Figure 1.-- This photo was taken in Naples (late-19th centur)y. A group of children are watching a Punch and Judy show. The photo was staged by the photographer, but it shows the children's clothing as if it were taken in the Naples street. We can note that some children are wearing a sort of long shirt as therir only garment. We don't know if in the background there is the sea or a building. Anyway Naples is along the seaside.

Punch and Judy shows are called 'lo spettacolo di burattini' -- meaning puppet perfornamnces. Punch and Judy shows became so poular throughout Europe for so long that people just thought that they were part of the national culture. The origins of Pumch and Judy can, however, be seen in the names of the originl characters. The were the mask performers in the Italian Commedia dell’arte. They created the masked character Punchinella/Punchinello who in England became known as Punch. The name is believed to have developed from the word Pulcino, meaning chicken. This is why the character has a beak-like mask and squeaky voice. Thry always had the same people in the stories--stock characters. The scripts varies, but not the charracters. The beloved Neapolitan rascal, Pulcinella, was especially influential. The character is credited to the Neapolitan actor Silvio Fiorillo combined with characters of traditional carnival. Some authoirs believe that the Campania region’s Greek pre-Roman history and ancient deities, especially Hermes, have had an imopact. In the best Neopolitan tradition, Pulcinella in the lore of Naples he a muti-faceted individual, a trickster to be sure, but also a protector othe common working man. He is such a sharp-yed character thnt he can even trick devil. [Scafoglio] The Comedia exposed the underbelly of Italin society. It was not meant for children, but was a kind of social commentary poking fun at rulers and speaking to the lives of the common peoople. It was a form of satire. As the name suggests, the performances were commedy, relying heavily on boisterous action, such as the throwing pies, mugging, and obvious farcical situations and jokes. The marrionette/puppet shows continued the hilariously violent tradition of the Commedia dell’arte actors. The first such puppet play performed in England (1662) was performed in Covent Garden by the Italian puppet showman Signor Pietro Gimonde from Bologna. Even in the 19th century there were Italians giving Punch nd Judy performances. Originally marionettes (stringed puppets) were used rather than glove puppets. Ridiculous voices were part of the oerformances from an early point. A reed placed at the back of the Punchman's/professor's created the sound effects. It was called a pivetta in italy, a swazzle in England. Over time these shows became increasingly aimed at children with more simple slap stick without the social commentary. An Italian reader tells us that these shows were popular in the sreets of Napleas and other Italian cities. In England they became more assiciated wiuth seaside resorts.

Sources

Scafoglio, Domenico. "Pulcinella: per un’antropologia del comico,' Annali d’Italianistica Vol. 15, Anthropology & Literature (1997), pp. 65-84.

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Created: 12:57 PM 7/8/2021
Last updated: 12:57 PM 7/8/2021