and he explains how it uses specific masks and costumes to denote certain characters so the audience is already familiar with the characters so the play can jump right into the action

and I realized ! !!! That’s fanfiction! That served the exact same purpose then, as fanfiction does now ! the audience already knows the characters and they just wanna see ‘em in silly situations ! AAAAHH

Still on the high from that one time in theatre studies where my teacher asked what do I think Clarice and Silvio should do at the end of the play "A servant to two masters" and I replied

I think they should go to couples therapy

And people in the class laughed. The validation from that one moment has kept me going this week ;-;

20thc Rosenthal Studio-Line Vase by Bjorn Wiinblad.

Commedia dell arte

MERRY XMAS EVERYONE

They are smoochin'

(I love these clown puppets)

+ raviohilda

Commedia dell'Arte: The Timeless Theatrical Tradition

Commedia dell’Arte, a vibrant and enduring form of theatrical expression, has left an indelible mark on the world of theater and comedy. Rooted in the streets of 16th-century Italy, this improvisational and masked performance style introduced a roster of classic characters, and its influence can still be seen in modern theater and comedy today. In this blog post, we’ll delve into the origins of…

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Jacob and Newt like Pierrot and Harlequin

undertale characters and their danganronpa counterparts (pt.2)

Ben-Jamin from Fools In Progress Theatre Company as Il Capitano

ANTHROPOCENE COLLAPSE

“Look, it’s his show. If he wants to be hard to kill, let him.” —Cartoon character Boris Badenov The star of this snapshot of a cinematic set piece is, of course, a Trumpasuraurus wrecks—a Godzilla-like beast, but without the kitschy charm—enjoying his vengeful, but otherwise mindless, anarchy. a Reign of Terror wrought by a wannabe Robespierre with a Napoleon complex. The creature’s inclusion…

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I like that to identify me as an irl u have to

1. know me long enough to remember when I used this handle EVERYWHERE

2. have a basic grasp on my interests

3. be very confident in what I look like

Tijdreizen? Een makkie! Oftewel waarom de Campari Spritz juist bij Bar San Martino zo goed smaakt.

Tijdreizen moeilijk? Totaal niet. Gewoon een Campari Spritz bij San Martino in combinatie met de Chiesa di San Domenica. In, haar nieuwe blogaflevering in TOOS&ART maakt Toos van Holstein duidelijk hoe dat zit. #kunst #art

de Via dei Consoli in Gubbio met uitzicht op een deel van de gevel van de Chiesa di San Domenico Tijdreizen? Onmogelijk? Nee hoor. Fluitje van een eurocent.Tijdens mijn verblijf in het Italiaanse Gubbio in april/mei hoefde ik er alleen maar vanaf het terras van de Bar San Martino  de Piazza Giordano Bruno voor over te steken en door de grote deur de Chiesa di San Domenico  binnen te lopen. Oké,…

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Again not a translator by trade I just do what I can with the knowledge of the language only the Devil and Hungarians speak. I would love to get some notes, or help, because this one is full of misinformation in my humble opinion. So… uh… have the Youngkin book ready I guess…

Peter Lorre – the hero of horror movies is – Hungarian!

Talking with the famous actor’s father in Budapest

Slowly climbing our way up the snow covered street in Buda. We stop before a modest looking villa that stretches into a garden. Under the doorbell stands a small nametag:

LAJOS LÓRÁNT (Translator’s notes: Okay, so this article came out in 1947, after Hungary’s involvement in WWII… on the worst side possible and after the “liberation” by the Soviet army. Now it wasn’t uncommon for Jewish people to change their name to something more Hungarian for assimilation purposes. And during that time people who had a German sounding name could be deported back to Germany… even if they lived in Hungary for generations and had no political involvement in the war. The worse option was of course a brutal death. So that’s my guess as to why it says Lóránt instead of Löwenstein.)

Inside the warm room, among the heavy furniture we shake hands with a kind old man. With Lajos Lóránt, the father of Peter Lorre, the world famous actor, the big star of the so-called >>horror movies<<. We are talking about his son, who appeared in nearly almost every big European city, but his success reached its zenith in Hollywood. Old photos, yellowed articles emerge from the depths of the huge drawer. The past is mixed with the present here, the drawer shows us the ascending career path of a great actor.

– Peter was born in Rózsahegy (Translator’s note: If you are not Hungarian I guarantee you are pronouncing it wrong.), but he was still a child, when we moved to Vienna. He studied there, – the old man’s eyes start to shine – he graduated with honors from the Wiener Handelsakademien. For a short while he worked at a bank, but his dream, to become an actor, didn’t let him rest behind the boring desk of the foreign exchange department. With his young friends he organized an experimental stage, where they performed commedia dell arte plays. – they failed with it. He first performed in a serious play in Breslau, and from here his journey lead to Zürich. (Translator’s notes: If anyone could add more to these please do so. I don’t remember anything about either places.) Then he performed in Vienna with astounding success, then he went to Berlin. There he was spotted by Fritz Lang, who contracted him for the main role in >>M<<. The peculiar movie became a world hit, and with certainty established Péter’s career as an actor.

A faded newspaper, with yellowed edges comes out from the drawer now, the first Hollywood article, which was written of Peter Lorre.

>>…Peter Lorre – states the article – doesn’t hold onto the hundreds of critiques, he only put away one. That copy of the Times, where Chaplin has said that he has seen >>M<< three times and that he considers Peter Lorre the best European actor.<<

After the nazis seized power Peter Lorre has also immigrated, first to Paris, and then to London… The great actor was received with a warm welcome by the free people of the free countries. In London with one of his roles he won the English producer’s first prize, which is equivalent to an American Oscar. (Translator’s note: What?) Mr. Lóránt is now telling us about an episode in London:

- There was a group that got together in London, the immigrants, we went there together with Péter. (Translator’s notes: The story makes it sound as if papa Löwenstein was also there with him in London, but he wasn’t… as to my knowledge… anyway let’s continue…) One day a producer has joined us, he also came from Germany. He told us of an interesting and a typical incident. When the nazis took over the UFA studio, one day Goebbels visited the ateliers in Neubabelsberg. Everyone was there to see the >>tall<< visitor. Then Goebbles had asked: - Tell me, you had once a great actor… a sort of short little man… Why is he not here? - Minister, there’s a bit of a problem with him… - Problem?! What sort of problem?! I can smooth it over! - I’m afraid, Minister, that this problem cannot be fixed. - ??? - Minister, with Peter Lorre the problem is with his… religion! Goebbels straightened himself out, and his expression turned dark: - I no longer know this man! (Translator’s notes: Not a loss if you ask me. Burn in Hell nazi scum~)

Newer photos emerge, these are from America. Success, after success.

- Does your son write often? - Oh, of course. Always with such love and would love for me to move out to him. There’s a possibility it’ll happen around the summer. And he always writes in Hungarian, always, and he always states he is Hungarian. (Translator’s notes: Again what??? Man didn’t speak the language, but he could write??? That’s new info for me… but in a previous one we were also told by papa Löwenstein that he hates writing letters and would rather call home instead… I do feel validated tho, because yes Hungarians ride horses and women, man did not deny his roots. If anyone calls him a different nationality from here on I will be collecting kneecaps just saying.)

Our time is up, the photos and articles go back into the drawer. Mr. Lóránt puts away even the smallest paper piece with such great care, as if it were expensive porcelain.

Original article by György Gaál.

Text under images:

In the first movie, in the main role of Fritz Lang’s drama >>M<<

With his father, in 1930, at Siófok (Translator’s notes: Uhhh… in the previous one I translated this image was said to be taken in 1921 Budapest… Did papa Löwenstein remember it wrong, it has been 10 years and I’m unsure how old he was at this point… He could’ve just misremembered, or the journalist made an error. Either way I feel gaslighted. If anyone knows if he took any vacays near Lake Balaton lemme know.)

With his wife in Palm Springs. The white horse was a gift from Robert Taylor

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Fine, Scarce and Important George II Triple Folding Mahogany Harlequin Games Table by Thomas Potter

* A true triple folding harlequin table, all too often others are called triple yet have only two actual folding leaves upon its base, this table is however a true piece of ingenious craftsmanship from the dawn of these tables which has three fully folding leaves and is fully attributed to the inventor of such tables, that being Thomas Potter, master cabinet maker of High Holborn, London.

Circa 1735-40 this George II mahogany triple-folding harlequin games/card table comes complete with its original two keys, one of which is an absolute work of art in its own right, as well as a full chess set, ivory die and shakers.

Measuring 78cm high, 80cm wide, 38cm deep [76cm when extended]

The three rectangular folding tops with rounded edges open out upon an adjustable height stay on the rear gate-leg where it can be adjusted for the different heights required by which ever leaf has been opened.

The Leaves:

The first opens to a plain polished tea-table, where upon this can be folded back and the second fold opened to reveal a fully inlaid backgammon and chessboard with ivory escutcheons, the third and final fold opens to a baize lined games table with four guinea-wells, by Pressing down upon the two original brass pulls located either side of the base it then propels the cartonnier effortlessly to it’s maximum height upon its four original steel springs located within the carcass.

The piece now transformed into a desk with pigeon holes, drawers for documents and inkwells and a fitted adjustable bookrest also has hidden away within the right hand side is a folding frame which fits into the ivory escutcheons of the backgammon table.

Standing on tapered legs terminating in pad feet with enclosed brass skirted castors.. Folded away it returns to an elegant table where its base moulding conforms delightfully to those of the folding leaves.

A very honest and true tour de force from the early Georgian period.

Thomas potter:

Master Cabinetmaker of Holborn, was known to have taken on as apprentice Michael Bonsfield in 1731 along with his son Philip Potter in 1746.

Potter was also known to work with master cabinet maker John Kelsey of Westminster, between them they supplied fine furniture to the some of the countries elite including Sir Richard Colt Hoare of Barn Elms, Richmond and Sir Justinian Isham the 5th Baronet of Lamport at Lamport Hall, Northamptonshire.

Further information:

A design for a table of this form is shown on the trade card of Thomas Potter (see images above) cabinet maker of High Holborn, now at Victoria and Albert Museum (ref. no. E.2320-1889). An English table of this model is at Temple Newsam House in Leeds and is illustrated, together with Potter's drawing, in G. Gilbert, Furniture at Temple Newsam House and Lotherton Hall, vol. iii., Leeds, 1998, pp.658-660. The name `Harlequin' was used to describe a table of this multi purpose form and derives from the master-of-disguises in 18th century commedia dell' arte theatre.

LA VITA DI UN ATTORE

La mia vita in questo momento sembra la vita di un attore che si alterna tra palcoscenico e retroscena. Quando l’attore si trova sul palcoscenico sorride, urla, piange a seconda di quello che è il suo ruolo, in base a ciò che viene richiesto, anche dal pubblico stesso. Insomma, sul palcoscenico finge. Se decidesse di mettersi a ballare una bachata nel mezzo di una commedia, quale sarebbe la reazioni degli altri attori, dei registi o del pubblico? Sarebbero tutti sorpresi, pieni di vergogna e imbarazzo(nel caso dei primi due) o addirittura indignati e arrabbiati (nel caso del pubblico) di aver pagato per uno spettacolo che non si adegua a ciò che erano le loro aspettative. E se quell’attore non ha mai voluto fare quel ruolo comico, quel ruolo per il quale si è dovuto impegnare tanto e che, magari, gli stava sullo stomaco. Magari si è dovuto adeguare, perché rischiava di perdere il posto nella compagnia teatrale a cui tanto ambiva. Ha dovuto fingere. Quando invece quell’attore è nel retroscena può incazzarsi con gli altri attori o con il regista che hanno dato il ruolo del comico a un altro, che puntualmente recita meglio di lui. E può tornare a casa a chiedersi se ha senso continuare a fare delle prove per uno spettacolo a cui non voleva nemmeno partecipare. E quindi immagina come sarebbe bello organizzare un proprio spettacolo dove è soltanto lui a parlare, più precisamente a recitare un monologo dove trasforma tutta la sua frustrazione per tutti quei ruoli, quelli spettacolo al quale avrebbe rinunciato, in parole, in arte che magari qualcuno potrebbe anche ascoltare con piacere. Ma la fantasia dura poco perché in realtà a nessuno importa cosa accade nel retroscena di quel teatro, dove gli attori si mostrano nelle loro imperfezioni, dove sono visibili gli sbagli, dove tutti non fanno altro che strillare e avere fretta di trasformarsi in qualcosa di diverso dalle loro personalità. E poi lo spettacolo ricomincia, a nessuno importa più nulla di quello che è successo negli istanti prima dell’apertura del sipario. Tutta l’attenzione è concentrata sul mostrarsi perfetti ed essere pienamente nella parte del personaggio rappresentato, tanto a nessuno verrà mai in mente di chiedere a quell’attore come si sente a recitare quella parte, ciò che importa è quanto lo spettacolo può risultare gradevole agli occhi degli spettatori.

YOU SAID SEND ASKS EVEN IF THEY'RE DUMB SO I'M GONNA SEND ONE.

WHAT DID YOU THINK OF THE DAYCARE ATTENDANT WHEN SAW THEM FOR THE FIRST TIME (IN GAME AND IN FANDOM) AND WHEN DID YOU REALIZE YOU REALLY, REALLY LIKED THEM?

okokokok so basically i was avoiding fnaf like the plague bc i am terrified of animatronics and horrible with jumpscares in particular! but my best friend is a long time big time fnaf fan and so since like 2017 i was consuming fnaf content passively through them, and even since the game came out i was seeing stuff about it i just never got into it bc it wasn't super appealing

i was really invested in afton family lore n such so i got into fnaf because of that but was avoiding most animatronic content bc weee big fear (a few exceptions of animatronics though i.e. ballora) I could not figure out why i was so scared of them but I FIGURED IT OUT!! more on that later-

so fnaf sb came out n ofc I was watching playthroughs on call w/ my friend (before i played it, i played it soon after) and when sun showed up i was very much,,,, not scared of em?? i could not figure out why?? but i didn't really *focus* on them cuz i wasn't super into fnaf outside of afton family stuff

my friend kept sending me sun and moon fanart bc I did not have an upset reaction to them which was abnormal up until that point, and so i started to actively think they were neat! not super into them to the extent i came to be though- but i did figure out that the reason i have no issue with them and do have an issue with outer animatronics is because of their eyes! even moon who has "pupils" doesnt have the horrible doll-like "realistic" eyes most of the animatronics have- which is what was so unnerving about them to me. absolutely hate dolls and stuffed animals with eyes i have no idea why but one day they were just BAD and as a kidd i threw all the ones i had away and never looked back for the most part,,, but anyways sun and moon's designs were very appealing to me as i've always loved clown/jester type designs, celestial designs, pantomime-esque designs, marionette/bjd type designs (every time i draw them they have ball joints even now), etc. i also love love play structures and i've also always lowkey wanted to work in early education or in a daycare so the very environment was appealing! the designs really hit all of my interests AND were free of what was terrifying about the other animatronics

ANYWAYS i think the turning point (like it was for a lot of people in this fandom) was bamsara's work/solar lunacy! up until that point i had specifically avoided and never touched self insert fics + art, but it's so well written it changed my initial views about the whole category entirely ! because of that i was able to appreciate/consume more of the dca fandom content, which has so many talented creators! aside from that i remember being really really invested in 8um8ble8ee's dca work!

the designs being so appealing to my interests is likely one of the main reasons though aya!! jesters! bells! glow in the dark! stars! sun and moon motif! they remind me of those porcelain pierrots- one of my interests is the history of pantomime/commedia dell arte! i really don't think there's one thing about them or one moment i can remember that i was like YOOOOOOOOO!!!! it kinda just took over my brain hdsjkhsad

anyways i do remember distinctly sometime last year going wait- wtf?? because i'd thought this was a small time interest! something small i'd only taken casual interest in for a month or so, like so many other things, but then realizing i'd been making ART (not just consuming media) of them since at least december of 2021??? which is kinda insane to me!! (/pos ofc) before that time i was going through a really messy and just bad point in my life, and one of the ways I was tracking time was by the way my hair looked- i'd gotten obsessed with mykull afton after all the bad stuff and impulse cut my hair into a mullet and re-dyed it my natural colour after having bleached it brown, but this "first" drawing of sun was BEFORE my hair changed?? which i had not realized at all?? somehow in my head it was bad thing->mykull->dca but it looks like i was consuming and creating dca content through it all

anyways hsjhsjakjas i forgot what i was saying but i think i just really really liked them since i first saw em- i just didn't realize how much they had infiltrated my life until later somehow?? so ~may 2022 was when but really it was more like ~dec 2021? they make me so so happy i have no idea what it is to be honest

so ye in-game wise it was sorta on sight, fandom wise it was bc of solar lunacy + 8um8ble8ee !!

i still think its really funny that i like em so much, considering some of my biggest fears are Animatronics, Jumpscares, and The Dark BAHAHAHA