Servant of Two Masters - Characters

Characters

The characters from 'A Servant of Two Masters' are derived from "stock characters" used in commedia dell'arte. True commedia dell'arte is more or less improvised without a script, so Servant of Two Masters is not true commedia. The stock characters were used as guides for the actors improvising.

List of Characters:

  • Pantalone Dei Bisognosi - A Venetian merchant (Based on Pantalone).
  • Clarice - Pantalone's Daughter and the love interest of Silvio (Based on Isabella).
  • Dr. Lombardi - Silvio's father (Based on Il Dottore).
  • Silvio - Son of Dr. Lombardi and the love interest of Clarice (Based on Flavio).
  • Beatrice Rasponi - A lady of Turin, disguised as her brother Federigo Rasponi. She is the love interest of Florindo.
  • Florindo Aretusi - Of Turin and the love interest of Beatrice (Based on Il Capitano).
  • Truffaldino - Servant first to Beatrice, and afterward to Florindo. He is the love interest of Smeraldina (Based on Arlecchino).
  • Smeraldina - Maidservant to Clarice and the love interest of Truffaldino (Based on Columbina).
  • Brighella - An Innkeeper
  • First Waiter
  • Second Waiter
  • First Porter
  • Second Porter

Read more about this topic:  Servant Of Two Masters

Famous quotes containing the word characters:

    “To marry a man out of pity is folly; and, if you think you are going to influence the kind of fellow who has “never had a chance, poor devil,” you are profoundly mistaken. One can only influence the strong characters in life, not the weak; and it is the height of vanity to suppose that you can make an honest man of anyone.”
    —Margot Asquith (1864–1945)

    “Do you set down your name in the scroll of youth, that are written down old with all the characters of age?”
    —William Shakespeare (1564–1616)

    “A criminal trial is like a Russian novel: it starts with exasperating slowness as the characters are introduced to a jury, then there are complications in the form of minor witnesses, the protagonist finally appears and contradictions arise to produce drama, and finally as both jury and spectators grow weary and confused the pace quickens, reaching its climax in passionate final argument.”
    —Clifford Irving (b. 1930)