This encyclopaedia of more than 50 of the most popular Commedia dell’Arte characters outlines each character’s category (master, lover, servant), gender, animal type, personality, role, motivations, relationship with other characters, typical movements, costume, and mask. It should prove a treasure trove for budding students and teachers interested in the wonderful world of Commedia dell’Arte.

Categories of Commedia dell’Arte Characters

In the world of Commedia dell’Arte, characters are typically divided into three main categories: Masters, Lovers, and Servants (also known as Zanni). Each category represents a different social class and personality type, forming the foundation of the improvised, comedic plots that define the genre.

Masters (Vecchi)

The Masters, or Vecchi, are the older, high-status characters who often act as authority figures in Commedia dell’Arte plays. They are typically wealthy, powerful, or hold high social rank, and they usually cause comic conflicts within the story. The Masters’ personalities vary from miserly and lecherous to pompous and boastful, making them perfect targets for ridicule.

Key Master characters include:

Pantalone: A miserly, greedy old merchant, often concerned with money and controlling the younger characters, especially his daughter or a female ward.
Il Dottore: A pompous scholar or physician who loves to show off his (often fake) knowledge, leading to long-winded speeches and confusion.
Il Capitano: A boastful, cowardly soldier who brags about his military conquests and romantic exploits but flees when faced with real danger.
Signora: A wealthy and often vain noblewoman, wife to Pantalone or an independent widow who is assertive, flirtatious, and manipulative.

The Masters typically try to control or thwart the Lovers’ desires or outsmart the Zanni, which leads to many of the comedic situations in the plot.

Lovers (Innamorati)

The Lovers, or Innamorati, are young, beautiful, and idealistic characters typically caught in romantic entanglements. They are often the children or wards of the Masters, and their love for one another is the central plot around which much of the action revolves. The Lovers are characterised by their intense passion, frequent misunderstandings, and dramatic emotions.

Key features of the Lovers:

Innamorati do not wear masks, allowing them to fully express their emotions.
They are elegant, fashionable, and romantic but also prone to being naive and overly dramatic.
Their love is often obstructed by the Masters or complicated by rivals and scheming servants.

Common Lover characters include:

Isabella, Angelica, Flaminia: Female lovers who are beautiful, elegant, and deeply in love, often with a mix of intelligence and emotional intensity.
Leandro, Flavio, Lelio: Male lovers who are handsome, idealistic, and passionate, often caught in the throes of romantic rivalry or family opposition.

The Lovers are usually aided by the Zanni in overcoming the obstacles placed by the Masters, leading to a happy resolution.

Servants (Zanni)

The Zanni are the comic servants who provide much of the physical humour and slapstick comedy in Commedia dell’Arte. They serve the Masters or the Lovers, but they are often more clever, quick-witted, and resourceful than their social betters. The Zanni use their cunning to manipulate situations to their advantage, and they frequently outwit their masters, helping to resolve romantic entanglements or causing chaos in the process.

Key features of Zanni:

They are masked characters, typically wearing half-masks that exaggerate their comic features.
They are known for their physicality, performing acrobatic stunts, pratfalls, and exaggerated gestures.
Zanni are the driving force of the comedic action, whether through scheming, misunderstanding, or slapstick.

Common Zanni characters include:

Arlecchino (Harlequin): The playful, agile, and mischievous servant who loves chaos and pranks. He is often involved in romantic schemes and is known for his acrobatic physical comedy.
Brighella: A more devious and cunning servant, skilled at manipulating situations for his personal gain. He is often more strategic and conniving than Arlecchino.
Colombina: The clever and flirtatious maid, often serving the Innamorati. She uses her wit to help her mistress in romantic entanglements and often plays matchmaker.
Pulcinella: A crafty and somewhat cynical servant who is sometimes cruel or selfish but always resourceful.

The Zanni characters are central to the comedic action, often disrupting the plans of the Masters or assisting the Lovers in their romantic pursuits.

Encyclopaedia of Commedia dell’Arte Characters

Angelica

Category	Gender	Animal
Lover	Female	Dove

Personality

Angelica is a beautiful, romantic, and idealistic Innamorata, deeply in love and devoted to her partner. She is passionate and expressive, often finding herself caught up in the drama of love and romance. Angelica is sincere and open with her feelings, wearing her heart on her sleeve and engaging in grand declarations of love. While she can be emotional and dramatic, she is also intelligent and strong-willed, capable of standing up for herself when necessary. Angelica is an archetypal romantic heroine, filled with hope and determination to follow her heart.

Role

Angelica’s role as an Innamorata involves navigating the romantic challenges and obstacles that come between her and her beloved. She is often pursued by multiple suitors, leading to conflicts, misunderstandings, or rivalries. Angelica’s deep emotional connection to her lover drives much of the plot’s action, and her determination to be with him often leads to moments of both comedy and drama. Her role highlights the intensity and sincerity of young love.

Motivations

Angelica is motivated by love and the desire to be with her chosen partner, often overcoming social, familial, or personal obstacles to achieve her romantic goal. Her idealism drives her actions, as she believes in the purity and power of love. Angelica’s motivation is to find happiness and fulfilment in her relationship, and she is willing to make sacrifices or take risks to achieve this.

Relationships

Angelica’s main relationship is with her lover, typically one of the male Innamorati, with whom she shares a deep and emotional bond. Her interactions with him are characterized by passionate declarations, moments of jealousy, and emotional intensity. Angelica may also have to navigate the interference of authority figures, such as her father or a rival suitor, who seek to control her romantic decisions. Her relationships with other women, such as a confidante or maid, are often supportive and filled with mutual understanding.

Movement

Angelica’s movements are graceful and fluid, reflecting her romantic and passionate nature. She moves with a sense of lightness and elegance, often gesturing expressively as she conveys her emotions. Her body language is open and sincere, with sweeping motions that reflect her dramatic flair. Angelica’s movements are central to conveying the intensity of her feelings and her determination to pursue her love.

Costume

Angelica’s costume is elegant and fashionable, reflecting her high social status and beauty. She typically wears a flowing gown in romantic colours like pink, light blue, or lavender, adorned with delicate details such as lace or ribbons. Her appearance is ethereal and dreamlike, reinforcing her role as an idealized romantic heroine. Angelica’s costume emphasizes her grace and femininity.

Mask

Like other Innamorati, Angelica does not wear a mask. Her facial expressions are essential for conveying her emotions, whether in moments of love, sorrow, or joy. The absence of a mask allows Angelica’s character to be more relatable and human, as the audience can see the depth of her feelings through her facial expressions.

Arlecchina

Category	Gender	Animal
Servant	Female	Squirrel

Personality

Arlecchina is the female counterpart to Arlecchino, sharing his playful, mischievous, and cunning traits. Like Arlecchino, she is quick-witted, energetic, and enjoys playing tricks on others, especially her masters. Arlecchina is flirtatious and charming, often using her feminine wiles to outsmart those who underestimate her. She is not as clumsy or chaotic as Arlecchino, but her schemes are just as clever and her humour just as physical. She is bold, adventurous, and always ready to engage in a bit of mischief.

Role

Arlecchina serves as a maid or servant, typically to the Innamorata. Her role involves helping the lovers in their romantic pursuits, but also engaging in her own mischief along the way. She is a master of deception and enjoys manipulating situations to her advantage, whether by helping her mistress or engaging in her own playful schemes. Her role often mirrors Arlecchino’s, but with a more feminine twist, as she uses charm and flirtation alongside her cleverness.

Motivations

Arlecchina is motivated by fun and mischief, always seeking opportunities to outsmart her masters or create chaos for her own amusement. She is also motivated by romantic interests, particularly if she has a love interest like Arlecchino. Arlecchina’s cleverness and charm allow her to navigate tricky situations with ease, and she is always looking for ways to improve her own situation while causing trouble for those around her.

Relationships

Arlecchina often interacts with Arlecchino, either as a partner in crime or as a love interest. Their relationship is playful and flirtatious, with both characters trying to outwit each other in a lighthearted manner. Arlecchina also assists the Innamorati, using her cunning to help them overcome obstacles in their romantic pursuits. Her relationships with her masters are marked by manipulation, as she often tricks them for her own gain.

Movement

Arlecchina’s movements are quick, light, and graceful, reflecting her playful and flirtatious personality. She moves with agility and confidence, often using her body language to charm or deceive those around her. Her gestures are precise, and her physicality is central to her comedy, as she engages in playful pranks and tricks. Arlecchina’s movements are less chaotic than Arlecchino’s, but just as lively and energetic.

Costume

Arlecchina’s costume is similar to that of Arlecchino, featuring a colourful, patchwork design, but with a more fitted and feminine silhouette. Her outfit is designed to allow for quick, agile movement while also highlighting her charm and playful nature. The bright colours and patterns of her costume reflect her lively personality, and she may wear accessories like a small hat or a handkerchief to add to her flirtatious appearance.

Mask

Arlecchina typically wears a half-mask, similar to Arlecchino’s, but with more delicate and feminine features. The mask often has a playful, mischievous expression, with small eyes and a slight smile, reflecting her cunning and flirtatious nature. The mask’s design emphasizes her charm and wit, while its simplicity allows for full expression of her lively personality.

Arlecchino

Category	Gender	Animal
Servant	Male	Monkey or Cat

Personality

Arlecchino is the clever, mischievous, and playful servant (zanni) known for his quick wit and chaotic energy. He is cunning but often naive, frequently getting into trouble through his love of pranks and impulsive actions. Arlecchino is not malicious—he simply loves fun, chaos, and outsmarting those in authority. Though he may appear foolish at times, he is remarkably resourceful when the situation calls for it. He is motivated by basic desires like hunger and often engages in schemes to fill his belly or pocket. His interactions are driven by a love of mischief and the thrill of outwitting his superiors, though his tricks often backfire, resulting in slapstick humour.

Role

Arlecchino serves as a classic zanni in Commedia dell’Arte, typically the servant of higher-status characters like Pantalone or Il Dottore. His role is to disrupt the plans of the older or wealthier characters through clever tricks and physical comedy, often aiding the young lovers in their romantic pursuits. Arlecchino’s unpredictability and chaotic nature make him central to the comedic action, as his antics frequently create misunderstandings and lead to farcical situations. His role balances physical comedy with quick verbal wit, and his actions frequently drive the plot forward in unexpected ways.

Motivations

Arlecchino is primarily motivated by basic needs: food, money, and fun. He is constantly scheming to get a good meal or earn a little extra money, though his schemes rarely go as planned. His love of mischief often leads him to create chaos simply for the joy of it. He is also motivated by a desire to outsmart his masters and gain some degree of control or freedom within the hierarchy he serves. Unlike other zanni, who might manipulate others for personal gain, Arlecchino is more driven by the joy of the game than by malicious intent.

Relationships

Arlecchino is often paired with Colombina, who may serve as his love interest. Their interactions are marked by playful banter and mischief, as they both enjoy outwitting their masters. Arlecchino’s relationship with his master, often Pantalone or Il Dottore, is one of constant frustration, as they try to control him while he delights in tricking them. He also interacts with other zanni characters, such as Brighella, who may be his rival or partner in schemes. Arlecchino’s relationships are defined by his desire to disrupt the lives of those above him in status, particularly through clever tricks and humorous confrontations.

Movement

Arlecchino’s movements are quick, agile, and acrobatic, reflecting his lively and energetic personality. He is always in motion, bouncing across the stage with leaps, tumbles, and exaggerated gestures. His physicality is central to his comedy, and he often engages in slapstick routines where his agility contrasts with the clumsiness of others. He may perform flips, handstands, or exaggerated pratfalls, using his whole body to create laughter.

His animalistic qualities are often compared to a cat or a monkey—he is nimble, unpredictable, and playful. Arlecchino’s body is rarely still, constantly fidgeting or darting around as though he cannot contain his own energy. His unpredictability in movement mirrors his unpredictable nature in schemes and dialogue, adding to his overall chaotic presence.

Costume

Arlecchino’s costume is iconic for its patchwork of multicoloured, diamond-shaped patterns. Originally, his outfit was made of ragged, sewn-together pieces of fabric to signify his lowly status, but over time, the costume became more vibrant and stylized. His tight-fitting outfit allows for his agile movements and acrobatic physical comedy. The patches, which were initially a symbol of poverty, evolved into a colourful, recognizable part of his character’s identity, symbolizing his lively and mischievous nature.

Mask

Arlecchino wears a half-mask that covers the upper part of his face. The mask is usually black or dark in colour, with small, round eyes and a short, pug-like nose. The mask’s features are playful and mischievous, reflecting Arlecchino’s constant readiness for trickery and fun. The mask typically has a slight smirk or grin, symbolizing his perpetual amusement at the chaos he creates.

Traditionally made of leather, the mask allows for exaggerated facial expressions through the actor’s mouth and lower face, complementing the physicality of the role. The simplicity of the mask ensures that the focus remains on Arlecchino’s quick movements and acrobatic performance.

Aurelia

Category	Gender	Animal
Lover	Female	Swan

Personality

Aurelia is a confident, strong-willed, and intelligent Innamorata, known for her sharp wit and independence. She is passionate about love, but she is not easily swayed by superficial gestures. Aurelia values honesty and depth in her relationships and is not afraid to challenge her partner or speak her mind. While she is deeply romantic, Aurelia is also pragmatic and capable of navigating complex social situations. Her intelligence and determination make her a more active participant in shaping her own romantic destiny.

Role

As an Innamorata, Aurelia’s role involves pursuing love while asserting her independence and control over her romantic life. She is not a passive figure waiting to be rescued but actively engages in the plot, using her intelligence and charm to navigate the challenges of love. Aurelia often serves as a foil to more idealistic or naive lovers, offering a more grounded perspective on romance. Her role emphasizes the importance of mutual respect and understanding in relationships.

Motivations

Aurelia is motivated by a desire for genuine love and a deep connection with her partner. She values emotional and intellectual compatibility and seeks a relationship that is built on trust and respect. Aurelia’s motivation is not just to be loved but to find a partner who values her for her intelligence and strength. She is also motivated by a desire to maintain her independence, ensuring that love does not come at the cost of her autonomy.

Relationships

Aurelia’s primary relationship is with her lover, whom she respects and loves deeply. However, she is not afraid to challenge him or hold him accountable, ensuring that their relationship is based on equality. Aurelia’s interactions with other women, such as confidantes or rivals, are often marked by mutual respect or competition. Her relationships with authority figures, such as parents or suitors, may involve conflict, as she resists attempts to control her romantic choices.

Movement

Aurelia’s movements are confident and purposeful, reflecting her strong will and intelligence. She moves with grace, but there is a firmness to her gestures that conveys her independence and determination. Her body language is open and expressive, but always controlled, suggesting that she is in charge of her emotions and her situation. Aurelia’s movements reflect her balance of passion and reason, making her a compelling figure on stage.

Costume

Aurelia’s costume is elegant and sophisticated, often featuring rich fabrics and bold colours such as deep red, blue, or purple. Her clothing is designed to emphasize her beauty and strength, with a fitted bodice and flowing skirts that allow for movement. Aurelia’s costume reflects her high social status and her self-assured nature, combining grace with authority.

Mask

Like other Innamorati, Aurelia does not wear a mask. Her facial expressions are key to conveying her emotional depth and intellectual engagement, allowing her to express both passion and reason. The absence of a mask highlights her humanity and relatability, as the audience can see the full range of her emotions.

Beatrice

Category	Gender	Animal
Lover	Female	Flacon

Personality

Beatrice is a strong-willed, intelligent, and independent Innamorata. Unlike the more passive or idealized female lovers, Beatrice is assertive and capable, often taking an active role in shaping her own romantic destiny. She is well-educated and articulate, able to hold her own in conversations and debates, particularly with male characters. Beatrice is passionate about love, but she is also pragmatic, balancing her romantic ideals with a keen sense of reality. She is not easily swayed by superficial gestures of affection and prefers honesty and intellect in her relationships.

Role

As a lover, Beatrice’s role involves navigating romantic entanglements, often asserting her independence in the face of obstacles such as disapproving parents or rival suitors. She is not a passive figure waiting to be rescued; instead, Beatrice actively participates in the plot, using her intelligence and determination to achieve her goals. She may manipulate situations to her advantage, whether to win the affection of her beloved or to outwit those who stand in her way.

Motivations

Beatrice is motivated by love and the desire for a genuine connection with her partner. However, she also values her independence and will not sacrifice her autonomy for the sake of romance. Beatrice seeks a balance between passion and reason, desiring a relationship built on mutual respect and intellectual compatibility. Her motivation is not only to be loved but to be understood and respected by her partner.

Relationships

Beatrice’s primary relationship is with her lover, typically one of the male Innamorati such as Flavio. She values a partner who can match her intellect and strength, and she is not afraid to challenge or confront him if necessary. Beatrice’s relationships with other female characters are often supportive, as she encourages them to be strong and independent. Her interactions with authority figures like Pantalone or Il Dottore may involve conflict, as she resists attempts to control her romantic decisions.

Movement

Beatrice’s movements are confident and purposeful, reflecting her intelligence and assertiveness. She moves with grace and elegance, but there is a strength to her physicality that sets her apart from more passive female characters. Her gestures are precise and controlled, emphasizing her ability to command attention and respect. Beatrice’s body language conveys both her emotional depth and her practicality, as she balances romance with reason.

Costume

Beatrice’s costume is elegant and refined, reflecting her high social status and intellect. She wears a fashionable gown, often in rich colours such as deep red or blue, symbolizing her passion and strength. Her clothing is designed to emphasize her beauty and sophistication, but it also allows for ease of movement, reflecting her active role in the plot. Beatrice’s appearance is both graceful and commanding.

Mask

Beatrice, like other Innamorati, does not wear a mask. Her facial expressions are crucial to her character’s emotional complexity and intelligence. The lack of a mask allows her to fully express her thoughts and feelings, whether in moments of love, frustration, or determination.

Brighella

Category	Gender	Animal
Servant	Male	Fox

Motivations

Capitano’s primary motivation is to gain admiration and respect, whether for his supposed military achievements or his imagined romantic conquests. He craves recognition and validation, particularly from women and those in authority. Despite his bravado, Capitano’s secondary motivation is self-preservation; when real danger appears, he will quickly abandon his bravado and flee, revealing his true cowardice. His behaviour is driven by the need to maintain a façade of strength while avoiding any actual conflict.

Relationships

Capitano is frequently a romantic rival to the Innamorato, though his advances are typically unwelcome or mocked. He interacts with the older characters, like Pantalone and Dottore, who might admire his bravado until it is revealed to be false. Servants, such as Arlecchino or Brighella, often delight in exposing Capitano’s cowardice, mocking his false courage and setting him up for humiliating situations. His attempts to woo the female characters are usually in vain, as his exaggerated masculinity and lack of sincerity make him unappealing.

Movement

Capitano’s movements are grandiose and exaggerated, reflecting his self-important and boastful personality. He strides across the stage with large, exaggerated steps, puffing out his chest and holding his head high. His posture is upright, almost rigid, as he tries to maintain an air of authority and control. He often gestures widely with his arms, drawing imaginary swords or pointing dramatically into the distance as he recounts his (imagined) heroic deeds.

However, when faced with real danger, Capitano’s movements change drastically. His once confident strides turn into rapid, panicked retreats, as he stumbles over himself in his haste to escape. His exaggerated bravado collapses into physical comedy as he flees or hides, using any means necessary to avoid confrontation. This contrast between his inflated movements when boasting and his frantic motions when scared is a key part of his physical comedy.

Costume

Capitano’s costume is designed to reflect his exaggerated sense of importance. He wears an elaborate military uniform, often with exaggerated features such as a large feathered hat, oversized boots, and a wide sash. His uniform is brightly coloured, usually featuring reds, blues, or golds, making him stand out on stage and symbolizing his inflated self-image. The costume may include a sword, which he frequently draws for effect but rarely uses in actual combat. The overall appearance is one of flamboyance and vanity, designed to mock his claims of heroism.

Mask

Capitano wears a half-mask that covers his forehead and nose, leaving his mouth free for speaking. The mask is typically long and narrow, with a pronounced, sharp nose that symbolizes his arrogance and deceit. The mask often features high, furrowed brows, giving Capitano a perpetual look of superiority or disdain. The exaggerated nose also represents Capitano’s tendency to “stick his nose” into things, often making claims or judgments that are out of proportion with reality.

Traditionally made of leather, the mask emphasises his comical pretensions with sharp, angular features that contrast with the softer, more genuine characters around him. The mask’s expression is one of constant self-satisfaction, as though Capitano is always convinced of his own greatness, despite the audience’s awareness of his cowardice.

Celia

Category	Gender	Animal
Lover	Female	Lamb

Personality

Celia is a gentle, kind-hearted, and somewhat naive Innamorata. She is characterised by her romantic idealism and pure devotion to love. Celia is often portrayed as an innocent figure, fully committed to her romantic dreams and willing to sacrifice for the sake of her beloved. Her innocence, however, can make her prone to misunderstandings or manipulation, especially when dealing with more cunning characters. Despite her occasional naivety, Celia has a deep emotional capacity and is willing to endure challenges to secure her happiness.

Role

Celia’s role as an Innamorata revolves around her romantic pursuits and the challenges she faces in achieving her happily-ever-after. She is often at the centre of love triangles or caught in situations where her idealistic view of love is tested by reality. Celia’s journey often involves overcoming misunderstandings, interference from parents or rivals, and navigating her emotions with grace and perseverance. Her character represents the purity of love, and her presence brings emotional depth to the romantic plot.

Motivations

Celia is motivated by a desire for true love and emotional fulfilment. She is driven by the belief that love can overcome all obstacles, and she is willing to fight for her relationship with her beloved. Her idealism and sincerity fuel her actions, and she seeks a relationship based on mutual affection, trust, and devotion.

Relationships

Celia’s primary relationship is with her lover, typically one of the male Innamorati, with whom she shares a deep emotional connection. Her interactions with him are characterized by tenderness, devotion, and a willingness to forgive. Celia’s relationships with rivals or authority figures, such as parents or suitors, often create conflict, as they may challenge or obstruct her romantic goals. She may also form close bonds with other women, particularly confidantes or maids, who support her in her romantic struggles.

Movement

Celia’s movements are soft, graceful, and gentle, reflecting her innocence and emotional depth. She moves with an air of delicacy and poise, often gliding across the stage with light steps. Her gestures are subtle and tender, conveying her sincerity and love. Celia’s body language emphasizes her vulnerability and emotional openness, making her a sympathetic figure in the romantic narrative.

Costume

Celia’s costume is typically elegant and feminine, often featuring soft, flowing fabrics in light colours such as pink, white, or pastel tones. Her dress is adorned with delicate lace, ribbons, or floral motifs, highlighting her innocence and romantic nature. Celia’s costume reinforces her role as an idealized figure of love and purity.

Mask

Like other Innamorati, Celia does not wear a mask. Her facial expressions are key to conveying her emotional sincerity and vulnerability, allowing the audience to connect with her romantic idealism. The absence of a mask emphasizes her innocence and openness, as her expressions of love and sorrow are central to her character.

Cinzio

Category	Gender	Animal
Lover	Male	Deer

Personality

Cinzio is a romantic, passionate, and often melodramatic Innamorato, defined by his intense feelings of love and his idealized view of relationships. He is deeply in love with his partner and often expresses his affection through grand, poetic gestures. Cinzio is sincere in his emotions, but his tendency to dramatize every aspect of his romantic life can make him seem naive or overly sentimental. His character is marked by his sensitivity and his willingness to go to great lengths to prove his devotion.

Role

As a male lover, Cinzio’s role involves pursuing the object of his affection, typically the Innamorata, while navigating obstacles such as disapproving parents, rival suitors, or misunderstandings. His actions are often driven by his overwhelming emotions, leading to moments of both comedy and drama. Cinzio’s grand gestures and declarations of love are central to the romantic plot, and his idealism is both a strength and a weakness in his quest for love.

Motivations

Cinzio is motivated by love, and his primary goal is to win the heart of his beloved. He is driven by an idealized view of romance, often seeing himself as the hero in a grand love story. Cinzio’s actions are fueled by his desire to be with his partner, and he is willing to face any challenge or obstacle in order to achieve a happy ending. His motivations are pure, though sometimes his dramatic nature leads him into situations that could have been avoided with a bit more practicality.

Relationships

Cinzio’s main relationship is with his beloved, whom he adores and worships. His interactions with her are filled with romantic declarations, heartfelt speeches, and moments of emotional vulnerability. He may also have contentious relationships with rivals or authority figures who attempt to prevent his union with his beloved. His relationships with other male characters are often competitive, especially if they are also vying for the same woman’s affection.

Movement

Cinzio’s movements are elegant and theatrical, reflecting his dramatic nature and romantic ideals. He often gestures grandly, with sweeping motions and exaggerated poses that emphasize the intensity of his emotions. His body language is expressive, with frequent hand-to-heart gestures or extended arms that symbolize his devotion and passion. Cinzio’s physicality is central to conveying his larger-than-life view of love.

Costume

Cinzio’s costume is that of a fashionable young lover, typically featuring a well-tailored doublet and breeches in rich colours like red, blue, or gold. His outfit is designed to reflect his status as a romantic hero, with elegant details and accessories that emphasize his refined and idealistic nature. Cinzio’s appearance is always polished and charming, reinforcing his role as a desirable and devoted lover.

Mask

Cinzio, like other lovers, does not wear a mask. His face is left bare to allow for the full expression of his emotions, whether he is passionately declaring his love or lamenting a romantic setback. The absence of a mask is essential for conveying Cinzio’s sincerity and emotional depth, as his facial expressions are key to his character’s role as a romantic lead.

Colombina

Category	Gender	Animal
Servant	Female	Cat

Personality

Colombina is sharp-witted, clever, and flirtatious. As one of the most well-known female servants in Commedia dell’Arte, she is characterized by her intelligence and resourcefulness. Unlike other zanni, who might rely on physical comedy or foolishness, Colombina uses her quick thinking and charm to manipulate situations to her advantage. She is often at the centre of romantic intrigue, assisting the Innamorati with their love affairs, but she is also skilled at outsmarting her master. Her charm and wit make her a beloved character, as she frequently plays both confidante and schemer. While playful, Colombina is always practical, ensuring that her actions benefit her or those she cares about.

Role

Colombina serves as a maid or servant to higher-status characters, often assisting a female Innamorata. She plays a key role in helping resolve romantic entanglements, offering advice or creating schemes to bring the lovers together. Colombina also frequently interacts with the other servants, particularly Arlecchino, with whom she may have a romantic relationship. Her role is both comedic and strategic, as she balances her duties while also ensuring she benefits from the situations she navigates.

Motivations

Colombina’s primary motivation is survival and self-advancement. She uses her wit and charm to secure her position and avoid trouble, often helping others in exchange for personal gain. Her romantic interests may also drive her actions, particularly if she is involved with Arlecchino or another character. Colombina is fiercely independent, and her intelligence helps her navigate the complex social dynamics of the upper and lower classes.

Relationships

Colombina frequently interacts with Arlecchino, who is often her love interest or comedic partner. She is loyal to her mistress, usually one of the Innamorati, and works to help resolve the romantic problems in their lives. Her relationships with the masters, like Pantalone or Dottore, are characterized by her ability to outwit them and avoid their schemes while still maintaining her status as a trusted servant.

Movement

Colombina’s movements are light, graceful, and fluid, reflecting her intelligence and charm. She moves with confidence, often walking with a purposeful yet elegant stride. Her gestures are quick and calculated, allowing her to execute tasks with precision while also adding a playful flirtatiousness to her interactions. Colombina’s body language is expressive, and she uses her hands and facial expressions to emphasize her wit and cleverness.

Costume

Colombina’s costume is typically a simple yet flattering dress, often with an apron, reflecting her status as a maid. She wears muted colours, such as browns, blacks, or greys, but her outfit is well-fitted, highlighting her graceful and charming nature. She may carry a fan or a small handkerchief, which she uses in her playful flirtations. Colombina’s costume, while modest, allows her to move freely and emphasizes her role as a clever and attractive servant.

Mask

Colombina is one of the few Commedia dell’Arte characters who typically does not wear a mask. Her face is left bare, allowing the actress to express a wide range of emotions, from wit and sarcasm to flirtation and sympathy. This lack of a mask emphasizes Colombina’s role as a more relatable and emotionally expressive character in the world of servants.

Coviello

Category	Gender	Animal
Servant	Male	Weasel

Personality

Coviello is a sharp-witted, cunning, and theatrical servant known for his love of performance and his skill at deception. He is often portrayed as a comic schemer who delights in creating elaborate plans and disguises to outsmart others. Coviello is highly intelligent and enjoys using his wit to manipulate situations, often for personal gain or simply for the fun of it. He has a flair for the dramatic and loves to play different roles, making him a master of disguise and trickery. Despite his deviousness, Coviello is a likable character due to his charm and playful nature.

Role

Coviello’s role as a servant involves creating and executing elaborate schemes, often to help or hinder the romantic pursuits of the Innamorati or to resolve misunderstandings. His love of performance and disguise makes him a central figure in the comedic action, as he frequently adopts different personas to achieve his goals. Coviello’s role is that of a trickster, using his intelligence and theatricality to manipulate those around him and create comic situations.

Motivations

Coviello is motivated by a love of intrigue, performance, and personal gain. He thrives on the excitement of outwitting others and takes great pleasure in his ability to deceive and manipulate. While his actions are often self-serving, Coviello also enjoys the theatricality of his schemes and is motivated by a desire to entertain himself and those around him. His ultimate goal is to come out on top in any situation, using his cleverness and charm to achieve success.

Relationships

Coviello’s relationships with other characters are defined by his role as a manipulator and schemer. He often interacts with other servants, such as Arlecchino or Brighella, either as a rival or collaborator in his schemes. His relationships with his masters are marked by his ability to outsmart or deceive them, though he often remains loyal if it serves his interests. Coviello’s charm and intelligence make him a popular figure among the Innamorati, as he frequently assists them in their romantic pursuits through his cunning plans.

Movement

Coviello’s movements are quick, theatrical, and precise, reflecting his love of performance and disguise. He moves with agility and grace, often adopting exaggerated poses or gestures to enhance his various personas. His physicality is central to his comedic style, as he frequently uses his body to convey different characters or to deceive others. Coviello’s movements are energetic and dynamic, making him a captivating figure on stage.

Costume

Coviello’s costume is flamboyant and theatrical, reflecting his love of performance and disguise. He often wears brightly coloured clothing with bold patterns, such as stripes or checks, that emphasize his role as a trickster. His costume may include accessories like a mask, hat, or cloak, which he uses in his various disguises. Coviello’s outfit is designed to highlight his playful and dramatic nature, allowing him to easily adopt different roles.

Mask

Coviello wears a half-mask with a mischievous and theatrical expression. The mask often features sharp, angular features and a sly smile, reflecting his cunning and love of deception. The mask’s exaggerated expression enhances Coviello’s role as a comic schemer, allowing him to adopt different personas while still maintaining his playful and devious nature.

Diana

Category	Gender	Animal
Lover	Female	Hawk

Personality

Diana is strong-willed, independent, and intellectually driven. She is a rare Innamorata who values personal freedom and intellectual equality in her relationships. Diana is not content to be an object of affection—she seeks a partner who respects her mind as well as her heart. Though deeply romantic, she balances her emotional life with a pragmatic approach, often questioning traditional romantic ideals. Diana’s confidence and intelligence set her apart from more passive or idealistic lovers, as she is unafraid to assert her independence and take control of her romantic destiny.

Role

As an Innamorata, Diana’s role involves navigating romantic entanglements while asserting her autonomy. She often plays an active part in shaping her romantic future, whether by challenging suitors to prove themselves worthy or by questioning societal expectations of love. Diana’s relationships are marked by her refusal to be dominated by passion alone—she seeks a connection that is as intellectual as it is emotional. Her role brings a refreshing complexity to the traditional romantic plot.

Motivations

Diana is motivated by a desire for a balanced, equal relationship where she can express her individuality. She is driven by both love and reason, seeking a partner who appreciates her intelligence and independence. Diana’s motivations reflect a more modern approach to love, where personal fulfilment is as important as a romantic connection.

Relationships

Diana’s relationship with her lover is based on mutual respect and intellectual compatibility. She challenges him to prove his worth not just through grand gestures but by engaging with her on a deeper, more meaningful level. Diana’s interactions with other women often reflect solidarity, as she supports those who seek independence or struggle with traditional roles. Her relationships with authority figures, such as parents or guardians, may involve conflict if they attempt to control her romantic choices or suppress her autonomy.

Movement

Diana’s movements are confident, controlled, and purposeful, reflecting her strong will and independence. She moves with grace, but there is a firmness to her steps that signals her self-assurance. Her gestures are poised, often used to assert her authority or challenge others. Diana’s physicality is marked by her balance of emotional depth and intellectual strength, making her an engaging and commanding presence on stage.

Costume

Diana’s costume is elegant and sophisticated, often featuring bold colours such as deep blues, greens, or purples that symbolize her strength and independence. Her clothing is stylish yet practical, allowing her to move freely and assertively. Diana’s costume reflects her status as an intellectual and confident Innamorata, with refined details that emphasize her beauty without diminishing her authority.

Mask

Like other Innamorati, Diana does not wear a mask. Her facial expressions are key to conveying her intelligence, confidence, and emotional depth. The absence of a mask allows Diana to engage fully with both her partner and the audience, as her expressions of love, frustration, or determination are essential to her character.

Il Dottore

Category	Gender	Animal
Master	Male	Owl

Personality

Dottore is a pompous, verbose, and comically pretentious character who prides himself on his vast knowledge, though it is often irrelevant, outdated, or completely nonsensical. He is usually portrayed as a doctor of law or medicine, but his expertise is largely theoretical, with little practical understanding. Dottore loves to hear himself speak, frequently launching into long, rambling monologues filled with Latin phrases and academic jargon. His arrogance and intellectual vanity make him unaware of his own ignorance, and he often offers advice that is more confusing than helpful. Despite his flaws, Dottore is well-meaning, though his self-importance can irritate those around him.

Role

As one of the Vecchi (elder characters), Dottore often plays the role of an overbearing intellectual, frequently the father or guardian of one of the Innamorati. His involvement usually complicates the lives of the younger characters as he tries to exert control over their decisions with his endless advice and theories. His primary role is as a comedic antagonist, often getting in the way of the lovers’ happiness through his misguided attempts to guide them. His interactions with servants like Arlecchino and Brighella frequently lead to him being mocked or tricked, as his arrogance blinds him to their schemes.

Motivations

Dottore is motivated by his desire for intellectual recognition and respect. He seeks validation for his knowledge and constantly looks for opportunities to demonstrate his supposed wisdom. He is also driven by a paternal instinct to control the lives of those under his care, believing that his education gives him the authority to dictate the actions of others, even when his advice is flawed.

Relationships

Dottore’s relationships are primarily with the younger characters, particularly the Innamorati, whom he tries to manage with his advice, often leading to frustration. He frequently interacts with other Vecchi, such as Pantalone, either as a business partner or intellectual rival, where their differing approaches to life (money versus knowledge) create tension or comedy. His interactions with zanni characters like Arlecchino and Brighella are often marked by him being outwitted, as he cannot see past his intellectual vanity to notice their tricks.

Movement

Dottore’s movement is slow, deliberate, and heavy, reflecting his self-perceived dignity and authority. He tends to waddle or shuffle across the stage, with his large belly leading the way. His posture is upright and proud, as if he is constantly deep in thought, though this is often undercut by clumsy physical comedy, like tripping over his robes. Dottore frequently gestures with large, sweeping movements, pointing or waving his arms as if lecturing a class. He may also stroke his beard (if he has one) or tap his forehead dramatically as if pondering something of great importance.

When interacting with others, especially during his long speeches, Dottore’s gestures become more exaggerated, with wide arm movements that accompany his pompous explanations. Despite his ponderous movements, he is often physically clumsy, stumbling into things while distracted by his own thoughts.

Costume

Dottore’s costume is that of a traditional academic. He wears a large, voluminous black robe, sometimes trimmed with red or white, symbolizing his scholarly status. His robe is deliberately oversized, emphasizing his pompous nature, and may even engulf him, further highlighting the comedic nature of his character. He also wears a round academic hat, which reinforces his role as a learned figure, though his appearance is often outdated, making him seem stuck in the past.

Mask

Dottore wears a half-mask that covers his forehead and nose, leaving his mouth exposed for his extensive monologues. The mask is typically black and features a bulbous nose and exaggerated wrinkles on his forehead, symbolizing his arrogance and inflated sense of self-worth. The mask’s design often gives him a ruddy, indulgent look, hinting at his love of food, drink, and excess. The exaggerated features make him both comical and ridiculous, reinforcing his status as a figure of mockery in the world of Commedia dell’Arte.

Il Dottore Medico

Category	Gender	Animal
Master	Male	Tortoise

Motivations

Florindo is motivated by love and the desire to prove himself as a worthy suitor. His romantic ideals fuel his actions, and he often acts impulsively in the heat of passion. He sees love as a grand adventure and is willing to take risks and face challenges to achieve it. While his motivations are sincere, they can sometimes lead him into difficult or complicated situations, especially when his emotions get the better of him.

Relationships

Florindo’s primary relationship is with the Innamorata, whom he passionately pursues. His interactions with her are filled with dramatic declarations of love, moments of jealousy, and intense emotional exchanges. Florindo may have rivals, such as other male lovers, and his competitive nature often leads to conflict with them. His relationships with authority figures, such as Pantalone or Il Capitano, are often contentious, as they may attempt to block his romantic pursuits.

Movement

Florindo’s movements are bold and expressive, reflecting his passionate and adventurous nature. He gestures widely, often with sweeping arm movements that emphasize his emotional intensity. His body language is energetic and dramatic, with frequent hand-to-heart gestures or extended arms to symbolize his devotion. Florindo’s physicality conveys his larger-than-life view of love, and his movements often mirror the intensity of his feelings.

Costume

Florindo’s costume is that of a young nobleman, featuring rich fabrics and bright colours like red, green, or purple, symbolizing his passion and vibrancy. His outfit is elegant yet bold, with decorative details that reflect his adventurous spirit and romantic ideals. Florindo’s costume highlights his status as a passionate and determined lover.

Mask

Like other Innamorati, Florindo does not wear a mask. His face is left bare to allow for the full expression of his emotions, whether he is declaring his love or expressing frustration. The absence of a mask helps convey Florindo’s sincerity and emotional intensity, making him a central figure in the romantic drama.

Giangurgolo

Category	Gender	Animal
Master (sometimes Servant)	Male	Peacock

Personality

Giangurgolo is a braggart and coward, often portrayed as a ridiculous and boastful figure who exaggerates his own importance. He delights in telling exaggerated stories of his prowess in battle or love, but when faced with real danger, he quickly retreats or hides. Giangurgolo is highly comic, combining elements of both Il Capitano and other buffoonish characters, often causing laughter with his inflated sense of self-worth and cowardice. He is bombastic and verbose, with a love for making himself seem greater than he is.

Role

Giangurgolo’s role typically involves disrupting the social or romantic lives of others with his boastful nature. Whether serving as a low-ranking officer, a nobleman, or a self-styled military hero, his lies and inflated ego lead him into absurd situations. He often finds himself the victim of his own deceit, retreating when his stories are challenged or his bravery is called into question.

Motivations

Giangurgolo is motivated by a desire for recognition and admiration. He seeks to be seen as a powerful and heroic figure, even though he lacks the actual courage to back up his claims. His need for attention drives much of his exaggerated behaviour, but when pressed, his cowardice reveals itself, forcing him to abandon his boasts.

Relationships

Giangurgolo often competes with other male characters, especially Il Capitano, in trying to impress the Innamorati. He may also clash with other servants or masters, particularly those who see through his bravado. His relationships are typically marked by comic misunderstandings and failures, with others mocking or outwitting him.

Movement

Giangurgolo’s movements are exaggerated and clumsy, often mimicking the military swagger of a man much braver than he is. He may strut or march in a show of strength, only to trip or stumble when faced with danger. His body language is loud and flamboyant, filled with gestures that signal his false bravado.

Costume

Giangurgolo’s costume is gaudy and over-the-top, often resembling a poorly put-together military uniform. His clothing might include a large hat with a plume, oversized boots, and a sword he never actually uses. The colours are typically bright and mismatched, adding to his ridiculous appearance.

Mask

Giangurgolo wears a half-mask with exaggerated, comical features, such as a large nose and wide mouth. The mask reflects his cowardly nature, with a boastful but nervous expression, emphasizing his role as a buffoon who is all talk and no action.

Gratiano

Category	Gender	Animal
Master	Male	Parrot

Personality

Gratiano is a pompous, verbose, and somewhat ridiculous character, known for his long-winded speeches and tendency to overcomplicate simple matters. He is often portrayed as an older man, full of pretension and self-importance, frequently engaging in discussions that are filled with nonsensical logic or irrelevant details. Gratiano sees himself as an intellectual, but his rambling speeches reveal him to be more of a fool than a wise man. He is easily distracted and tends to miss the point in conversations, which often leads to comic misunderstandings.

Role

Gratiano’s role is typically that of an elderly scholar, lawyer, or doctor, and his character serves as comic relief through his absurd monologues and speeches. His interactions with other characters often involve him offering unsolicited advice or lengthy explanations that confuse rather than clarify. Gratiano’s presence in the plot adds a layer of farce, as his inability to stay on topic or comprehend situations fully results in humorous misinterpretations or delays in the action.

Motivations

Gratiano is motivated by a desire for intellectual recognition and respect. He enjoys hearing himself speak and believes that his long-winded explanations are valuable contributions, even when they are not. Despite his lack of understanding, he is driven by his sense of self-importance and a need to demonstrate his perceived wisdom.

Relationships

Gratiano’s relationships with other characters are often marked by frustration and misunderstanding. Younger characters, such as the Innamorati or servants, tend to humour him or try to avoid his endless speeches. His interactions with other authority figures, such as Pantalone or Dottore, are often competitive, as they vie to assert their superiority in discussions. Gratiano’s relationships are primarily comedic, as his long-winded nature creates obstacles and misunderstandings for those around him.

Movement

Gratiano’s movements are slow and deliberate, reflecting his age and self-importance. He often gestures dramatically while speaking, waving his arms or pointing his finger as he delivers his lengthy speeches. His body language conveys his belief in his own intellectual prowess, though his physical comedy often arises from his clumsiness or obliviousness to his surroundings. Gratiano may also fidget or stroke his beard while thinking, further emphasising his pedantic nature.

Costume

Gratiano’s costume is that of a learned man, often resembling a professor or scholar. He wears long, flowing robes in dark colours, such as black or grey, symbolizing his pretentious intellect. His outfit may be adorned with scholarly accessories, such as a cap or spectacles, further highlighting his role as a self-important intellectual. Gratiano’s costume emphasizes his outdated sense of authority and adds to his comic appearance.

Mask

Gratiano wears a half-mask, typically with exaggerated wrinkles and a large, bulbous nose. The mask gives him an aged, foolish expression, emphasizing his role as a comic authority figure. The mask’s features highlight his self-importance, with furrowed brows and a mouth that appears to be perpetually speaking or frowning. The mask enhances his character’s ridiculousness, making his long speeches even more absurd.

Isabella

Category	Gender	Animal
Lover	Female	Swan

Personality

Isabella is the archetypal Innamorata (female lover) in Commedia dell’Arte. She is beautiful, intelligent, and articulate, often idealized as the perfect woman. Isabella is deeply romantic, passionate about love, and devoted to her chosen partner. However, she is also highly dramatic and prone to exaggerated emotional outbursts, whether from joy, sorrow, or jealousy. Her passion can make her headstrong, and she is quick to act on her emotions, often leading to impulsive decisions. Though she may appear fragile or overly emotional, Isabella is often clever and witty, particularly when engaged in flirtatious banter or debates about love. Her character embodies the idealized and poetic concept of romantic love.

Role

As the primary female Innamorata, Isabella’s role is central to the romantic plot of Commedia dell’Arte. She is often the object of desire for the male lover (Innamorato), and the story revolves around her romantic entanglements, misunderstandings, and attempts to unite with her beloved despite obstacles. Isabella may be caught between two or more suitors, but her heart is steadfastly loyal to her chosen love, often leading to dramatic scenes of pining or joy. Her role is to express the ideal of pure, romantic love, but with a heightened emotional intensity that leads to comic misunderstandings, particularly in her interactions with servants or elders who try to interfere in her love life.

Motivations

Isabella is driven primarily by her desire for true, passionate love. She is consumed by her emotions, whether it be love, longing, or frustration, and her actions are motivated by her need to be with her beloved. She also seeks validation and attention, enjoying the admiration of those around her for her beauty and intelligence. Isabella is often motivated by the pursuit of romantic ideals, and she sees herself as a heroine in a love story, willing to overcome any obstacles to achieve happiness with her partner.

Relationships

Isabella’s primary relationship is with the male lover, typically Flavio or another Innamorato, with whom she shares a passionate and often tumultuous love. Their relationship is marked by grand declarations of love, misunderstandings, and occasional jealousy. Isabella’s interactions with other characters, particularly servants like Colombina or Arlecchino, add a layer of comedy as these characters help or hinder her romantic pursuits. She often finds herself at odds with her father, Pantalone or Dottore, who may try to arrange a more “suitable” marriage for her, leading to conflict and dramatic outbursts.

Movement

Isabella’s movements are graceful and elegant, befitting her status as the ideal romantic heroine. She moves lightly, often with sweeping gestures that emphasize her emotional state. When happy or in love, she moves with energy and excitement, as though carried along by the force of her emotions. Her body language is poised and refined, and her gestures are often exaggerated to match the heightened emotions of her character.

During moments of distress, her movements become slower and more dramatic, with long, drawn-out gestures that reflect her sorrow or longing. She may swoon, fall to her knees, or raise her arms to the heavens in despair. Isabella’s physicality reflects the emotional extremes of her character, moving between joy and sorrow with fluid, expressive motion.

Costume

Isabella’s costume is elegant and fashionable, reflecting her high social status and beauty. She wears luxurious gowns, often in soft, romantic colours like light pink, blue, or white, and adorned with lace, ribbons, and other delicate details. Her dress is designed to emphasize her femininity and grace, with flowing skirts and a fitted bodice that highlight her romantic ideal. She may carry a fan or a small bouquet of flowers, accessories that reinforce her image as a woman of refinement and taste.

Mask

Isabella is one of the few characters in Commedia dell’Arte who does not wear a mask, allowing the actress to express the range of emotions that Isabella experiences fully. Her face is left bare, highlighting her beauty and the emotional intensity of her performance. Without a mask, Isabella’s expressions of love, joy, sorrow, and frustration are key to her character, as her facial expressions help convey the drama and passion that define her role. This openness and vulnerability make her an engaging and sympathetic figure in the world of Commedia dell’Arte.

Leandro

Category	Gender	Animal
Lover	Male	Deer

Mask

Magnifico wears a half-mask with strong, angular features, symbolizing his authority and commanding presence. The mask often has a large, hooked nose and pronounced brows, giving him a severe and regal appearance. The mask’s expression is one of power and pride, reflecting Magnifico’s belief in his own superiority. The exaggerated features of the mask help to highlight his character’s hubris and eventual downfall.

Matamoros

Category	Gender	Animal
Master	Male	Bull

Personality

Matamoros is a boastful, blustering, and cowardly character, often portrayed as a parody of the Il Capitano archetype. He is a military man who constantly brags about his heroic deeds and romantic conquests, but when faced with actual danger or confrontation, he quickly retreats or reveals his true cowardice. Matamoros is loud, arrogant, and self-important, but his exaggerated bravado makes him a comic figure rather than a threatening one. His bluster is matched only by his fear, and he is often exposed as a fraud by the end of the play.

Role

Matamoros’s role involves creating comedic tension through his exaggerated claims of bravery and heroism. He frequently inserts himself into romantic or social conflicts, claiming to be a great warrior or lover, only to be exposed as a coward when put to the test. Matamoros serves as a comic foil to other, more genuine characters, and his exaggerated bravado often leads to slapstick or farcical situations.

Motivations

Matamoros is motivated by a desire for admiration and respect. He seeks to be seen as a hero or a romantic figure, and his boasts are designed to impress those around him. However, his true motivation is self-preservation, and he will quickly abandon his pretenses when his safety is threatened.

Relationships

Matamoros’s relationships are marked by his attempts to impress and dominate others, particularly the Innamorati and other masters. He often competes with other male characters, such as Il Capitano, for attention or romantic favour, but his cowardice inevitably leads to his downfall. His interactions with servants or lower-status characters are often dismissive or arrogant, but they frequently see through his bravado and mock him.

Movement

Matamoros’s movements are exaggerated and theatrical, reflecting his inflated sense of self-importance. He may strut across the stage, puffing out his chest and making grand gestures, only to shrink back when faced with danger. His body language is loud and boastful, but his physical comedy contrasts his confident posturing and his cowardly retreats.

Costume

Matamoros’s costume is flamboyant and military-inspired, often featuring an oversized plumed hat, a gaudy uniform, and a sword that he never actually uses. His outfit is designed to make him look impressive, with bright colours and exaggerated details that emphasize his desire to be seen as a hero. His costume ultimately serves to highlight the absurdity of his character.

Mask

Matamoros wears a half-mask with sharp, exaggerated features, such as a long nose and furrowed brows, symbolizing his arrogance and cowardice. The mask’s expression is one of perpetual self-importance, reflecting his constant need to boast and impress. The mask’s exaggerated features enhance the comedic nature of his character, as his bravado is continually undercut by his fear.

Mezzetino

Category	Gender	Animal
Servant	Male	Ferret

Mask

Like other Innamorati, Orazio does not wear a mask. His face is left bare to allow for the full expression of his emotions, particularly his charm and playfulness. The absence of a mask allows Orazio to engage more directly with the audience and his fellow characters, using his facial expressions to enhance his wit and flirtatious nature.

Ottavio

Category	Gender	Animal
Lover	Male	Dove

Personality

Ottavio is a thoughtful, reserved, and often idealistic lover who approaches romance sensibly and cautiously. Unlike more impulsive lovers, Ottavio is reflective and careful in his actions, preferring to plan and think before he acts. He is deeply emotional but tends to keep his feelings under control, expressing his love in a measured and poetic manner. Ottavio is often depicted as a bit shy or hesitant, though his love is no less genuine than that of more outwardly passionate lovers. His gentleness and sincerity make him a more introspective figure in Innamorati.

Role

As a lover, Ottavio’s role involves pursuing the object of his affection in a quiet and deliberate manner. He is often caught in the middle of romantic misunderstandings or rivalries but tries to resolve conflicts with reason and diplomacy rather than dramatic displays of emotion. Ottavio’s role is less about grand gestures and more about the subtle, enduring nature of his love, making him a stabilizing figure in the romantic plot.

Motivations

Ottavio is motivated by love and the desire to create a meaningful and lasting connection with his partner. He values emotional depth and intellectual compatibility and is driven by a sincere wish to build a relationship based on mutual understanding. Ottavio’s cautious nature means that he prefers to take his time in matters of love, ensuring that his actions are thoughtful and considered.

Relationships

Ottavio’s primary relationship is with the Innamorata, whom he adores with quiet intensity. His interactions with her are often marked by poetic expressions of love and thoughtful conversation rather than bold or impulsive gestures. Ottavio may have rivals, but he typically approaches these conflicts calmly, avoiding the more dramatic confrontations seen in other lovers. His relationships with authority figures, such as Pantalone or Dottore, are often marked by negotiation and compromise as he seeks to gain their approval without losing his dignity.

Movement

Ottavio’s movements are graceful, controlled, and deliberate, reflecting his thoughtful and measured personality. He moves with a sense of calm and poise, using subtle gestures rather than exaggerated physicality to express his emotions. His body language conveys his introspection and sensitivity, with frequent hand-to-chin or hand-to-heart gestures that reflect his inner thoughtfulness.

Costume

Ottavio’s costume is elegant and understated, featuring simple but refined clothing that reflects his noble status. He may wear a well-tailored doublet and breeches in muted colours like grey, blue, or brown, emphasizing his reserved nature. Ottavio’s costume is designed to reflect his intellectual and emotional depth rather than boldness or extravagance.

Mask

Ottavio, like other Innamorati, does not wear a mask. His bare face allows for fully expressing his emotions, particularly his thoughtful and poetic nature. The absence of a mask helps convey his sincerity and introspection, allowing the audience to connect with his more reserved but genuine love.

Pagliaccio

Category	Gender	Animal
Servant	Male	Dog

Personality

Pagliaccio is a sad clown, a melancholic figure who often embodies the tragicomic side of Commedia dell’Arte. His character is emotional, sincere, and gentle, unlike the more mischievous or cynical zanni like Arlecchino. Pagliaccio is sensitive and romantic, frequently caught in unrequited love or overlooked by those around him. His sadness and vulnerability often make him an object of pity or humour, as his earnest attempts to connect with others are met with misunderstanding or rejection. Despite his sorrow, Pagliaccio remains loyal and dutiful, though his emotional fragility makes him prone to dramatic outbursts of grief or despair.

Role

Pagliaccio serves as a low-status servant or entertainer, often playing the part of a tragic figure who longs for affection or approval. His role usually involves observing the romantic or social entanglements of other characters, particularly the Innamorati, while quietly lamenting his own misfortune. He may assist in romantic plots, but his role is often that of an outsider, unable to participate in the joy of others fully. Pagliaccio is a tragicomic figure whose emotional vulnerability contrasts with the more lighthearted antics of other zanni.

Motivations

Pagliaccio’s primary motivation is love and acceptance. He often yearns for a romantic relationship or seeks the approval of those around him, though his affections are rarely returned. His unfulfilled desires drive much of his sorrow, and his actions are motivated by a deep longing to be seen and valued by others. Despite his sadness, Pagliaccio is dedicated to his duties, even when they bring him no personal satisfaction.

Relationships

Pagliaccio is frequently in love with a female character, often Colombina or another servant, though she may not reciprocate his feelings. His interactions with his masters are marked by his loyalty and willingness to serve, but he is often taken for granted or overlooked. His relationships with other zanni, such as Arlecchino, may involve moments of mockery or competition, as Pagliaccio’s sensitivity makes him an easy target for more manipulative characters.

Movement

Pagliaccio’s movements are slow, graceful, and deliberate, reflecting his emotional depth and sadness. He moves with a sense of hesitation as if weighed down by his own sorrow, and his gestures are soft and restrained. When expressing his emotions, Pagliaccio’s body language becomes more exaggerated, with sweeping, dramatic gestures highlighting his despair or longing. His movements contrast with the more frenetic energy of other zanni, making him a distinctive figure on stage.

Costume

Pagliaccio’s costume is simple and often resembles that of a traditional clown. He typically wears loose, white garments, sometimes adorned with ruffles or buttons, that emphasize his status as an entertainer or servant. His outfit is designed to reflect his melancholic nature, with soft, muted colours that contrast with the brighter costumes of other characters.

Mask

Pagliaccio traditionally does not wear a mask, as his face is essential to conveying his deep emotions. His expressions of sadness, longing, and despair are key to his character’s tragicomic nature. The absence of a mask allows the audience to connect more intimately with his vulnerability, as his facial expressions are central to his performance.

Pantalone

Category	Gender	Animal
Master	Male	Vulture

Personality

Pantalone is an old, wealthy merchant who is deeply obsessed with his wealth and status. He is miserly, controlling, and paranoid about being swindled or losing his money. His interactions are driven by his greed, and he frequently schemes to increase his fortune. Despite considering himself clever and shrewd, Pantalone is often duped by those around him, particularly the servants, due to his vanity and arrogance. His lechery towards younger women often leads to comic situations where his attempts at seduction are thwarted, usually in humiliating ways.

Role

As one of the Vecchi (elders) in Commedia dell’Arte, Pantalone is a central authority figure who seeks to control the lives of the younger characters, particularly his children or servants. He often tries to arrange marriages that benefit him financially, leading to conflict with the lovers. Pantalone’s efforts to maintain control over his household usually result in comic failure, as his greed and foolishness are exploited by others, particularly the clever servants.

Motivations

Pantalone’s primary motivation is to safeguard and expand his wealth. He is driven by his fear of poverty and the desire to remain in a position of power. His secondary motivation is lust, as he pursues younger women in an attempt to reclaim his youth and virility, though this almost always results in embarrassment.

Relationships

Pantalone often serves as the father of the female Innamorata, whose romantic entanglements he tries to manipulate for his financial gain. He frequently interacts with characters like Il Dottore or Il Capitano as rivals or business partners. His relationship with the servants, especially Arlecchino and Brighella, is marked by frustration, as they frequently outsmart him while pretending to serve his interests.

Movement

Pantalone’s movements are slow and hunched, reflecting his age and the weight of his greed. He moves cautiously, often bent over as if guarding his money, with his arms close to his body. His steps are small and precise, as though each movement is calculated to conserve energy and protect his wealth. Despite his age, Pantalone may have sudden bursts of energy when chasing after money or attempting to exert control, leading to moments of slapstick comedy where his physical frailty becomes apparent. His attempts to appear virile in the presence of women often result in awkward, exaggerated gestures.

Costume

Pantalone wears the traditional garb of a Venetian merchant. His long red coat or vest, red breeches, and tight red cap signify his wealth, though the simplicity of his outfit also reflects his miserly nature. His breeches are tight and end just below the knee, exposing his thin legs, and he wears black slippers to move quietly and quickly. His outfit, though expensive, may appear slightly outdated, reinforcing the idea that he is stuck in the past.

Mask

Pantalone wears a half-mask covering his forehead and nose, exposing his mouth for frequent speech. The mask features a long, hooked nose, symbolizing his greed and arrogance. The furrowed brow and pronounced wrinkles emphasize his age and constant worry about his wealth. The mask’s dark colours, often black or brown, highlight his serious, miserly nature, while the exaggerated features make him a comical figure.

Pedrolino

Category	Gender	Animal
Servant	Male	Sheepdog

Personality

Pedrolino is known for his gentle, kind-hearted, and melancholic nature, often called the sad clown. He is sincere and hardworking, contrasting with the more mischievous or crafty servants like Arlecchino. Pedrolino’s innocence and loyalty make him a figure of pathos as much as comedy, and he is often portrayed as a character who suffers quietly. He is frequently taken advantage of or ignored by those around him, and his unrequited love or unappreciated efforts often add to the tragic element of his character. Despite his sadder aspects, Pedrolino remains optimistic and eager to please, though he lacks the cunning needed to manipulate others to his advantage.

Role

As one of the zanni (servants), Pedrolino is typically assigned menial tasks, and he serves as a subordinate to the higher-status characters. His sincerity and earnestness often make him the foil to more devious servants like Brighella or Scapino. His role involves adding a touch of sweetness or innocence to the comic scenes, and his interactions with the other characters, particularly the Innamorati or masters, are marked by his desire to help but often overlooked or misused.

Motivations

Pedrolino is motivated by a simple desire to be loved and appreciated. His loyalty and dedication to his masters or his unrequited love for a female character drive most of his actions. Unlike other zanni, Pedrolino does not seek personal gain but rather hopes for kindness and acknowledgment in return for his efforts.

Relationships

Pedrolino’s relationships with other characters are often one-sided. He is devoted to his master or mistress, even if they fail to recognise his hard work or mistreat him. He often has an unrequited love interest, typically a character like Colombina or another servant, though she may not return his affections. His interactions with more cunning servants, such as Arlecchino, often show him as the naive and trusting counterpart, easily manipulated by those around him.

Movement

Pedrolino’s movements are soft, slow, and gentle, reflecting his melancholic and submissive nature. His body language conveys humility, with his head often bowed and his shoulders slouched, as if he is trying not to draw attention to himself. He moves carefully and gracefully, avoiding sudden gestures or energetic motions. When Pedrolino is saddened or disappointed, his posture becomes even more slouched, and his movements slower, as if weighed down by his emotions.

His physicality also contrasts with the more energetic and chaotic movements of the other servants, highlighting his calm and subdued demeanour. His interactions may include moments of comic clumsiness, but unlike other zanni, this clumsiness is not deliberate but rather a reflection of his distracted or downtrodden state.

Costume

Pedrolino’s costume is simple and plain, reflecting his humble nature. He typically wears a loose, white outfit, often resembling a simple peasant’s smock or a clown’s garb. His costume lacks the patches or bright colours of characters like Arlecchino, emphasizing his unassuming and modest persona. The white costume can also symbolize his innocence and purity of heart, further distinguishing him from the more mischievous or manipulative characters.

Mask

Pedrolino is one of the few Commedia dell’Arte characters who does not traditionally wear a mask. His face is left bare, allowing the actor to fully express emotions, from sadness to hope. His white makeup and soft facial expressions highlight his gentle and melancholy nature, often with simple, understated features such as a slight frown or a subtle smile. The absence of a mask allows the audience to connect with Pedrolino more emotionally, as his vulnerability and sincerity are laid bare for all to see.

Peppe-Nappa

Category	Gender	Animal
Servant	Male	Pig

Personality

Peppe-Nappa is a lazy, gluttonous, and often dim-witted servant who is primarily motivated by food, drink, and sleep. He is not as clever or resourceful as other zanni characters, and his incompetence frequently leads to comedic misunderstandings or accidents. Despite his laziness, Peppe-Nappa is good-natured and well-meaning, but his love for overindulgence often gets him into trouble. His simplicity and constant hunger make him a figure of comic relief, as he is often more focused on satisfying his appetites than fulfilling his duties.

Role

Peppe-Nappa serves as a low-status servant, often assigned menial tasks that he is either too lazy or too incompetent to complete properly. His role typically involves creating chaos through his clumsiness or laziness, leading to humorous situations where his masters or other characters must deal with the consequences of his actions. He is a classic comic figure whose indulgence in food, drink, and sleep provides a stark contrast to the more ambitious or clever servants.

Motivations

Peppe-Nappa is motivated by his basic desires for food, drink, and relaxation. His primary goal is to avoid work as much as possible while indulging in his favourite pleasures. He has little ambition beyond satisfying his immediate needs, and his laziness often drives the plot, as his failure to complete tasks leads to confusion or conflict.

Relationships

Peppe-Nappa’s relationships with his masters are characterized by frustration, as his laziness and incompetence often lead to comic failures. He interacts with other servants, such as Arlecchino or Brighella, but lacks their cunning or energy. His relationships are defined by his simplicity and good-natured attitude, as he rarely engages in schemes or tricks, preferring to focus on his own pleasures.

Movement

Peppe-Nappa’s movements are slow, lazy, and uncoordinated, reflecting his lack of motivation. He may shuffle across the stage, slouching or dragging his feet to avoid work. His clumsiness becomes exaggerated when forced to move quickly, often leading to pratfalls or physical comedy. His body language is relaxed and sluggish, emphasizing his disinterest in anything beyond eating or sleeping.

Costume

Peppe-Nappa’s costume is typically simple and ragged, reflecting his lowly status and lack of ambition. He wears loose, baggy clothing in dull colours, such as brown or grey, emphasising his laziness and lack of refinement. His outfit may be stained or dirty, further highlighting his gluttonous nature.

Mask

Peppe-Nappa wears a half-mask that features a sleepy, droopy expression. The mask often has heavy-lidded eyes and a slack mouth, symbolizing his constant laziness and hunger. The mask’s exaggerated features emphasize his gluttony and lack of energy, making him a comical and easily recognizable figure on stage.

Pierrot

Category	Gender	Animal
Servant	Male	Pigeon

Personality

Pierrot is one of the most famous and enduring characters from Commedia dell’Arte, known for his melancholic, romantic, and naive personality. Unlike the more mischievous or conniving zanni characters like Arlecchino or Brighella, Pierrot is portrayed as a dreamer—gentle, sensitive, and often lovesick. He is deeply sentimental and often finds himself in unrequited love, typically with Colombina, who does not return his affections. Pierrot is sincere, good-natured, and vulnerable, often serving as a tragicomic figure whose sadness and innocence contrast with the more chaotic or deceptive characters around him. His poetic, romantic nature makes him an iconic figure of yearning and innocence.

Role

As a servant, Pierrot’s role involves being the devoted but overlooked character, often suffering in silence as his love for Colombina goes unreciprocated. He is frequently caught up in the schemes of other characters, but his good intentions and naivety often lead him to be manipulated or taken advantage of. His sincerity and melancholy make him a poignant figure, often adding depth and emotional contrast to the more farcical elements of Commedia dell’Arte. Though Pierrot is a comic character, his humour is bittersweet, coming from his failures and misunderstandings, which often stem from his naivety.

Motivations

Pierrot is primarily motivated by love and the desire for acceptance. His deep affection for Colombina drives many of his actions, even though she rarely returns his feelings. His motivations are pure and romantic—he longs for connection and dreams of being loved, but his emotional vulnerability makes him susceptible to disappointment and heartache. Pierrot’s character is often defined by his endless search for love and his inability to achieve it.

Relationships

Pierrot’s most defining relationship is with Colombina, the object of his affection. Unfortunately for Pierrot, Colombina often either ignores him or uses him to achieve her own goals, while she pursues a more lively or desirable character, such as Arlecchino. Pierrot’s interactions with other characters, especially the more trickster-like servants, are marked by manipulation and misunderstanding. His relationships with his masters are generally positive, as Pierrot is loyal and dutiful, but he is often overlooked or unappreciated for his sincerity.

Movement

Pierrot’s movements are slow, graceful, and understated, reflecting his melancholic and reflective nature. He moves with a sense of wistfulness, often standing still or gesturing in a languid, soft manner that conveys his emotional sensitivity. His body language is open and gentle, and he often expresses sadness or longing. In contrast to the more physically active zanni characters, Pierrot’s movements are more subdued, but when he experiences moments of comic clumsiness or sorrow, his physical comedy emerges in a more tragicomic form.

Costume

Pierrot’s iconic costume is simple, consisting of loose-fitting, flowing white clothing that resembles a traditional clown or mime. His outfit typically includes a large white blouse with oversized buttons, loose white trousers, and a ruffled collar. This stark, monochrome costume enhances his appearance as a sad, melancholy figure. The simplicity of his attire contrasts with the more vibrant or elaborate costumes of other characters, reflecting his emotional vulnerability and purity.

Mask

Unlike many other Commedia dell’Arte characters, Pierrot does not traditionally wear a mask. Instead, his face is often painted white with subtle black or red makeup to emphasize his sadness, such as a painted tear or downturned mouth. His expressive, makeup-clad face allows him to convey the full range of his emotions, from quiet joy to deep sorrow, and the lack of a mask emphasizes his sincerity and openness.

Pimpinella

Category	Gender	Animal
Lover	Female	Butterfly

Personality

Pimpinella is a charming, flirtatious, and slightly naive Innamorata, often portrayed as a romantic dreamer who is deeply invested in the ideals of love. She is passionate and optimistic, believing wholeheartedly in the power of romance and the importance of finding her true love. Pimpinella tends to be more playful and carefree than other lovers, which sometimes leads her into moments of naivety or impulsiveness. Despite her idealism, she is determined to follow her heart and will do whatever it takes to be with her beloved.

Role

As a lover, Pimpinella’s role revolves around her romantic entanglements and her challenges in her pursuit of love. She is often involved in love triangles or misunderstandings, with her passion driving much of the emotional conflict in the plot. Pimpinella’s playful and sometimes impulsive nature adds a lightheartedness to the romantic storylines, and her interactions with other characters—especially her lover—are filled with dramatic, emotional moments.

Motivations

Pimpinella is motivated by love and the desire to find happiness with her chosen partner. Her emotions drive her actions, and she is willing to take risks or defy authority to be with her beloved. Pimpinella is an idealist, believing that true love will conquer all, and her motivations are often centred on fulfilling this romantic dream.

Relationships

Pimpinella’s primary relationship is with her lover, typically one of the male Innamorati. She is deeply devoted to him and often engages in dramatic expressions of love or sorrow, depending on the state of their relationship. Her interactions with other female characters, such as her maid or fellow lovers, are often supportive as they share advice and navigate their romantic struggles together. Pimpinella may also have contentious relationships with authority figures, such as her father or a rival suitor, who attempt to control or interfere with her romantic pursuits.

Movement

Pimpinella’s movements are graceful and expressive, reflecting her romantic and playful nature. She moves with a sense of lightness, often skipping or gliding across the stage, her gestures wide and open as she expresses her emotions. Her physicality is theatrical, with exaggerated poses that emphasize her passion and idealism. Pimpinella’s body language is key to conveying her youthful energy and romantic intensity.

Costume

Pimpinella’s costume is elegant and fashionable, designed to reflect her status as a young, desirable lover. She typically wears flowing gowns in soft, romantic colours such as pink, lavender, or light blue. Her clothing is adorned with delicate details like lace or ribbons, emphasizing her femininity and beauty. Pimpinella’s costume reinforces her role as a symbol of idealized love and youth.

Mask

Like other Innamorati, Pimpinella does not wear a mask. Her face is left bare to allow for the full expression of her emotions, whether she is in the throes of love or lamenting a romantic setback. The absence of a mask allows the audience to connect with her emotional sincerity and passion.

Pulcinella

Category	Gender	Animal
Servant	Male	Crow

Costume

Ruffiana’s costume is often more modest and practical than those of younger female characters, reflecting her age and experience. She may wear a simple gown in dark colours like black or brown, with fewer adornments than the Innamorata. Her clothing suggests her past as a courtesan or her current role as a servant, with an emphasis on practicality rather than elegance.

Mask

Ruffiana may wear a half-mask, often with sharp features such as a pointed nose and furrowed brows, giving her a slightly sinister or calculating appearance. The mask’s expression reflects her cynical, manipulative nature, highlighting her role as a character who navigates the darker side of human relationships. The mask enhances her sharp, witty personality, emphasizing her ability to control and manipulate those around her.

Scapino

Category	Gender	Animal
Servant	Male	Rat

Personality

Scapino is a clever, resourceful, and mischievous servant. Unlike the more chaotic and physical zanni like Arlecchino, Scapino relies on his intelligence and quick thinking to manipulate situations in his favour. He is a master of deceit, capable of creating elaborate schemes and tricking both masters and fellow servants. Scapino enjoys outwitting others, and his charm often helps him get away with his tricks. While he is self-serving, he can also be loyal to the lovers, helping them navigate obstacles in their romantic pursuits. Scapino’s cunning and playful nature make him one of the most strategic and effective zanni characters.

Role

Scapino serves as a valet or servant, using his wits to solve problems or create chaos. His role typically involves helping the young lovers achieve their goals, either by tricking their parents or by creating diversions. He may also engage in schemes to advance his own position or to secure money or food. Scapino’s intelligence and ability to talk his way out of difficult situations make him a key figure in the plot, often driving the action with his clever plans.

Motivations

Scapino is motivated by self-interest and personal gain, though he also enjoys the challenge of outwitting those more powerful than him. He is always looking for ways to make money, avoid work, or gain favour, but his loyalty to the lovers often tempers his greed. Scapino takes pleasure in the art of deception, and his schemes are motivated as much by the joy of trickery as by practical goals.

Relationships

Scapino frequently interacts with the Innamorati, helping them with their romantic plots by deceiving their parents or rivals. His relationships with his masters, such as Pantalone or Il Dottore, are defined by manipulation, as he often tricks or fools them to achieve his goals. Depending on the situation, Scapino may also work alongside or against other zanni, such as Brighella or Arlecchino. His quick thinking and charm allow him to navigate these relationships with ease.

Movement

Scapino’s movements are quick, agile, and calculated, reflecting his sharp mind and ability to think on his feet. He moves with purpose, often darting around the stage as he executes his schemes. His gestures are precise, and his body language conveys confidence and control. Unlike more physical zanni, Scapino’s movements are less chaotic, and his comedy comes from his ability to manipulate others with his words and actions.

Costume

Scapino’s costume is typical of a servant, but with more flair than other zanni. He often wears a loose-fitting jacket and trousers in colours like brown, green, or grey, but his outfit may have subtle decorations or accessories that reflect his clever and stylish personality. Scapino’s costume is practical, allowing for quick movement, but it also reflects his self-assurance and cunning nature.

Mask

Scapino wears a half-mask with a sly, cunning expression. The mask often features a long, pointed nose and narrow eyes, giving him a fox-like appearance that reflects his devious nature. The mask’s sharp features emphasize his intelligence and manipulative tendencies, while the smirk on his face suggests his enjoyment of trickery. The mask is typically darker in colour, such as green or brown, aligning with his role as a clever and resourceful servant.

Scaramuccia (Scaramouche)

Category	Gender	Animal
Servant	Male	Ferret

Personality

Scaramuccia is a boastful and cowardly character, similar to Capitano, but with a more deceitful and sneaky nature. He is a comic swordsman who pretends to be brave and skilled in combat, though he is quick to retreat or shift blame when danger appears. Scaramuccia is arrogant and sly, often talking his way out of trouble and manipulating situations to his advantage. His humour comes from his contradictions: he presents himself as a fearless fighter, but when faced with real conflict, he becomes cowardly and deceptive.

Role

Scaramuccia often plays the role of a scheming servant or rogue, sometimes acting as a hired swordsman or a low-ranking soldier. His role involves creating misunderstandings and manipulating events for his own gain. He serves as a rival or a nuisance to other characters, especially in love triangles or when there is competition for status. Scaramuccia often works for a higher-status character, but his loyalty is always questionable, as he frequently changes sides or escapes danger by tricking others.

Motivations

Scaramuccia is primarily motivated by self-preservation and personal gain. He craves recognition and status but prefers to achieve these through deceit and manipulation rather than actual bravery. He enjoys outsmarting others, particularly when it allows him to avoid conflict or embarrassment. His cowardice drives much of his behaviour, as he seeks to protect himself while maintaining an air of bravado.

Relationships

Scaramuccia often interacts with characters like Capitano, either as a rival or ally, though his cowardly nature often causes friction. He may also serve a master like Pantalone, but his loyalty is unreliable. His interactions with servants or lovers usually involve him boasting about his abilities, only to be humiliated when his cowardice is revealed. Scaramuccia’s relationship with the lovers, particularly the Innamorati, is one of interference, as his schemes often disrupt their romantic pursuits.

Movement

Scaramuccia’s movements are dramatic and exaggerated, reflecting his need to appear brave and capable. He often strikes heroic poses, brandishing his sword or puffing out his chest, only to retreat or stumble when faced with actual danger. His body language is deceptive, as he oscillates between confidence and cowardice. When fleeing or avoiding conflict, Scaramuccia’s movements become frantic and hurried, adding to the comic absurdity of his character.

Costume

Scaramuccia’s costume is that of a swordsman, often resembling a soldier’s or mercenary’s uniform. He typically wears dark, rich colours like black or deep blue, and his outfit may include a sword, a large hat with a feather, and a short cape. His costume is designed to make him look dashing and brave, but his actions always undermine this appearance.

Mask

Scaramuccia’s mask is a half-mask that typically features a long, sharp nose and a sly expression, symbolizing his deceit and arrogance. The mask’s features are exaggerated to highlight his sneaky, cowardly nature, with furrowed brows and a smirking mouth. The mask often gives him a somewhat villainous or untrustworthy appearance, reflecting his self-serving and duplicitous character.

Signora

Category	Gender	Animal
Master	Female	Leopard

Signora, also known as La Signora, is a powerful, confident, and often vain woman of high social status. She is usually portrayed as a wealthy, beautiful, and flirtatious lady, fully aware of her charms and eager to use them to manipulate those around her. Signora is bold, assertive, and skilled at maintaining control in both social and romantic situations. Despite her elegance and outward refinement, she can be domineering and ruthless, particularly when it comes to securing her desires, whether they be romantic conquests, wealth, or social power. She is often a figure of intrigue, balancing sophistication with a fiery temper.

Role

Signora typically plays the role of a wealthy widow, noblewoman, or the wife of a character like Pantalone. Her role involves navigating the upper-class social world while often manipulating the romantic plots of others for her own amusement or gain. She may flirt with younger men, such as the Innamorati, or use her influence to steer events in her favour. Signora’s presence brings a sense of high-stakes drama and glamour to the plot, and her sharp wit and ambition often lead to comic conflict or intrigue.

Motivations

Signora is motivated by power, wealth, and social influence. She enjoys being admired and envied and is driven by a desire to maintain her high status and control over those around her. In romantic situations, Signora’s motivations often involve pursuing or teasing younger men, either for personal amusement or to maintain her image as a desirable and influential figure. She seeks to assert her dominance in every situation, using her beauty and charm to manipulate others.

Relationships

Signora’s relationships are marked by her dominance and manipulation. If married to a character like Pantalone, she often exercises control over him, using her wit to outsmart or ridicule him. In romantic plots, she may flirt with younger male lovers, often causing jealousy or conflict among other characters. Her interactions with female characters, such as Colombina, may be competitive or adversarial, especially if Signora feels threatened by their beauty or influence.

Movement

Signora’s movements are elegant, graceful, and deliberate, reflecting her high social status and sense of control. She moves with poise, often gliding across the stage with a regal air. Her gestures are calculated and purposeful, whether she is beckoning a suitor or dismissing a servant. Her body language conveys confidence, authority, and seduction, emphasizing her role as a commanding and desirable figure.

Costume

Signora’s costume is lavish and extravagant, often featuring richly coloured gowns in shades of red, gold, or purple. Her clothing is adorned with jewels, lace, and luxurious fabrics, reflecting her wealth and social status. She may also wear elaborate accessories, such as fans, gloves, or headpieces, to further highlight her sophistication and beauty. Signora’s costume reinforces her role as a powerful and glamorous figure in the world of Commedia dell’Arte.

Mask

Signora, unlike many characters in Commedia dell’Arte, does not typically wear a mask. Her facial expressions are essential for conveying her charm, wit, and power. The absence of a mask allows her to express a full range of emotions, from flirtation to anger, making her a dynamic and compelling character on stage.

Smeraldina

Category	Gender	Animal
Servant	Female	Cat

Personality

Smeraldina is a clever, sharp-tongued, and resourceful servant, often portrayed as the female counterpart to Arlecchino or Colombina. She is witty and quick to manipulate situations to her advantage, using her charm and intelligence to outsmart her masters. Smeraldina is fiercely independent, with a pragmatic approach to life and a strong sense of loyalty to those she cares about. She is outspoken and unafraid to challenge authority, making her a dynamic and proactive character in Commedia dell’Arte.

Role

Smeraldina serves as a maid or assistant, often helping the Innamorati navigate their romantic entanglements while engaging in her schemes. She is a key figure in the comedic misunderstandings that drive the plot, using her wit and resourcefulness to resolve or further complicate situations. Smeraldina’s role often involves supporting her mistress while ensuring she benefits from the events as well.

Motivations

Smeraldina is motivated by self-preservation and loyalty to those she serves, particularly the Innamorati. She is practical and seeks to improve her own situation, often through clever manipulation or cunning. Her motivations are grounded in a desire for independence and security, but she also takes pleasure in outsmarting her superiors.

Relationships

Smeraldina’s relationships with other characters are defined by her cleverness and charm. She often interacts with male servants, such as Arlecchino or Brighella, in playful rivalries or flirtations. Her loyalty to her mistress is strong, and she often acts as a confidante and advisor in romantic matters. Smeraldina’s relationships with masters, such as Pantalone, are marked by her ability to outwit them, maintaining her position through her wit.

Movement

Smeraldina’s movements are quick, agile, and graceful, reflecting her sharp mind and resourcefulness. She moves with confidence, often using her body language to assert control or to manipulate others playfully. Her gestures are precise and expressive, emphasizing her role as a witty and clever character.

Costume

Smeraldina’s costume is practical yet stylish, featuring a maid’s dress with a touch of elegance that reflects her cleverness and charm. Her outfit is usually in simple colours, such as black or grey, but may include small decorative elements like a ribbon or lace, adding to her appeal.

Mask

Smeraldina typically does not wear a mask, allowing her facial expressions to convey her intelligence, sarcasm, and charm. Her bare face enhances her ability to manipulate situations through wit and expression.

Spavento

Category	Gender	Animal
Master	Male	Goat

Personality

Spavento, also known as Capitano Spavento, is a braggart soldier, similar to Capitano but even more absurd and boastful. He prides himself on his (imagined) military prowess and heroic deeds, constantly boasting about battles and romantic conquests that never happened. Despite his exaggerated claims, Spavento is a coward at heart and will flee at the first sign of real danger. His character is defined by his extreme arrogance, false bravado, and tendency to overcompensate for his insecurities with loud, bombastic speeches. Spavento is a comic figure whose bluster and cowardice make him a source of ridicule.

Role

As a Capitano type, Spavento serves as both an antagonist and comic relief. He often rivals younger male characters for the affection of a woman, though his bravado quickly crumbles in the face of competition. His role involves disrupting the romantic or social balance of the plot, making grand declarations or threatening gestures, but he is always exposed as a fraud by the end. His failures and cowardice often lead to moments of slapstick or physical comedy as he scrambles to maintain his dignity.

Motivations

Spavento’s primary motivation is to be seen as a hero, admired by both men and women for his supposed courage and strength. He craves respect and adulation, though he lacks the bravery to back up his boasts. His secondary motivation is self-preservation, as he will do anything to avoid real danger, even if it means running away or betraying others. Spavento is driven by his need to maintain the illusion of his greatness, even at the cost of humiliation.

Relationships

Spavento is often in conflict with younger male characters, particularly the Innamorato, whom he sees as rivals for the affection of the Innamorata. He may be hired by a master like Pantalone or Dottore, but his loyalty is fickle, and he is quick to abandon his allies if things go wrong. His relationships with servants are characterized by mockery, as they frequently expose his cowardice and manipulate him for their own gain.

Movement

Spavento’s movements are large and exaggerated, reflecting his inflated sense of self-importance. He marches or struts across the stage, puffing out his chest and making grand gestures as if preparing for battle. When faced with danger, however, his movements become frantic and hurried as he tries to escape or hide. His physical comedy comes from the contrast between his confident posturing and his panicked retreats.

Costume

Spavento’s costume is flamboyant and military-inspired, often featuring an oversized plumed hat, an ornate uniform, and a sword that he never actually uses. His outfit is designed to make him look impressive, with bright colours like red or blue, gold accents, and exaggerated details that emphasize his desire to be seen as a hero. His costume is ultimately meant to make him look ridiculous, as his cowardly actions undermine his grand appearance.

Mask

Spavento wears a half-mask, typically featuring a long, hooked nose and furrowed brows, giving him an air of arrogance and aggression. The mask’s sharp features reflect his self-important, combative personality, while its exaggerated design makes him appear comical. The mask’s expression is one of constant bravado, but the actor’s physicality reveals the character’s underlying cowardice.

Tartaglia

Category	Gender	Animal
Master	Male	Mole

Mask

Volpino wears a half-mask with a sly, fox-like expression. The mask often features a pointed nose and narrow, knowing eyes, giving him the appearance of someone who is always plotting. The mask’s sharp features reflect his intelligence and devious nature, emphasizing his role as a cunning and manipulative servant. The mask is typically in neutral colours, aligning with his understated yet clever personality.

Zanni

Category	Gender	Animal
Servant	Male	Rooster

Personality

Zanni is the archetype of the comic servant in Commedia dell’Arte, and the origin of the word “zany” in English. He is a lively, energetic, and often foolish character, defined by his eagerness to please and his lowly status. Zanni is typically simple-minded, easily distracted, and clumsy, but he can also be clever and resourceful when the situation demands it. His actions are often motivated by basic needs, like hunger, sleep, or the desire to avoid work. He is a natural improviser, able to think on his feet and create chaos, whether intentionally or by accident. Zanni’s character oscillates between bumbling and comical and occasionally shows cunning when outwitting those who underestimate him.

Role

Zanni is the servant or zanni (a term that applies to many of the lower-class servant characters in Commedia dell’Arte). He typically serves one of the masters, such as Pantalone or Dottore, and is responsible for tasks such as running errands, delivering messages, or assisting with schemes. His antics often create confusion and misunderstandings, driving much of the plot’s comic action. Zanni can serve as the catalyst for romantic entanglements, mistaken identities, or farcical situations. He is often the character who brings mischief and disorder to an otherwise controlled situation, making him a key figure in the comedic dynamics of the play.

Motivations

Zanni is primarily motivated by his basic survival instincts: food, drink, and sleep. He often tries to avoid work and seeks any opportunity to slack off, though his laziness can result in comic situations where he is caught in the act. When he isn’t resting or eating, Zanni may be motivated by a desire to curry favour with his master or ingratiate himself with other characters to secure more food, money, or some personal advantage. Although not driven by higher ideals, Zanni’s motivations are simple and transparent, making him an easy-to-relate-to character.

Relationships

Zanni’s relationships with other characters are often defined by his subservient status. He serves the masters (such as Pantalone, Dottore, or Capitano), often causing frustration through his incompetence or clumsy execution of tasks. His interactions with fellow servants, such as Arlecchino or Brighella, vary between cooperation in schemes or competition for food and attention. Zanni frequently engages with the Innamorati (lovers), sometimes helping them with their romantic plans, though his assistance often leads to further misunderstandings. The chaos and comic situations he inadvertently creates define his relationships with all characters.

Movement

Zanni’s movement is central to his character, defined by exaggerated, acrobatic, and comical physicality. He is often portrayed as having quick, jerky movements, jumping or skipping around the stage with boundless energy. His body is rarely still, as he is either bustling about completing tasks or running to avoid punishment. His movements are animalistic, sometimes imitating a monkey or a bird, giving him a playful, unpredictable quality.

When Zanni is at rest (which he rarely is), his posture may be slouched or lazy, emphasizing his tendency to avoid work. His clumsiness is key to his physical comedy, often tripping over himself or knocking over objects. Despite his apparent incompetence, Zanni can also be nimble and quick when necessary, escaping difficult situations with surprising agility.

Costume

Zanni’s costume is simple and rustic, reflecting his lower-class status. He typically wears loose-fitting, baggy trousers and a simple, often patched-up shirt. His clothes are usually earth-toned or neutral, emphasizing his role as a common servant. The simplicity of his costume contrasts with the more elaborate clothing of the masters, highlighting his low social standing.

Zanni’s costume may also include a hat or cap, sometimes with a long, floppy brim, adding to his comical appearance. His overall look is unkempt and practical, suited for physical comedy and acrobatic movement.

Mask

Zanni wears a half-mask that covers the upper part of his face, with exaggerated, often grotesque features. The mask typically has a long, beaked nose, emphasising his birdlike or animalistic qualities. The eyes are wide and bulging, giving him a perpetually alert or anxious expression as if always looking for trouble or an opportunity to rest. The mask’s exaggerated features highlight his simple-mindedness and amplify the physical comedy inherent in his character.

Traditionally made of leather, the mask is designed to allow for expressive body language and exaggerated gestures, as Zanni’s comedy is largely physical. His mask may also have wrinkles or a weathered look, suggesting a life of hardship and constant work, further endearing him to the audience.