Research Question: Analyze the potential impact of Italian Commedia dell’Arte on the comedic elements in Shakespeare’s plays. Identify common motifs, character types, and plot devices in both Commedia dell’Arte and Shakespeare’s comedies. Compare these elements to propose how Italian theater may have shaped Shakespeare’s approach to comedy. Use performance theory as a framework for your analysis.

The Italian theatrical tradition of Commedia dell’Arte, which emerged in the 16th century, had a significant influence on European theater, including the works of Shakespeare. Known for its improvisational style, stock characters, and physical comedy, Commedia dell’Arte provided a rich source of inspiration for many of the comedic devices used in Shakespeare’s plays. The interaction between the two traditions—Commedia dell’Arte’s exuberant, physical style and Shakespeare’s more sophisticated verbal wit—can be seen as a blending of different comedic traditions that helped shape the comedic structure and character types found in Shakespeare’s work.

One of the most obvious influences of Commedia dell’Arte on Shakespeare’s comedies is the use of stock characters, or “types,” that are easily recognizable to the audience. In Commedia dell’Arte, characters like the clever servant (Arlecchino), the old man (Pantalone), and the young lovers (Innamorati) were central figures in the improvisational sketches that formed the basis of the performances. Shakespeare adopted these archetypal characters in plays such as Twelfth Night, A Midsummer Night’s Dream, and The Merchant of Venice. For instance, the character of the witty servant in Twelfth Night—Feste, the fool—shares traits with the trickster servants of Commedia dell’Arte. His wordplay, cleverness, and ability to navigate between different social spheres align with the characteristics of Arlecchino, who often outwits his masters through his cunning and humor.

In A Midsummer Night’s Dream, the character of Bottom, transformed into an ass, also reflects the influence of Commedia dell’Arte’s physical comedy. The transformation and subsequent absurdity of Bottom’s situation—particularly his interactions with Titania—are reminiscent of the slapstick humor and exaggerated physicality found in Commedia performances. Bottom’s foolishness and the chaotic situations he inadvertently causes mirror the comic improvisation of Commedia, where the absurdity of human behavior is highlighted through exaggerated physical actions and misunderstandings.

The use of mistaken identity, disguise, and farcical situations in Shakespeare’s comedies also draws from the improvisational nature of Commedia dell’Arte. The plot of Twelfth Night, with its cross-dressing and mistaken identities, closely mirrors the comedic devices used in Commedia performances, where characters often engage in disguise and deception to create humor. The interplay of confusion and mistaken identity in both traditions generates comedic tension and highlights the follies of the human condition.

The physicality of Commedia dell’Arte also influenced Shakespeare’s use of physical comedy, as seen in the numerous pratfalls, slapstick moments, and visual gags that punctuate his comedies. While Shakespeare was known for his sophisticated verbal wit, his comedies also contain moments of physical humor that can be traced to the lively, energetic performances of Commedia dell’Arte. The comedic timing and physical presence of characters like Dogberry in Much Ado About Nothing or the clown in As You Like It echo the physical energy and improvisational spirit of Commedia performances.

The influence of Commedia dell’Arte on Shakespeare is also evident in his use of performance theory, particularly the concept of “role-playing.” In Commedia dell’Arte, actors were skilled at improvising within the framework of fixed character types and scenarios, and this ability to “play” with identity is central to Shakespeare’s comedies as well. Characters like Viola in Twelfth Night or Rosalind in As You Like It use disguise and performance to explore different aspects of their identities. Shakespeare’s use of role-playing highlights the fluidity of identity and the performative nature of gender, love, and social roles—concepts that are also central to Commedia dell’Arte performances.

In conclusion, the comedic devices used in Shakespeare’s plays were deeply influenced by the improvisational style, stock characters, and physical humor of Commedia dell’Arte. By incorporating these elements, Shakespeare was able to create comedies that resonated with both sophisticated verbal wit and exuberant physical comedy, blending the traditions of Italian and English theater. The parallels between Commedia dell’Arte and Shakespeare’s comedies provide valuable insights into how the two traditions influenced one another, creating a rich and dynamic theatrical experience that continues to captivate audiences today.