The Compère (Stooge) is surprised when he sees two Polichinelle walk onto the stage: one of them is Arlequin dressed as Polichinelle, and the two quarrel. Alone, Polichinelle then asks the benevolent Fée (Fairy) to change him into Arlequin. She also gives him the power to transform anyone he wants into Arlequin. Several characters come to him: a Marchand (male Merchant) who wants to go to a ball to make sure that his wife is not being unfaithful to him; the female peasant Margot, who wants to become rich; an Ivrogne (Drunkard) who believes that he is at the Comédie-Italienne; and a Danseuse (female Dancer).

Rod and string marionette

Not specified

France

Paris

Printed

Double

Rivalry of theatres

Talking nonsense

Disguise

Social ascension

Comical

Fantasy

Les Métamorphoses de Polichinelle, Soleinne collection, BnF

French

Polichinelle

Arlecchino

The Interpreter

Fairy

Merchant (man)

Peasant (female)

Drunkard

Dancer

Double characters

Misunderstanding

Metamorphosis

Final song

Dancing entertainment

Aria

Les Métamorphoses de Polichinelle

Polichinelle's Metamorphoses

The play opens with a “Prologo in cielo” (prologue in the sky) during which the Teatro Vagante (an itinerant theatre) is brought down from the fly towers to the stage: the Teatro Vagante is at once a cave, a house, a cradle, a cart and a theatre. The actors have seen the theatre of the gods, which they have to try recreating now because “a mystery must be revealed”. The mystery is about a country where people are insatiable and keep wanting to eat fresh meat, even though resources are scarce. There are no cattle, an epidemic has broken out in the countryside and rubbish produced by their residents is piling up in the suburbs. This jungle of metal is thought to be the home of spirits called “rottamat”, which people believe to be responsible for the disappearance of several villagers. Everyone praises the butcher for his excellent meat, but he turns out to be an evil character who commits murders to supply meat for his shop. Just like the devil, he takes on numerous shapes: he is simultaneously the Butcher, the Father, the crazy man Matteo and the Emperor. Every morning, the Mother and the Father (the Butcher himself) wait for the butcher’s shop to open so they can buy the best meat, even when their son is in a hospital after having been attacked by the Father. The Mother flirts with the Butcher – who embodies her erotic ideal – until she becomes his victim. Nobody suspects the Butcher. Or maybe everybody keeps quiet so they can keep enjoying his excellent meat? The killings go on until all the villagers have eaten one another. Ultimately, only the Watchman understands that the Butcher is behind the murders, but even he is killed in the end. According to the actors of the Teatro Vagante, only hope remains: “even hell can be transformed – I hope”, one of the actors declares.

Actor and puppet

Glove-puppet

Shadow theatre

Italy

Brescia

Consumer society

Meat

Pollution

Famine

Cannibalism

Love

Death

Ecology

Evil

Tragic

Grotesque

Lyrical

Giuliano Scabia, Fantastica visione, stage direction by Alessandro Marinuzzi, 1993.

Italian

sopra il taglio e la vendita di carne con cenni alla questione degli attori, dell'arte, del teatro e del mercato generale degli oggetti nel disarmonico presente

Actor

Butcher

Apprentice

Mother

Father

Student

Police officer

Fool

Smuggler

Puppet

Butterfly

Shadow

Voice

Emperor

Minister

Valet

Angel

Interlude

Prologue

Song

Metatheatre

Political allegory

Hidden corpse

Dialect

Blow-with-a-stick

Fight

Flying character

Masked characters

Dead talking character

Apparition of the Devil

Apparition of an angel

Puppet theatre within the theatre

Chase

Tragic irony

Stabbing

Murder on stage

Scene of recognition

Splitting of the body

Revelation

Scene in the dark

Seduction scene

Dream

Thunderbolt

Fantastica visione

Fantastic vision

Botius – a philosopher – lives a happy life. He succumbs to despair and madness when his partner Opina leaves him for another man. He is then attacked by hooligans, who pull his eyes out. Police offices come to his aid, but they lead him near his mother’s skeleton. He falls into a sort of grave and does not manage to escape. He tries to find reassurance in reminding himself that he still has the ability to think. Hooligans urinate on him, and he catches a glimpse of Opina’s legs, which are dangling. A rope appears. He tries to haul himself out of the hole, but the rope only leads to a void. His head is cut in half and his brain explodes and spills all over the floor. His lookalike appears, then so does Opina. She kisses the lookalike and leaves with him. Hooligans are being carried on crosses, on which they are crucified upside down. Their wails torment Botius. He comes closer to them and realizes that they are dead. A cart driver and a horse arrive. Botius calls out to the cart driver so that he may pick up his brain. The horse tears off one of the hooligans’ head and holds it by the hair between its teeth. They leave. Botius meets a pregnant woman and an old man. The couple begins to make love. A child walks up tentatively. The horse comes back and devours the child. Botius asks it to eat him too, to put an end to his misery, but the horse goes away. He concludes that his soul must be difficult to digest.

String marionette

Barker Howard

Great Britain

Brighton

Madness

Mutilation

Crucifixion

Violence

Suffering

Satirical

Black comedy

English

Philosopher

Mistress

Lover (man)

Rogue

Driver

Prostitute

Carter

Horse

Pregnant woman

Old man

Baby

Scene of copulation

Scene of torture

Blind character

Caricature

Character eating another character

All He Fears

The puppeteer apologises to the audience because he is not ready to perform Macbeth: instead, he will perform an unpublished comedy by Goldoni, The Jealous Emigrant (which is, in fact, a fake written on purpose by Brunello). But one of his glove puppets, Arlequin, disagrees and organises a rebellion, convincing the other puppets to perform Macbeth. The tragedy begins, but Arlequin, who has dared to step out of his role, must die like Macbeth. The same applies to his antagonist King Duncan, who - as we discover at the end - is no other than the puppeteer himself.