Editing Il Capitano

{{Short description|Stock fictional character in commedia dell'arte}}
{{About|the commedia dell'arte character|the 1991 film|Il Capitano: A Swedish Requiem|other uses|Capitan (disambiguation){{!}}Capitan}}
{{Citation style|date=July 2011}}
{{Use dmy dates|date=January 2024}}

'''Il Capitano''' ({{IPA|it|il kapiˈtaːno|lang}}; {{literally|the Captain}}) is one of the four stock characters of [[commedia dell'arte]].<ref>{{Cite book|title=The Comic Mask in the Commedia dell'Arte|last=Fava|first=Antonio|publisher=Antonio Fava|year=2004|pages=1463}}</ref> He most probably was never a "Captain", but rather appropriated the name for himself.{{sfn|Rudlin|1994|}} [[File:1600spanishcapitano.jpg|thumb|right|Il Capitano uses bravado and excessive shows of manliness to hide his true cowardly nature. Engraving by [[Abraham Bosse]].]]

Its genesis dates back to the Pyrgopolinices of Titus Maccio Plautus' Miles gloriosus and to Terence's Thrason of the Eunuch. He was reborn in various forms in the Italian theater of the Renaissance. He usually personified the vainglorious soldier who continually affirmed his military quality in words and without foundation. He could boast of titles he did not possess or of feats he had never accomplished. In the most negative versions he actually poorly concealed the terror of having to face a battle or a duel. However, the Captains could also have positive characteristics, as dreamers with noble feelings.

A captain portrayed in a more positive way is Francesco Andreini's ''Captain Spaventa'', capable of noble feelings, almost a dreamer. Another captain, portrayed as a laughing stock pitted against the Moors, is ''Captain Matamoros'' by Silvio Fiorillo; he had the clothing of the Spanish soldiers of the time, enriched however with trinkets and ribbons and very colourful, and with purely Iberian diction and ways of saying. Several other types of Capitano exist. Inspired by the mask are numerous other variants such as Capitan Giangurgolo, Capitan Corazza, Capitan Cardone, Rinoceronte, Terremoto, Spezzaferro, Spaccamonti, Capitan Rodomonte. Numerous derivations of the mask adopted from the Neapolitan carnival or more generally from literature, such as Captain Fracassa, can also be traced back to the captain. <ref name=":3">{{Cite book|title=The Commedia dell'Arte|last=Oreglia|first=Giacomo|publisher=Methuen and Co Ltd|year=1968|pages=104}}</ref><ref name=":2" />

Il Capitano often talks at length about made-up conquests of both the militaristic and the carnal variety to impress others, but often ends up impressing only himself. He gets easily carried away in his tales and doesn't realize when those around him don't buy his act. He would be the first to run away from all battles, and he has trouble talking to and being around men. He is also extremely opportunistic and greedy. If hired by [[Pantalone]] to protect his daughter from her many suitors, il Capitano would set up a bidding war for his services or aid between the suitors and Pantalone while wooing her himself. If he is hired to fight the [[Ottoman Empire#Revolts, reversals, and revivals (1566–1683)|Turks]], he will bluster about fighting them to his last drop of blood, but when the Turks seem to be winning, he will join them. He will change sides again when they are driven off and boast about his loyalty and bravery.

==Role==
"I think of him as a peacock who has moulted all but one of his tail feathers, but does not know it", notes author John Rudlin.{{sfn|Rudlin|1994|p=}}{{page needed|date=September 2020}} In this case, his cowardice is usually overcome by the fury of his passion, which he makes every effort to demonstrate. Typically, however, his cowardice is such that when one of the characters orders him to do something, he often steps down out of fear, but is able to make up an excuse that ensures the other characters still see him as a brave and fierce individual. [[Columbina|Columbine]] sometimes uses him to make [[Harlequin]] (Arlecchino) jealous, much to il Capitano's bewilderment and fright.

===Origin===
The origin of il Capitano comes from 2 literary sources: [[Plautus]]'s ''[[Alazon|miles gloriosus]]'' and Terence's ''Eunuchus''.<ref name=":3" /> The first famous Capitano, Capitan Spaventa, appeared in [[Francesco Andreini]]'s ''Bravure di Capitan Spaventa'' ('The Boast of the Terrifying Captain').<ref>{{Cite book|title=The Commedia dell'Arte|last=Smith|first=Winifred|publisher=Benjamin Blom|year=1964|pages=8}}</ref><ref>{{Cite book|title=The History of the Harlequinade Volume 1|last=Sand|first=Maurice|publisher=Benjamin Blom|year=1915|location=London|pages=150}}</ref>{{sfn|Lawner|1998|page=22}}

===''Lazzi''===
# Whenever il Capitano sees the audience, he stops to be admired.{{sfn|Rudlin|1994|p=}}{{page needed|date=September 2020}}
# Il Capitano gloats to Harlequin about his expertise with the ladies and then proceeds to demonstrate on Harlequin how he would make love to a woman.{{sfn|Rudlin|1994|p=}}{{page needed|date=September 2020}}
# He wakes up to find he is not the only one in the room. Someone is crouching in the corner. He shakes his fist at the person, the person shakes their fist back at the same time. It turns out the person in the room is just il Capitano's reflection in a [[full-length mirror]].<ref name=":2" />
# When frightened, he often screams in a high and womanly [[falsetto]], or else faints.

===Stance===
He stands in a high posture, occupying as much space as possible, with a straight back and his chest pushed forward.<ref name=":0" />

===Plot function===
To be exposed or 'de-masked'. He exists to be stripped of his excessive confidence and shown in a moment of panic and humility.{{sfn|Rudlin|1994|p=}}{{page needed|date=September 2020}}

===Famous actors===
* [[Francesco Andreini]]<ref name=":3" />
* [[Antonio Fava]]{{sfn|Rudlin|1994|p=}}{{page needed|date=September 2020}}

==Description of the character==
[[File:Masque picto.jpg|thumb|184x184px]]

===Mask===
[[File:Capitano Masking Making.jpg|thumb|II Capitano mask being made at the University of Mississippi]]
His mask is described as having "a long nose, often unambiguously phallic".<ref name=":0">{{harvnb|Rudlin|1994|p=121}}: "Long nose, often unambiguously phallic".</ref> The nose for Capitan Spaventa's mask is fairly large, but it lengthens with Matamoros and becomes absolutely gargantuan for Coccodrillo. Originally, the color of the mask was probably flesh tone, now it can be many flamboyant colors such as bright pink, yellow, and light blue. The mask often has a strong mustache and brow lines that can be black or have a purple/blue tone.<ref name=":2">{{Cite book|title=Playing commedia : a training guide to commedia techniques|last=Barry.|first=Grantham|date=1 January 2000|publisher=Heinemann|isbn=9780325003467|pages=174|oclc=48711142}}</ref><ref name=":0" />

===Costume===
Military-esque uniform (a satire on the period). The 1500s: feathered helmet or hat (''mom panache''), exaggerated garters, extraordinarily long sword and a plethora of ruffles. 1600s: coat, breeches, and he would mostly have a musket instead of a sword.{{sfn|Rudlin|1994|p=120}}<ref name=":2" /> In one famous scenario, il Capitano makes up a lie regarding the reason for his lack of an undershirt by claiming that it got that way because, "I used to be an exceedingly fierce and violent man, and when I was made angry the hair which covers my body in goodly quantity stood on end and so riddled my shirt with holes that you would have taken it for a sieve." The real reason is that he has become too poor to afford one. Sometimes he wears it with a helmet or a [[bicorne]] or [[tricorne]] hat with a huge plume. Spanish characters often wear an exaggerated large neck-ruff.

He is usually always wearing his trademarked sword. If he were to ever work up enough nerve to draw it, it is usually too long to draw easily or too heavy or wobbly to wield properly. Even if he cut somebody with it, he would faint at the very sight of the blood.

===Noms de guerre===
Il Capitano usually has a properly showy name for himself, preferably several lines long and followed by many made-up titles and lists of relations.

Some names are fierce-sounding, such as "''Escobombardon''" ("Fired out of a cannon"), "''Rodomonte''" ("Mountain-crumbler"), "''Sangre y Fuego''" (Spanish: "Blood and Fire"), "''Spaccamonti''" ("Mountain splitter"), "''Spezzaferro''" ("Iron-breaker"), or "''Terremoto''" ("Earthquake"). Some names are ironic, such as "''Bellavista''" ("Beautiful view", a vain but ugly man) or "''Fracasso''"/"'' Fracassa''" (the correct masculine version and an invented feminine version for "Fracas", "Skirmish" or "Big noise").

Some are dismissive, such as "''Cerimonia''" ("Ceremony", all proper manners and rigid, slavish devotion to pointless details), "''Coccodrillo''" ("Crocodile", because he preys on others), "''Fanfarone''" ("Trumpeter" or "Loudmouth"), "''Giangurgulo''" ("John the Glutton"), "''Grillo''" ("Grasshopper", because he is small and 'hops' sides), "''Malagamba''" ("Lame leg"), "''Squaquara''" ("Little Shi"), "''Papirotonda''" ("Round letter", a complaint signed by mutinous soldiers or sailors in a circle around the main text so the ringleaders or originators cannot be discerned), "''Tagliacantoni''" ("Small-sized"), or "''Zerbino''" ("Doormat"). He is also prone to awarding himself ridiculous titles such as "''Capitan Spaventa di Vall'Inferna''" ("Captain Fear, (Lord) of Hell's Valley"; the name of ''Vall'Inferna'' also sounds similar to "Va' all'Inferno!", {{literally|[When you die] Go to Hell!}}, an Italian-language imprecation), "''Salvador de los Vírgenes Borrachos''" (Spanish for "Savior of Drunken Virgins"), or "''Sieur de Fracasse et Brise-tout''" (French for "Lord of 'Knock it down' and 'Break everything'"). {{Citation needed|date=October 2012}}

==Variants==
The French coined characters such as ''Boudoufle'' ([[Norman language|Norman French]] for 'Puffed up with hurt pride'), ''Taille-bras'' (either 'Limb-Cutter' or 'Arm's Length'), and ''Engoulevent'' (either 'Night-bird' or 'Big-mouth'). England has the Irish dramatist [[George Farquhar]]'s play ''[[The Recruiting Officer]]''. [[Major Bloodnok]] of ''[[The Goon Show]]'' bears some resemblance to il Capitano and shares many of his traits, such as lust, greed, and cowardice. In [[Broadway theatre|modern theater]], the character ''[[Alazon|miles gloriosus]]'' ([[Latin]] for 'Famous or Boastful Soldier') from ''[[A Funny Thing Happened on the Way to the Forum]]'' is an obvious form of the character, though modeled from the earlier Roman plays.

===Types===
1. Capitan Spaventa ("fear"){{sfn|Lawner|1998|page=59}}

2. Rinoceronte ("rhino"){{sfn|Lawner|1998|page=59}}

3. Fracassa ("uproar"){{sfn|Lawner|1998|page=59}}

4. Spezzafer ("iron splitter"){{sfn|Lawner|1998|page=59}}

5. Cocodrillo ("crocodile"){{sfn|Lawner|1998|page=59}} – "a crocodile who never bites, he is all fanfare easily deflated," according to Rudlin. {{sfn|Rudlin|1994|p=}}{{page needed|date=September 2020}}

6. Matamoros (Spanish for "Killer of Moors"){{sfn|Rudlin|1994|p=120}} – the original Spanish mercenary – was created by Francesco Andreini. He is powerfully built and very lavishly dressed. The clothes of his servants were supposedly made from the turbans of his victims. Has a hedgehog on his coat of arms, the result of his exploits at the battle of Trebizonde, where he claims to have fought his way into the tent of the Sultan himself. He then dragged him through the camp with one hand while fighting off the entire enemy army with the other hand. Afterward, so many arrows were stuck in him when he fought free that he resembled a hedgehog.{{sfn|Rudlin|1994|p=}}{{page needed|date=September 2020}}

7. Scaramouche – [[Scaramouche|Scaramuccia]] (Italian), or [[Scaramouche]] (French) ("[[Skirmisher|skirmish]]") was a reinvention of the character by Tiberio Fiorilli. He is more of a man of action than he is a braggart and is clever, brave, and quick-witted rather than ignorant, cowardly, and foolish. He is also a good singer and musician and is usually depicted with a lute or guitar. Although quite a heartbreaker, he is usually indirectly or unobtrusively helpful to the ''[[innamorati]]''.
*In the [[Punch and Judy]] shows, Scaramouche is depicted as a puppet with a detachable head or an extendable neck. The former is for il Capitano's incarnation, who seeks to fight all the other characters and the latter is for a singing puppet.
*[[Cyrano de Bergerac (play)|Cyrano de Bergerac]], a [[play (theatre)|play]] by [[Edmond Rostand]], is the most popular variant on Scaramouche. It portrays the [[Cyrano de Bergerac|historical figure]] as a violent, easily angered braggart who is sensitive about slurs on his considerable courage, his rural Gascon heritage, or his ugly face (which is identical to the features of the Scaramouche mask). He nobly helps his friend, a handsome but naïve and foolish youth, woo Roxane whom they both love.
*An unnamed soldier in a short play by [[Miguel de Cervantes]] called ''The Vigilant Sentinel'' matched this character to the letter. In the play he waits, bespectacled and wearing ragged clothes, desperately trying to frighten away any rival suitors from the house of the girl he wishes to marry.
*[[Baron Munchausen]] is another take on Scaramouche. He is usually depicted as an elderly man in an [[anachronism|anachronistic]] 18th-century uniform, [[powdered wig]] with [[queue (hairstyle)|queue]], a beak-like and prominent nose, curling mustaches and a goatee beard, and glasses. He uses his wits, his amazing luck and superhuman skills, and his gift of blather and blarney to defeat his enemies. He is also unusual in that he is handicapped by infirmities but is superhuman when he compensates for them. Without his glasses, he is blind as a bat; with them, he can see clearer and farther than a man with perfect vision. He has a lame leg, but when he carries his cane, he is capable of running faster and jumping higher and farther than an athlete. {{Citation needed|date=January 2015}}

8. Fanfarone – pretends to be Spanish, but is just a [[Zanni]].{{sfn|Rudlin|1994|p=120}}

==See also==
* [[Commedia dell'arte]]

==References==
{{Reflist}}

===Works cited===
* {{Cite book|title=Harlequin on the Moon: Commedia dell'Arte and the Visual Arts|last=Lawner|first=Lynne|publisher=Harry N. Abrams, Inc.|year=1998}}
* {{Cite book|title=Commedia dell'Arte: An Actor's Handbook|last=Rudlin|first=John|publisher=Routledge|year=1994|pages=120|quote=A crocodile who never bits, he is all fanfare easily deflated.}}

===General references===
* {{cite book |title=Commedia dell'arte |last=Rudlin |first=John |author2=Oliver Crick |year=2001 |publisher=Routledge |isbn=978-0-415-20409-5 |url=https://books.google.com/books?id=CgMKhwelZzUC&q=the+art+of+commedia |access-date=4 August 2009}}
* [[John Rudlin]], ''Commedia dell'arte: An Actor's Handbook''. {{ISBN|0-415-04770-6}}.
* [[Pierre Louis Duchartre]], ''The Italian Comedy''.

{{DEFAULTSORT:Capitano, Il}}
[[Category:Commedia dell'arte male characters]]
[[Category:Fictional military captains]]
[[Category:Fictional impostors]]
[[Category:Fictional Spanish people]]