Editing Mannerism (section)

====Commedia dell'arte, ''disegno interno'', and the ''discordia concors''====
Important corollaries exist between the ''disegno interno'', which substituted for the ''disegno esterno'' (external design) in Mannerist painting. This notion of projecting a deeply subjective view as superseding nature or established principles (perspective, for example), in essence, the emphasis away from the object to its subject, now emphasizing execution, displays of virtuosity, or unique techniques. This inner vision is at the heart of commedia performance. For example, in the moment of improvisation the actor expresses his virtuosity without heed to formal boundaries, decorum, unity, or text. [[Harlequin|Arlecchino]] became emblematic of the mannerist ''discordia concors'' (the union of opposites), at one moment he would be gentle and kind, then, on a dime, become a thief violently acting out with his battle. Arlecchino could be graceful in movement, only in the next beat, to clumsily trip over his feet. Freed from the external rules, the actor celebrated the evanescence of the moment; much the way [[Benvenuto Cellini]] would dazzle his patrons by draping his sculptures, unveiling them with lighting effects and a sense of the marvelous. The presentation of the object became as important as the object itself.