We may recognize similarities between comedies by Molière, Marivaux, Goldoni and Beaumarchais; but it is not fully appreciated that these playwrights belong to a single continuous genre of comedy inspired by Plautus and Terence. In fact comedies which we can call Classical were first composed by Humanists such as Ludovico Ariosto; and their format was quickly taken up by improvising actors of what we now call commedia dell’arte. The erudite and artisan strains soon mingled, and created a series of audience expectations in Europe as to what comedies should contain. A dialogue developed over nearly three centuries between stage comedies in Italy and France, with the two traditions regularly consulting, and borrowing from, each other. Comic opera contributed to the mix, and the story reaches its climax and its end with Le nozze di Figaro by Da Ponte and Mozart.

Richard Andrews graduated in Italian and French from St John’s College, Oxford, where his personal tutor was the Molière specialist W.G. Moore. He is Emeritus Professor Of Italian at the University of Leeds.

oin us for a conversation between ACMRS Short-Term Fellows Alani Hicks-Bartlett (Brown University) and Elisa Oh (Howard University) as they discuss some of their current research. Hicks-Bartlett works on disability in Medieval and Early Modern Literature as well as voice, gender, violence and questions of embodiment in Medieval French and Italian literature and in Early Modern French, Spanish, Italian, Portuguese and English tragedy and lyric and epic poetry. Oh works on women's silences and the "choreographies," or repeated kinetic patterns, that construct raced and gendered difference in early modern English drama.