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.

"On foot and by rod" puppet

Marionette with counterweight

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.

Faith

Emperor

Ancient history

Usurper

Roman History

Fantasy

Il Costantino pio (1710), title page

Sister

Dame de la suite de la reine de la nuit

Music

Disguised character (false identity)

Vision

Monologue

Procession

Attempted assassination

Running away

Apparition

Clouds

Il Costantino Pio

Constantine the Pious

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

Seat

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

Wife

Widow

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

Haughtiness

Woman

Lust

Suffering

Presumption

Death

Future punishment

Evil

Ridiculous

Revolt

Venice

Deal with the Devil

Comical

Lyrical

Satirical

Dramatic

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

French

Don Juan

Commander

Statue

Sganarelle

Poor

Ghost

Polichinelle

Pulcinella

Cassandre

Pierrot

Doll

Puppet theatre within the theatre

Metonymy (mode of characterisation)

Blow-with-a-stick

Unveiling

La Dernière Nuit de Don Juan

Don Juan's Last Night

Cockatrice arrives at the Royal George Inn and impersonates Charlie Chaplin. The Landlord discovers that Cockatrice’s Magic Donkey creates gold coins, and he swaps it with his own donkey while Cockatrice is asleep. During an interlude, a Marionette informs the audience that a scene will not be acted. The scene was supposed to show the meeting between Cockatrice and the King to show his Magic Donkey create coins; the latter, having been switched, cannot do so, and Cockatrice is sent to jail. The curtain opens up to Blind Boy’s arrival at the inn. The Landlord tries to steal Blind Boy’s bag while he is asleep; Blind Boy wakes up and orders the Magic Stick to beat him. The Landlord confesses that he also stole the Magic Table and the Magic Donkey, but he explains that he was once a prince who became enamoured with Princess Razzlemond and that an evil fairy changed him into a Landlord and cursed him to steal all of his clients until one defeated him - just as Blind Boy did. In order to make amends, he gifts Blind Boy a Magic Fiddle that forces everyone to dance. Cockatrice and Columbus sing in their cell to kill time. They are brought to the public place to be tortured, judged, and executed before the King and Princess Razzlemond. Blind Boy interrupts the scene and, thanks to his Magic Fiddle, forces everyone to dance until the King pardons Cockatrice and Columbus. Princess Razzlemond asks Blind Boy to marry her, but he tells her to go to the inn, where her Prince, the former Landlord, awaits her.

String marionette

Craig Edward Gordon

Marina di Pisa

Theft

Magic

Torture

Capital executions and executors

Jail

English

The Magic Ass and The Magic Stick

Queen

Cockatrice

Basilic

Parrot

Blind

Blind Boy

Violin

Donkey

Innkeeper

Courtier

Guard

Guardian

Clerk

Executioner

Captain

Puppet

Story

Instrumental tune

Aria

Compartmented stage

Song

Avista

Address to the public

Object coming to life

Dance

The Roman Adventure - Parts Two & Three

The Conteuse (female narrator), with the help of the Voix Off (voice over), narrates the story of the Roi de Panelange (King of Panelange) who loves to change clothes. One day, two Tisserands (weavers) offer to create a fabric that only intelligent people would be able to see. In return, they ask for as many gold coins as there are ants in the kingdom. The Tisserands work in the dark in a big isolated barn, around a big loom. The Roi (King) sends his Prime Minister to check on their progress, but when he gets there, he is unable to see the fabric. He pretends otherwise to the Roi, so that he is not seen as “the First Imbecile of the Kingdom”. The Roi then sends his Cuisinier en chef (head chef), and another person to check on the Tisserands’ work. The fabric is invisible to their eyes, but they all pretend otherwise. The Roi himself goes to see the result of the Tisserands’ work, but the fabric is also invisible to his eyes. He pretends he is able to see it, so that he seems intelligent in front of his court, and he announces that he will wear the fabric for the next procession. When that day arrives, he undresses and puts on the fabric. He awards an honorary distinction to the Tisserands, and starts parading the streets of the kingdom. The fabric remains invisible to the crowd, who only sees a man in his underpants. They all pretend they can see the fabric, except for a child who admits to not seeing anything. The crowd admits the same thing, and says that they can only see their king half naked. To not lose any of his authority, the discombobulated Roi continues to parade as if nothing had happened.

Young audiences

La Conteuse et son roi nu

The Storyteller and her naked king