# data[].attributes.body
Commedia dell'Arte emerged in 16th-century Italy as a form of professional theater characterized by improvised performances based on stock characters. Notably, the popular street performances and folk traditions in Italy provided a foundation. These included traveling performers who entertained crowds with acrobatics, music, and humorous skits. This revolutionary art form influenced theater worldwide.

# data[].attributes.body
A period of history and a European cultural movement covering the 15th and 16th centuries. It marked the transition from the Middle Ages to modernity and was characterized by an effort to revive and surpass the ideas and achievements of classical antiquity. Especially, a focus on humanism which emphasized the value and potential of human beings, and significant achievements in art, literature, science, and architecture.

The Renaissance's rediscovery of ancient Greek and Roman culture included an interest in classical theatre. Commedia dell'arte, a form of Italian comedy, was influenced by the structure and themes of ancient Roman comedies. It borrowed elements such as stock characters and simple plot structures.

# data[].attributes.headline
The Birth of Venus - A Renaissance Revolution

# data[].attributes.subject
The Birth of Venus - A Renaissance Revolution

# data[].attributes.body
Botticelli's 'The Birth of Venus' (c. 1485) represents the Renaissance's revival of classical mythology and the new humanist ideals. The painting's composition, with Venus emerging from the sea, shows the period's emphasis on human beauty and classical antiquity.

# data[].attributes.body
During the Renaissance period, there was a marriage of science and art. Leonardo da Vinci's 'The Last Supper' (1495-1498) demonstrates the sense of “Devine order” using mathematical proportions. Art, during the period, thus constantly aligns with Christ (religion), science, and the emphasis on “preciseness”.

# data[].attributes.body
The Renaissance was both a time of intellectual and art revival. Raphael's 'School of Athens' (1509-1511) gathered the great minds of classical antiquity in one space. This work symbolizes the bridge between classical learning and Renaissance innovation.

# data[].attributes.body
The Zanni are the most iconic and recognizable of the commedia dell’arte characters. They are servants or clowns who are typically portrayed as lazy, mischievous, and always hungry. They speak in dialects, and their costumes usually feature patches and raggedy clothes.

Arlecchino (Harlequin) is perhaps the most recognizable Zanni character. This acrobatic servant character represents the clever underclass.

# data[].attributes.body
The Vecchi are wealthy, old men who are often portrayed as being miserly and stingy. They are typically portrayed as being greedy and possessive of their money, property, and women.

Pantalone represents the wealthy but miserly Venetian merchant. His character, with his hunched posture and distinctive beard, embodies the economic power of Renaissance Venice.

# data[].attributes.body
Il Dottore, portrayed as a pompous academic from Bologna, was often a lawyer or doctor in the play. His speeches are filled with Latin and absurd academic references, providing social commentary on educated classes.

# data[].attributes.body
Traditional Commedia masks (maschere) are crafted from leather using techniques dating back to the Renaissance. Each mask is carefully molded and painted to capture the essential character traits.

# data[].attributes.body
The Zanni masks, with their long noses and pronounced features, represent various servant characters. These exaggerated features were designed to be visible from great distances in outdoor performances.

The Zanni at first wore a full faced carnival mask, but then the bottom of the mask was hinged and eventually cut away altogether. It was believed that the longer the nose of the Zanni, the stupider he is said to be.

# data[].attributes.body
The mask is described as having "a long nose, often unambiguously phallic".

The nose for Capitan Spaventa's mask is fairly large. Originally, the color of the mask was probably flesh tone, now it can be many vibrant colors like bright pink, yellow, and light blue. The mask often has a strong mustache and brow lines that can be in various colors.

# data[].attributes.body
Harlequin's primitive mask, made of wood. Also, it was used as model for more sophisticated masks made in leather, typical of the late Harlequin's impersonations.

# data[].attributes.body
Il Dottore's mask is a one-third mask; The mask makes fun of a Bolognese legal expert. The actor's cheeks may sometimes have rouge applied to imply that il Dottore is fond of drinking.

# data[].attributes.body
Il Capitano is a self-styled captain who is typically portrayed as arrogant and boastful. The most famous Il Capitano character is Scaramuccia, or Scaramouche, who can also be played as a female character known as La Signora.

# data[].attributes.body
The Innamorati are the only unmasked characters in Commedia dell'Arte. These young lovers represent beauty and romance, often speaking in poetic Tuscan dialect. The most famous Innamorati characters include:

Flavio: A young and handsome lover who is typically paired with Isabella.

Isabella: A beautiful and intelligent lover who is often pursued by other characters.

# data[].attributes.body
Pulcinella is a notable character known for his wit and distinctiveness. He is philosophical, perpetually melancholic, and a dreamer with a unique spirit. Various masks and costumes were associated with Pulcinella. However, he constantly appeared in his white, plain, and humble costume, complemented by the sugar loaf hat, known as the "coppolone."