The Man in the Moone: or, A Discourse of a Voyage Thither
Frontispiece and title page of the second edition (1657)
The moon has long held a special place in the human imagination. One of the inspirations for Aphra Bern’s Emperor of the Moon—the precursor to this week’s shows—is The Man in the Moone, authored by Bishop Francis Godwin, a seminal work of science fiction that delves into themes of utopian discovery and celestial exploration. Written in the late 1620s and published posthumously in 1638, the narrative follows Domingo Gonsales, a Spanish citizen who flees to the East Indies after a duel. After accumulating wealth through trade, he embarks on a journey back to Spain but becomes ill and lands on the remote island of St. Helena. There, he invents a flying machine powered by trained birds, which ultimately takes him to the Moon.
Frontispiece of Der Fliegende Wandersmann nach dem Mond, 1659
Godwin's work reflects the astronomical theories of his time, drawing inspiration from figures such as Nicolaus Copernicus and Galileo Galilei, while also critiquing societal norms and religious beliefs. The inhabitants of the Moon, known as Lunars, live in a utopian society, which allows Gonsales to explore ideas of harmony and order. Considered one of the earliest examples of science fiction, The Man in the Moone has influenced numerous writers and thinkers, including Cyrano de Bergerac and Edgar Allan Poe, and continues to be a subject of scholarly interest today, inviting readers to contemplate the possibilities of other worlds and our place within them.
Commedia dell'arte
Commedia dell'arte troupe I Gelosi performing, by Hieronymus Francken I, c. 1590
The origins of commedia dell'arte can be traced back to the Atellan farces of ancient Rome, which featured stock characters like the fool and the trickster. By the 15th century, commedia began to take shape as a populist form of entertainment, often performed in public squares and later in royal courts. Troupes would travel throughout Italy and beyond, bringing their lively performances to audiences in France, Germany, Spain, and England.
The 17th century marked the Golden Age of commedia, where its characters and themes found their way into the works of playwrights like Shakespeare and Molière. The humor and antics of commedia dell'arte laid the groundwork for modern comedic forms, with its blend of physical comedy and sharp social commentary.
Commedia dell'arte is a vibrant theatrical form that emerged during the Italian Renaissance, renowned for its improvisational style and distinctive characters, many of whom are instantly recognizable today. The term translates to "Comedy of Art," highlighting the professionalism of its performers, who were among the first to be recognized as professional actors. This genre, which flourished in the 16th and 17th centuries, is characterized by its use of half masks, although many characters performed without them. Iconic figures such as Harlequin, Pantaloon, Punch, and Pierrot have transcended their original performances, influencing art, literature, music, opera, and film across generations and centuries.
Roman mosaic depicting a cast of tragic actors
THE TRADITION OF STOCK CHARACTERS
At the heart of commedia dell’arte lies the tradition of stock characters, archetypal figures that embody specific traits and behaviors. These characters serve as a framework for improvisation, allowing actors to create dynamic and engaging performances while adhering to established roles. Each stock character brings a unique perspective to the narrative, often representing societal archetypes or moral lessons. The interactions among these characters drive the comedic plots, filled with misunderstandings, romantic entanglements, and clever schemes.
As you enjoy the performance, here’s a brief history of the characters you will be seeing:
“Harlequin and Colombina,” by Giovanni Domenico Ferretti
Harlequin (Arlecchino):
Originating in the mid-16th century, Harlequin is perhaps the most famous character from commedia dell’arte. Initially depicted as a cunning servant, he evolved into a more sophisticated figure known for his agility and wit. His iconic costume, adorned with colorful diamonds, symbolizes his playful nature. Harlequin's character has inspired countless adaptations in literature and performance, including the English Harlequinade and pantomime traditions.
Columbina:
Serving as the clever servant and often the voice of reason, Columbina is notable for her quick wit and practicality. She often finds herself in romantic entanglements, particularly with Harlequin, showcasing the interplay of love and humor within the commedia framework.
“Masques et bouffons” (Comedie Italienne). Paris, Michel Levy Freres, 1860, by Maurice Sand
Pantaloon (Pantalone):
Representing a miserly old man, Pantaloon is characterized by his greed and foolishness. His persona often serves as a foil to the younger characters, particularly in love stories. Pantaloon's origins can be traced back to Venetian merchants, and he embodies the archetype of the avaricious elder, frequently thwarted by the cleverness of younger characters.
Pulcinella in a 19th-century Italian print.
Punch (Pulcinella):
A character that has roots in both commedia and English puppet theatre, Punch, also known as Pulcinella, is known for his slapstick style and mischievous behavior. His antics often involve mockery of authority and societal norms, making him a beloved figure in various comedic traditions.
Antoine Watteau: Gilles (or Pierrot) and Four Other Characters of the commedia dell'arte, c. 1718. Musée du Louvre, Paris.
Pierrot:
Initially a sad clown, Pierrot represents the archetype of unrequited love and melancholy. His character is often portrayed as naive and sensitive, providing a contrast to the more boisterous figures in commedia. Pierrot's evolution reflects the changing dynamics of love and comedy, influencing later theatrical traditions.
A Collection of Ball-Dances perform'd at Court
A Collection of Ball-Dances perform'd at Court was published in London in 1706 by John Weaver, showcasing the creative genius of Mr. Isaac, the noted English dancing master. This groundbreaking work is notable for being the earliest collection of dances in Beauchamp-Feuillet notation (a French methodology commissioned by Louis XIV) in London, serving as a companion to Weaver’s translation of Feuillet’s Choregraphie, released in the same year. Advertisements from June 1706 refer to it as the "Second Part" of Orchesography, emphasizing its significance in the realm of dance.
The complication features an array of dances that embody the elegance and sophistication of court life. The dances included are The Richmond, The Rondeau, The Rigadoon, The Favorite, The Spanheim, and The Britannia. The dances are quite distinct from the contemporary French dances that were being published in Paris.
Weaver dedicated the work to Charles Lennox, 1st Duke of Richmond, who likely provided financial support for its publication, even though he was not listed as a subscriber. Today, only two copies of this collection are known to exist in the United States, with a possible third at the British Library.
Join us for an immersive concert at Grace Cathedral, honoring the 400-year legacy of William Byrd, presented by award-winning British vocal ensemble The Gesualdo Six and the Bay Area’s own Wildcat Viols, in collaboration with Concert Theatre Works. Directed by Bill Barclay, Secret Byrd brings to life the profound spiritual intensity of Byrd’s music in a stunning candlelit setting.
Explore our 2025–2026 season!
