The character of the Captain, often Spanish, has been present in the dramaturgy and stage practices of the Commedia dell'Arte since the origins of this spectacular form in the middle of the sixteenth century. The popularity of the character, in addition to the favour he found with the spectators, is also attested by the traces left in the theatrical iconography along a path that begins with the late-sixteenth-century engravings of Ambrogio Brambilla and the frescoes of the Bavarian castle of Trausnitz and arrives at the eighteenth-century porcelain of the Germanic area, passing through the famous Balli di Sfessania by Jacques Callot and the great iconography of the Commedia dell'Arte in France.
University of Florence, Italy - ORCID: 0000-0001-6798-1665
Chapter Title
Capitani da commedia nell’iconografia teatrale tra Cinque e Settecento
Authors
Renzo Guardenti
Language
Italian
DOI
10.36253/979-12-215-0857-4.11
Peer Reviewed
Publication Year
2026
Copyright Information
© 2026 Author(s)
Content License
Metadata License
Book Title
La recepción del teatro clásico español en Europa (siglos XVII-XVIII)
Editors
Fausta Antonucci, Salomé Vuelta García
Peer Reviewed
Number of Pages
300
Publication Year
2026
Copyright Information
© 2026 Author(s)
Content License
Metadata License
Publisher Name
Firenze University Press
DOI
10.36253/979-12-215-0857-4
ISBN Print
979-12-215-0856-7
eISBN (pdf)
979-12-215-0857-4
Series Title
Moderna/Comparata
Series ISSN
2704-5641
Series E-ISSN
2704-565X