Venezia, il Carnevale è “Sensation” - Tratto da Tgcom

Gli ingredienti tradizionali ci sono tutti: il “Volo dell'Angelo” anche se in chiave rivisitata, il Corteo e la Festa delle Marie, con in primo piano dodici splendide ragazze in costume, e poi trasformismo, musica e anche un pizzico di provocazione, come si conviene a un vero Carnevale. E’ “Sensation 2008”, che anima strade e piazze di Venezia dal 25 gennaio al 5 febbraio. A disposizione di tutti, feste, maschere e un ricco programma di eventi negli angoli più suggestivi della laguna. L’inaugurazione ufficiale è in calendario per sabato 26 con il Corteo delle Marie. “Sensation 2008” guarda soprattutto ai giovani: non a caso l'opening party di sabato 26 gennaio, al Padiglione Italia dei Giardini della Biennale, è una dance night con sei piste da ballo e venti deejay provenienti da tutto il mondo; si comincia alle 24 e si continua fino all'alba, con una deroga ottenuta dal Comune per l'extra-orario. Ed è il rapper Coolio l'angelo che domenica 27 gennaio a spiccare il volo dal campanile di San Marco per dare il via ufficiale al Carnevale, così come a chiudere i festeggiamenti la sera del 5 febbraio in Piazza San Marco sarà il complesso veneziano dei “Pitura Freska” che dedicherà il “Sensational Concert” di chiusura a “Ciuke”, il bassista scomparso proprio nei giorni scorsi. Oltre che nei sei sestieri del centro storico, abbinati a ciascuno dei nostri cinque sensi (la vista per San Polo, il gusto per Cannaregio, l'olfatto per Santa Croce, il tatto per Dorsoduro, l'udito per Castello e infine il “sesto senso” - mente e anima - per San Marco), il programma prevede iniziative su tutto il territorio comunale e della provincia. Tra le novità di quest'anno il "Carnevale al buio", un percorso tattile guidato da non-vedenti alla cui associazione verranno donati i 5 euro del biglietto d'ingresso. Tra i vari appuntamenti, la premiazione di domenica 3 febbraio in Piazza San Marco della maschera più bella, che vincerà una crociera di otto giorni. Il programma ufficiale di "Sensation 2008" è on-line sul sito www.veneziasensation.it.

Venetian Mask

At ancient Greek festivals in honour of Dionysus, the god of theatre, performers began wearing huge masks. When the Romans conquered southern Europe, they adopted the Grecian love of theatre and the use of masks in plays and celebrations.Historically, masquerading was a shared practice also among Venetians, but nobody knows when they started wearing masks.The Venetian environment, because of it's crowed city conditions, didn't really allow for individual anonymity or privacy. So the use of mask became the perfect accessory to the love of transgression. The ancient and very common use of masks and costumes in Venice was covered by laws, which, despite their apparent rigour, left a good deal of freedom. The oldest of these type of ordinances dates back to 1268 and would continue being passed right up until the fall of the Venetian Republic in 1797.The main mask in Venice is called "Bauta", which consists of a black veil, know as "tabarro", worn with a black three-corned hat and a white mask in paper mache, completed by a long cape. Both men and women could wear this garment in many occasions, such as festivals, theatre and public gaming room. The use of masks was so widespread that the maskmakers had their own official artisan status as early as the 15th century. Today, after the resumption of the Venetian Carnival, the old maskmaking industry is again well established.

Harlequin

Harlequin (Arlecchino in italian) is the most popular of the comic servant characters from the Italian Commedia dell'Arte. Although illustrations of Arlecchino have only been dated as far back as 1572, the character had existed prior to this date. The origins of the name are uncertain: some say it comes from Dante's Inferno, XXI, XXII and XXIII; one of the devils in hell having the name Alichino. Others maintain that the name comes come from Harlenkoenig, a Scandinavian hero. Another hypothesis states that the name is derived from Harlay, an English gentleman of the court of Henry III, who had protected an Italian actor. Still another unproveable theory states that it came from Old High German Karalchin would spice up the movement. Within these restrictions the character was tremendously elastic. Various troupes and actors would alter his behavior to suit style, personal preferences, or even the particular scenario being performed. Some of the most famous actors were Tomaso Visentini ("Thomassin"), who performed with the Comédie Italienne in 18th century France (little man), similar to the name Mannekin or Manneken. Interpreted thus, Harlequin's distinctive motley costume may be a stylized variant of Zanni's plain white garb, designed to reflect the ad-hoc patching necessary to prevent the garment's degradation. Popular theories suggest that he may have emerged from France, Africa, or Italy. The notion that the Harlequin motif grew out of France is evidenced by Hellequin, a stock character in French passion plays. Hellequin, a black-faced emissary of the devil, is said to have roamed the countryside with a group of demons chasing the damned souls of evil people to Hell. The physical appearance of Hellequin offers an explanation for the traditional colours of Harlequin's mask (red and black). A third potential origin for the Harlequin is that he simply evolved from a Zanni archetype who, although a slow thinker, was acrobatic and nimble. The primary aspect of Arlecchino was his physical agility. While generally depicted as stupid and gluttonous, he was very nimble and agile, and performed the sort of acrobatics the audience expected to see. The character would never perform a simple action when the addition of a cartwheel or backflip, and Tristano Martinelli. He is typically cast as the servant of an innamorato or vecchio much to the detriment of the plans of his master. Arlecchino often had a love interest in the person of Columbina, or in older plays any of the Soubrette roles, and his lust for her was only superseded by his desire for food and fear of his master. Occasionally, Arlecchino would pursue the inamorata, though rarely with success, as in the Recueil Fossard point out a range of unlikely symptoms. Pierre Louis Duchartre says that Arlecchino desperately tries to hide his lack of brains, to the point of seeming malicious in so doing; as in one scenario where Arlecchino is diguised as a doctor and prescribes ridiculous "remedies" that would certainly prove fatal if undergone. of the 16th century where he is shown trying to woo Donna Lucia for himself by masquerading as a foreign nobleman. He also is known to try to win any given lady for himself if he chances upon anyone else trying to woo her, by interrupting or ridiculing the new competitor. Despite Arlecchino's agility of body, his mind does not entertain the same capacities. He is a slow thinker, with some versions portraying him as able to entertain only one thought at a time - and he is often capable of confusing that. This leads to a range of situations, including Lazzi where Arlecchino is tricked into thinking he himself is dead, when other more wily characters of the Commedia dell'Arte He eventually became something more of a romantic hero around the 18th century, when his popularity provoked the Harlequinade.

Colombina

Columbina (in italian, "Colombina") is a fictional character in the Commedia dell'Arte. She is a comic servant. She is dressed in a ragged and patched dress appropriate to a hired servant. Occasionally, under the name Arlecchina she would wear a motley similar to her counterpart Arlecchino (or Harlequin). She was also known to wear heavy makeup around her eyes and carry a tambourine which she could use to fend off the amorous advances of Pantalone. She was often the only functional intellect on the stage. Columbina aided her mistress, the innamorata to gain the affections of her one true love by manipulating Arlecchino and counter-plotting against Pantalone while simultaneously managing the whereabouts of the innamorato. She may be a flirtatious and impudent character, indeed a soubrette, but without losing her judgment. Although Columbina became the dominant name (known as Columbine in France and England) other names under which the same character is played in Commidian performances include: fantesca (maid, servetta (female servant), Franceschina, Smeraldina, Oliva, Nespola, Spinetta, Ricciolina, Corallina, Diamantina and Lisetta.

Technique of Production of masks

The original technique of production of paper mache masks is really simple. You need just few materials, like clay, paper and glue and your personal craftsmanship. First we create a clay mould and than liquid plaster is poured onto the model. When the plaster layer is completely hardened, we can remove the original in clay. So we have obtained a negative mould, which preserve the shape of the original one.
This plaster mould is covered with a thin layer of vaseline and filled with several layers of wet paper and glue. We have to be able to press the paper into the mould with our fingers without them wrinkling or creasing. At this point the mould is placed on a heat source until the mask is dry and can be taken out.
We apply several coats of white tempera and finally the eye holes can now be cut. Now the mask is ready to be decorated with different kind of materials.

Origin of the word "Carnival"

The origin of the name "Carnival" is disputed.

According to one theory, it comes from the Latin "carrus navalis" ("ship cart"), referring to a cart in a religious parade, such as a cart in a religious procession at the annual festivities in honor of the god Apollo. Other sources, however, suggest that the name comes from the Italian "carne levare" or similar, meaning "to remove meat", since meat is prohibited during Lent. Another theory states that the word comes from the Late Latin expression "carne vale", which means "farewell to meat", signifying that those were the last days when one could eat meat before the fasting of Lent.

Carnival in Venice from 1100 to 1700

First mention to origin of Venetian Carnival start in century XII. Reading chronicles, during Thursday of Carnival Venice celebrated the victory of doge Vitale Michiel II on patriarch Ulrico in Aquileia in the year 1162 and each year, ad memoriam, Ulrico's successors had to send to Doge of Venice specific number of animals. Arrived, the cattle was slaughtered and cooked and distributed to people during banquets. This Thursday was called also "berlingaccio" (as insolent and ridiculous) to indicate specific meaning of this day for enemy of Venice. In the year 1269, then, with official document, Senate attributes "Carnival Tuesday" as holiday.

From middle of XIV century till end of XV century, organisation of Carnival Parties and began to be ruled and made official and responsible for this orgsanisation was "Sock Circles", which were grouops of aristocratic people, who were coloured socks, and each combinations of colours distinguished each district.

Today again in Venice, districts are six and for this reason they are called "sestrieri" ("sest" is for six). In order to remember each district, the listels of stem (or comb) of gondola are six.

During the Carnival days, a lot of majestic and important glamour spectacles were prepared for Doge Receptions and for government authority, more the other parties in aristocratic buildings. When Doge received foreign authorities, they see all spectacles into secondary squares of Piazza San Marco from balconies of Palazzo Ducale:

- fire machine with a lot of fireworks;

- human pyramid, called Hercules Power;

- Moresca ballet (Moresca is a mask for women);

- Blooding Bull beheading into Palazzo Ducale Court;

- Angel or dove flight.

To be precise, this last tradition, in the beginning, was the walk of Turkish prisoner on a rope from Bell Tower to Doge Palace presenting him a gift and to obtain freedom; in the worst hypothesis these prisoners fell down and dead. This traditions celebrated meanings of majority of Venice on East Lands. During centuries, this walk has been substituted by flight of Angel, a slung person who went down on the same rope, to symbolize peace and then this person has been substituted by a mechanic dove. Only in the last year, tradition came back to Angel flight. In italian history tradition, Carnival is before Lent. In Venice during the XVIII century, this period has been enlarged and the start was on October when Theatres opened. In Europe Venice was a town with several theatres: S.Salvador (today known as Teatro Goldoni), S.Cassiano, S.Angelo, S.Moisè. Then other private theatres were: S.Giovanni Crisostomo (today Teatro Malibran), S.Samuele and then S.Benedetto, destroyed during a fire and after lot of legal disputes, it has been re-built into "La Fenice".

Properly, Carnival started in St.Stephen's day (December 26th), when Authorities gave permissions to wear masks. Top of Celebrations were on Thursady before Lent and all stopped on Tuesday before Lent. Today Tuesday before Lent is called also "Mardi gras". Carnival meant spectacles in theatres, caffès, casinos and private circles, but in generale this meant all amusing behaviour, when aristocratic and normal people were the same into the streets. In this situation, mask represented unique possibility, into mixed society with strong distintions, to be equal and confused and to be anonym. Another evidence is from a chronicle of abbot Marco Marchetti, when he told about his life in Venice and a discussion between son of Spanish Ambassador and a mask in night of November 20th 1696 on politics rule of Venice Inquisitors.

Again, Montesquieu in his memories thought about glamour and Venetian Carnival. This moment was very important, that cannot be interrupted. For this reason, the death of Doge Paolo Renier, happened on February 13th 1789 has been announced only in March 2nd at the end of all receptions and parties.