In the prologue, Talia (Thalia) and Urania announce an inspiring story. Baldassara, a successful actress admired by Alvaro and Rodrigo, is tormented: as she performs the role of Clorinda in the company of Beatrice, Lisa, and Biscotto in a theatrical adaptation of La Gerusalemme Liberata by Torquato Tasso, she is so disturbed that she misses her cue. Baldassara understands that her torment comes from the fact that, while she plays the role of a young Christian, she has turned a deaf ear to the calls of God. Right in the middle of the performance, she leaves to exile herself in the desert, pursued by Biscotto and Lisa, who attempt to deter her from her goal. Beatrice, however, has only contempt for her rival; the other actors apologize to the public, who seem enthusiastic at the performance of who they call the "Comica del Cielo" (the Actress from the Heavens). During her exile, Baldassara discovers the beauty in solitude, while Lisa and Biscotto see only horror. She refuses their pleas to return to Valenza. The Demon, disguised as a hunter, tempts Alvaro, who has left in search of his lover: the young man finds Baldassara, who implores him to devote his life to God. In despair, he leaves to throw himself from a cliff. Baldassara tries to stop him, but a boulder in the form of a cross intervenes. Baldassara kneels before the power of the Divine. Biscotto, in hermit's robes, decides to stay at her side despite objections from Lisa. During her slumber, the Demon sends Baldassara temptations: upon her wake, she repels him with a Christian symbol, which breaks the spell. Biscotto, however, regardless of Lisa's warnings, tastes a cake from the Demon: the bitterness in his mouth remains, but he succeeds in chasing the Demon away. Act II ends with a ballet. Beatrice arrives in the desert after the death of Tafer, who she followed across the oceans and who was defeated by Rodrigo. In a nocturnal scene, Baldassara and Biscotto discover Beatrice and successfully dissuade her from killing herself. Rodrigo, arriving mid-reunion, wants to kill Beatrice to avenge her infidelity. Baldassara interjects and commands him to turn toward God. After these multiple conversions Penitenza (Penitence) appears to Baldassara to bring her her rewards; she confronts the Demon and triumphs over him. Since Alvaro hopes to regain his good graces with the help of Lisa, he finds Baldassara dead, in the midst of a choir of angels and happy souls.

Not specified

Spain

Madrid

Italy

Rome

Printed

Conversion

Desert

Hermit

Actress

Miracle

Edifying

Heroic

Religious

Epic

Italian

La Conversione di Santa Baldassarra Comica Spagnuola; La Comica celeste

ovvero La Baldassara

Thalie

Muse

Uranie

Lover (man)

King

Counselor

Servant

Maid

Devil

Soldier

Spectator

Choir

Angel

Play in verse

Chorus

Interlude

Prologue

Theatre within the theatre

Crowd

Sleeping character

Soliloquy

Night scene

Revelation

Failed suicide

Apparition of the Devil

Pact with the devil

Allegory

Death on stage

Flying machine

Apotheosis

Ascent to heaven

Apparition of an angel

La Comica del Cielo

The Actress from the Heavens

The play begins on the banks of the Tiber river, where Costantino (Constantine) is about to fight the usurper Massenzio (Maxentius), son of Massimiano (Maximian), whose crown he stole. The Sky opens, and Religion appears to announce Costantino’s victory to him. Costantino promises to avenge his sister Costanza (Constantia), who was betrayed by Licinio (Licinius): the latter was supposed to marry her and make her queen of Orient, but he joined the enemy. In Rome, Arsace passes on Costantino’s offer of peace to Massimiano, who rejects them. Fausta, Massimiano’s daughter, announces her brother’s defeat: her father asks her to swear fealty to the winner. Arsace, whom the audience believed to be in love with Fausta, gives unclear reasons to explain that he cannot love her. During a triumphant procession, the legitimate Emperor moves with the chariot of Fama (Renown), pulled by winged horses; then Fama promises Costantino victory. When the latter makes a speech to the Romans to bring them peace, Fausta throws herself at his feet. In the procession, Planco, Costanza’s servant, is looking for Licinio. Thanks to a portrait, he recognises Arsace as his mistress’ future husband. Convinced that Licinio betrayed her, Costanza promises that she will take revenge on him. Informed by Planco, Costanza pretends not to have recognised Licinio—she wants to feel just how badly she was betrayed. Licinio is won by love and reveals himself to her; he manages to make her reconcile with him: she suggests that she remains hidden before she is certain that her brother will be merciful. Drusilla learns from Planco that Costantino no longer has a wife, and that he can therefore become Fausta’s lover. But Massimiliano despairs and asks his daughter to avenge her dead brother by leading Costantino into a trap, at which point Arsace will kill him; then, he promises to marry his daughter with the murderer. Fausta refuses; Costantino finds her as she is crying. When he tells her that he wishes everyone could unite thanks to his peace proposal, she lets him know that his father left to cry from sorrow. He asks her to take him to her father, insistent despite Fausta’s vague warnings. In the forest, Massimiano is waiting for Costantino; he is with Arsace, who vainly tries to talk him into choosing peace. Costantino arrives with Fausta. As he is about to embrace the defeated king, conspirators ambuscade him. Arsace intervenes to save him; so does Fausta. Not knowing who to believe in this confusing situation, Costantino sends the three suspects to prison. When he tries to find out who the culprits are, Costantino reconciles with Arsace, whom he recognises as Licinio. But Costanza, convinced that her husband betrayed her with Fausta, wants him dead. Announcing that Massimiano is threatening his own daughter as punishment for having saved Costantino, Drusilla tells Costanza the truth. Fausta flees into the forest, looking for her father who went insane. She manages to control him, then denounces herself to Costantino. In the dungeons of the place, Arsace is locked up; Costanza meets him there. Suspecting that the two conspirators, Arsace and Fausta, are meeting, Costantino walks in on them: Costanza, leaving the prison, throws herself at his feet to tell him the truth. In the final scene, Costantino is accompanied by a procession and celebrates peace; he gives up his plan to take revenge. The play ends with two marriages, and Massimiano is said to be on the run. Then, Faith appears, surrounded by the Liberal arts.

Ottoboni Pietro

Faith

Emperor

Ancient history

Usurper

Roman History

Fantasy

Il Costantino pio (1710), title page

Sister

Lady-in-waiting

Music

Disguised character (false identity)

Vision

Monologue

Procession

Attempted assassination

Running away

Apparition

Clouds

Il Costantino Pio

Constantine the Pious

Gianguir rebelled against his father and was disowned: he lost his right to the throne, which is now promised to his son Cosrovio. Gianguir married Zama, a woman of humble birth who convinced him to marry her daughter Miraca to Cosrovio. Her brother Asaf is the sultan’s favourite. Cosrovio turns down this proposal because he is in love with Alinda (the princess Semira, Gianguir’s sworn enemy); she convinces him to reclaim the throne bequeathed by his grandfather and take up arms against his father. His friend Mahobet, the captain of the guards, tries to remind him of his duty. Cosrovio and Asaf fight before Gianguir’s eyes. To avenge himself after being humiliated, Asaf tells Semira that Cosrovio will marry Miraca; she promises him her love out of jealousy. When ordered to either marry Miraca or to surrender and die, Cosrovio takes up arms: Gianguir finds out about this betrayal and demands that Mahobet’s head be brought to him for having helped his son. Mahobet saves himself by taking Gianguir hostage. He is accused of high treason and Gianguir deprives him of his rank, even though Agra is in danger. The army is handed to Asaf. Semira, using the name Alinda, feigns cooperation: she promises that she will marry Asaf and denounces the enemies of the kingdom to set herself free. Gianguir tells Cosrovio that Alinda is in love with another man. Cosrovio thinks that she has betrayed him, but as soon as Alinda is free, she reveals that Semira will not keep the promises made by Alinda, and that she is Cosrovio’s wife. The two lovers reunite. Semira sends her future husband to the battlefield and Asaf is defeated: when all seems lost for the king, Gianguir arrives—Mahobet has freed him. Zama tries to convince him to forgive his son, and Mahobet says that a rebellion will start if he kills him. At the very last moment, Gianguir chooses to be magnanimous: Semira walks in on the father and son reconciling. She asks to be killed at the same time as her husband, but Gianguir spares them on Zama’s advice. He declares her sultan’s wife and marries Semira and Cosrovio. The choir celebrates this beautiful day.

String marionette

Zeno Apostolo

Venice

Succession

Rebellion

Forced marriage

Favourite

Tyrant

Melodramatic

Gianguir, 1748 (title page)

Prince

Princess

Wife

Brother

Captain

Confident

Love story

Public announcement

Duel scene

Love rivalry

Parade

Off-stage combat

Fight

Arrest scene

Final wedding

Gianguir

Ipodamia (Hippodamia), the widow of the Armenian King, begs her daughter Aurinome to choose between her two suitors, Eurimedonte (Eurymedon) and Timocleone (Timoleon), to bring peace to the kingdom. Aurinome puts their love to the test, and they compete using words. Oronte, the general of the army, is secretly in love with Aurinome; Acrone discovers it and tells Ipodamia. The latter is set on stopping him to prevent her daughter from ending up in the hands of an unworthy man, and to spare the kingdom the anger of the princes. During a hunt, Oronte saves Aurinome from the mouth of a lion; he declares his love to her. Aurinome demands that the brave general receive a reward, but Ipodamia and the two suitors downplay his courageous act. Aurinome fell in love with Oronte. She tells the princes to meet her at the altar of the great Jupiter. As she is late, they hesitate over embarking with their respective armies, but Ipodamia convinces them to stay. Aurinome asks Oronte to arrive before her at the temple: he obeys her, and she asks him to choose one of her suitors. Oronte does not know what to answer, and he is interrupted by Acrone. Aurinome promises to choose between her suitors before the entire kingdom. As Eurimedonte and Timocleone, standing by the Avernus, are contemplating suicide, Acrone announces that Oronte will soon be dead. Inside a gorgeous room where royal weddings are celebrated, Aurinome asks the princes to promise that they will respect her choice; at this moment, Oronte arrives, armed: he has been saved by partisans and entrusts his fate to the Princess: she pronounces him husband and King.

Zanetti Girolamo

Suitors

Decisions

Royals

Jealousy

Haughtiness

Wedding

Lyrical

Eurimedonte e Timocleone, Teatro di San Girolamo (1746)

ovvero I Rivali delusi

Queen

Widow

General

Thwarted love

Hunting scene

Board meeting

Boat mounted on wheels

Scene in the dark

Set that comes to life

Transforming scenery

Eurimedonte e Timocleone

Eurymedon and Timoelon

After paladins Bradamante and Ruggiero get married, Emperor Carlo Magno holds a celebration. But the treacherous paladin Gano hatches a plot to turn the feast into violence and chaos. He plays dice with Rinaldo, who has already won a lot thanks to the money he borrowed from Orlando. Rinaldo wins, but Gano accuses him of cheating. A fight between Gano’s accomplices from Mainz and the other paladins erupts. Rinaldo is about to kill Gano when Carlo Magno arrives. The latter asks Orlando to arrest Rinaldo for not complying with his sovereign’s order. However, Orlando believes that Rinaldo is innocent and lets him escape. When Carlo slaps Orlando as a punishment, Orlando leaves, swearing that he will never protect his king ever again. Husband-and-wife and paladins Carinda and Cladinoro wish to live a restful life after long years of battles and hardships. However, Cladinoro has a bad feeling. A messenger arrives and informs them that King Attamante besieged Soldanella and that he will only spare his life if he leaves the city. Cladinoro refuses to yield and his son Candellino throws the messenger out. In the meantime, Orlando makes his way to pagan lands. There, he meets Antiforo di Barosia, who commands him to give him his arms. They pick a fight, and Antiforo dies. Orlando cuts his head off and switches clothes with his dead opponent’s. He can thus pretend to be dead so he can take on Antiforo’s identity and fight Carlo. Malgigi, a paladin and a magician, helps him and makes the mark that all members of the French royal family wear appear on the dead man’s shoulder. In Soldanella, King Attamante is furious with the response given to his messenger. The two armies clash in battle, and Attamante and Cladinoro fight until nightfall. In his royal palace, Carlo Magno, full of sorrow after he offended his nephew Orlando, learns that he is dead. The king and all the paladins of France mourn the death of Orlando while Gano secretly rejoices. Aldabella recognizes Orlando thanks to the mark he wears on his right shoulder. She grieves for her late husband, and curses and condemns Carlo. Meanwhile, in Soldanella, the fight between Attamante and Cladinoro resumes. Attamante loses, and his men attack Cladinoro, as agreed before the duel. Cladinoro vanquishes them all and kills Attamante.

Rod and string marionette

Armed rod marionette

Naples

Manuscript

Honour

Love

Grief

Siege

Duel

Treason

Dice game

Party

Cycle of performances

Paladin

Orlando

Paladin (female)

Bradamante

Marfisia

Knight

Moorish

Saracen

Roger

Renaud de Montauban

Charlemagne (King)

Traitor

Ganelon

Oliver

Ogier the Dane

Gandellino

Messenger

Warrior

Sorcerer

Aldabella

Shouts of acclamation in several voices

Aside

Sword fight

Murder on stage

Slaps

Character thrown out of the scene

Orlando e Rinaldo Parte prima Antiforo di Barosia

Orlando et Rinaldo first instalment Antiforo di Barosia

The Prologue begins where Molière’s play ended: Don Juan is going down the long stairway into Hell with the statue of the Commander. When he hears Sganarelle scream “My wages!”, he climbs back up to kick his servant, then comes back down. The statue of the Commander is surprised by his courage and offers to bring him back to life. But La Griffe du Diable (The Devil’s Claw) holds Don Juan back by his clothes. In the end, Don Juan is granted another ten years of life, as he makes a deal with La Griffe: during these ten years, he will continue to corrupt women and claim new victims. Ten years later, this extension is about to come to an end. Don Juan lives in Venice and believes that the Devil has forgotten about him. He is getting ready to have dinner and then go out. A puppeteer is passing in the street, and he invites Don Juan to his home, where he performs his show for him. From the glove-puppet booth, Polichinelle talks to Don Juan, who is reminiscing about the shows he saw as a child. Polichinelle kills Pierrot and Cassandre. He is bitten by a dog then attempts to seduce a doll, using Don Juan’s advice, and finally kills her. Don Juan asks that the puppeteer cut some scenes and get to the moment the Devil takes Polichinelle away. Then he provokes the puppet of the Devil by saying that he would not fear being carried off by him. The puppeteer leaves the booth, reveals that he is the Devil and sits at a table to dine with Don Juan. Don Juan enthuses over his conquests. He asks Sganarelle for the list of the women he seduced, which he then tears up. The Devil turns into a violinist and makes the scraps of paper dance: the Shadows of the one thousand and three women seduced by Don Juan arrive in gondolas. The Devil challenges Don Juan to recognise these women, but he gets them all wrong. Don Juan, who believed he had seduced and possessed all these women, realises that they had him wrapped around their fingers, and that even the tears they shed because of him were fake. He claims his victories, but he is told that he never did anything with them, and that he never knew how to love. Out of desperation, Don Juan reminds the Devil about the scale of his provocation when he gave a coin to Le Pauvre (The Beggar) “out of love for humanity”. But the Devil makes the Pauvre appear, and the latter throws the coin in Don Juan’s face and forbids him from claiming that he has embodied any kind of revolt. The Devil proves to Don Juan that he was only controlled by ribaldry, like Polichinelle. Rather than sending him to the fires of Hell, which is what the seducer proudly demands, the Devil sentences him to become a puppet in a booth.

Glove-puppet

Rostand Edmond

France

Cambo-les-Bains

Paris

Seduction

Woman

Lust

Suffering

Presumption

Death

Eternal punishment

Evil

Ridiculous

Revolt

Deal with the Devil

Comical

Satirical

Dramatic

Sketch by George Barbier for the Puppetteer's costume in Edmond Rostand's La Dernière Nuit de Don Juan, 1922.

La Comica del Cielo

ovvero La Baldassara

Il Costantino Pio

Gianguir

Eurimedonte e Timocleone

ovvero I Rivali delusi

Orlando e Rinaldo Parte prima Antiforo di Barosia

La Dernière Nuit de Don Juan

The Roman Adventure - Parts Two & Three

The Magic Ass and The Magic Stick

La Conteuse et son roi nu