title: Scripts and Scenarios: The Performance of Comedy in Renaissance Italy
author: Richard Andrews
description: "Simplicity and clarity are exactly the major merits of this excellent volume that should be welcomed especially on this side of the Atlantic for filling up a gap in the history and evaluation of the Italian theater of the sixteenth century....[An] excellent book." Robert C. Melzi, Sixteenth Century Journal<br /><br />"The volume is...both an excellent introduction to sixteenth century Italian theater and an innovative approach to the development from amateur learned comedy to professional comic theater. The emphasis it places on the texts as works to be performed rather than as literature to be ananlyzed is a welcome change and a solid contribution to the histroy of Italian theater in the Renaissance. And it its synthetic, chronological approach it is so highly suitable for class adoptions that one hopes the publisher will soon offer it in a a paperback version." Konrad Eisenbichler, Wintev<br /><br />"In his insightful and witty study, Richard Andrews remedies the disparity between scholars' recognition of Italian Renaissance playwrights' pioneering role in 'a modern European concept of theatre' and their inadequate familiarity with the actual texts, performances and audiences." Richard Andrews, Renaissance Quarterly<br /><br />"...Lew Andrew's book makes important scholarly contributions to our understanding of the narrative tradition and its place in the art and culture of the Renaissance." Sara Nair James, Sixteenth Century Journal
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  Coquelin
  
  
  This page copyright © 2004 Blackmask Online.
  
  
  
  
  
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  # Coquelin
  
  
  ### By Henry James
  
  
  This page copyright © 2004 Blackmask Online.
  
  
  http://www.blackmask.com  
    
  
      
  
  Etext by Ian Hillman
  
  
  IT was nearly seventeen years ago, and the first time that the writer
  
  
  of these remarks had taken his seat in that temple of the drama in
  
  
  which he was destined afterwards to spend so many delightful evenings,
  
  
  to feel the solicitation of so many interesting problems, and to
  
  
  receive so many fine impressions, foremost among which was this, that
  
  
  the Théâtre Français was a school for the education of the taste. It
  
  
  seemed to the spectator of whom I speak that the education of his own
  
  
  dramatic taste began on the evening he saw M. Coquelin play a
  
  
  part—-doubtless of rather limited opportunity—-in “Lions et Renards.”
  
  
  I have seen him play many parts since then, more important, more
  
  
  predestined to success (Emile Augier's comedy to which I allud