Carnival, comedy and festival in early modern Europe: theatrical writings of the physicians Hippolytus Guarinonius and Felix and Thomas II Platter

希波利图斯·瓜里诺尼乌斯在帕多瓦取得了资格，并在因斯布鲁克附近的霍尔担任宫廷和公民医生。享誉国际的菲利克斯·普拉特和他同父异母的弟弟托马斯·普拉特在蒙彼利埃获得了医学学位，并在16世纪末到欧洲各地旅行，然后回到他们的故乡巴塞尔执业为医生。这三位医生的戏剧作品阐明了对早期现代欧洲节日文化、职业巡回表演者、戏剧和医学之间的交集以及视觉记录的解释至关重要的问题。菲利克斯·普拉特的非正式日记从表演者和观众的角度描述了音乐生活的方方面面，并以宫廷医生的身份参加了几个宫廷节日。已发表的对他的病人的案例研究包括几名专业表演者。在瓜里诺尼乌斯1610年的长篇医学论文中描述了约35个喜剧舞台企业或LAZZI的例子，以及托马斯·普拉特1598年对赞布拉格塔在阿维尼翁的意大利马戏团的长篇旅行日记记述，对于戏剧历史学家和对喜剧戴尔艺术感兴趣的从业者来说，是非常重要的文献资源，代表了17世纪以前对喜剧艺术喜剧剧团表演和医疗活动的最详细和最有信息量的描述。作为欧洲第一部全年专业戏剧，喜剧《戴尔》吸引了学者和戏剧从业者的浓厚兴趣。其演员的标志性舞台业务是他们的Lazzi：嵌入戏剧中的漫画布景，其长度和内容可能因戏剧和观众的不同而不同。这些LAZZI从实践和学术的角度进行了深入的研究，奠定了20世纪一些最著名的戏剧从业者的舞台技巧。关于拉齐的大多数1700年前的文献证据都是简短的描述和模棱两可的图像。关于拉齐的最著名的专著(梅尔戈登，拉齐：喜剧媒体戴尔阿尔特的喜剧例行公事，纽约，1981)没有注意到瓜里诺尼乌斯的拉齐。它的所有文本来源都是1610年以后的，大多数都不超过一句话的摘要。瓜里诺尼乌斯对拉齐的描述从一个短语到几个实质性的段落不等。有些影片融入了对话、观众反应，甚至是实体舞台业务，具有其他1700年前无法提供的细节和精确度。Guarinonius为学者和实践者提供了一个宝贵的新来源，他在Gordon记录的207个LAZZI的基础上又增加了35个LAZZI，%提供了几个关键的物理和语言LAZZI的史无前例的细节和上下文，并先于每个先前已知的LAZZI文本来源。总体而言，这三位医生的戏剧描述通过提供对视觉记录的新见解，从其他文献中已知的关于表演者的新信息，以及从其他来源已知的表演的新视角，促进了我们对早期现代戏剧的了解。其中一些作品在我以前的书中讨论过。《喜剧的艺术》，喜剧《Dell‘arte》1560-1620年的一项研究，特别涉及视觉记录(2006年)和《妇女、医学和戏剧1500-1750年》、《文学作品集》和《表演庸医》(2007年)。这些以前的书考虑了与视觉导向和性别导向研究的特定背景相关的一些方面。在研究这些书籍的过程中，越来越明显的是，瓜里诺尼乌斯、费利克斯·普拉特和托马斯·普拉特的戏剧作品的重大和深远的影响本身就值得进行全面的档案调查和评估。这就是本项目的任务。

Hippolytus Guarinonius qualified in Padua and practised as a court and civic physician in Hall, near Innsbruck. The internationally renowned Felix Platter and his much younger half-brother Thomas Platter gained their medical degrees in Montpellier, and travelled widely in late sixteenth century Europe, before returning to their native Basle to practise as physicians. The theatrical writings of these three physicians illuminate issues of central importance to early modem European festival culture, professional itinerant performers, intersections between theatre and medicine, and the interpretation of the visual record. Felix Platter's informal journals describe aspects of musical life from the point of view of performer as well as spectator, and several court festivals attended in his capacity as court physician. Published case studies of his patients include several professional performers. Descriptions of some 35 examples of comic stage business or lazzi in Guarinonius's lengthy medical treatise of 1610, and Thomas Platter's lengthy travel journal account of Zan Bragetta's Italian mountebank troupe in Avignon in 1598 are documentary resources of major importance to theatre historians and practitioners interested in the commedia dell'arte, representing the most detailed and informative pre-17th century descriptions of the performative and medical activities of commedia dell'arte troupes. As Europe's first year-round professional drama, the commedia dell'arte attracts intense interest both from scholars and from theatre practitioners. The trademark stage business of its players was their lazzi: comic set-pieces embedded within plays, whose length and content could be varied from one performance to the next, in response to different plays and audiences. These lazzi, intensively researched from practice-based as well as scholarly perspectives, underpin the stage techniques of some of the twentieth century's most renowned theatre practitioners. Most pre-1700 documentary evidence concerning lazzi consists of brief descriptions and ambiguous images. The best known monograph on lazzi {Mel Gordon, Lazzi: the comic routines of the commedia dell'arte, New York, 1981) does not note Guarinonius's lazzi. All its textual sources postdate 1610 and most are no more than single sentence summaries. Guarinonius's lazzi descriptions range in length from one phrase to several substantial paragraphs. Some incorporate dialogue, audience reaction, even physical stage business, with a level of detail and precision offered by no other pre-1700 source. Guarinonius represents an invaluable new source for scholars and practitioners by adding another 35 plus lazzi to the 207 documented by Gordon, % by providing an unprecedented level of detail and contextualisation for several key physical and verbal lazzi, and by predating every previously known textual source for lazzi. Taken as a whole, the theatrical descriptions of these three physicians advance our knowledge of early modern theatre by offering new insights into the visual record, new information concerning performers known from other documentation, and new perspectives on performances known from other sources. Some of these writings are discussed in my previous books. The Art of Commedia, a study in the commedia dell'arte 1560-1620 with special reference to the visual records (2006) and Women, medicine and theatre 1500-1750, literary mountebanks and performing quacks (2007). These previous books consider some aspects relevant to the specific contexts of visually-orientated and gender-orientated research. During the course of researching these books, it became increasingly evident that the substantial and far-reaching implications of the theatrical writings of Guarinonius, Felix Platter and Thomas Platter deserved full-scale archival investigation and assessment in their own right. This was the task of the present project.