Scenario in the context of "Librettist"

Lazzi (/ˈlɑːtsi/; from the Italian lazzo, a joke or witticism) are stock comedic routines that are associated with commedia dell'arte. Performers, especially those playing the masked Arlecchino, had many examples of this in their repertoire, and would use improvisatory skills to weave them into the plot of dozens of different commedia scenarios. These largely physical sequences could be improvised or preplanned within the performance and were often used to enliven the audience when a scene was dragging, to cover a dropped line or cue, or to delight an expectant audience with the troupe's specialized lazzi.

Lazzi could be completed by a single player (e.g. the Lazzo of the School of Humanity wherein a Zanni character would announce that his sister was running a "school of humanity" from their home because she was a prostitute), a few individuals (e.g. the Lazzo of the Straw wherein a stock character of higher status would pour wine as his servant emptied it through a straw), or the entire troupe (e.g. the Lazzo of Nightfall wherein the entire troupe would stumble onto stage to enact hapless physical sequences as though the room was pitch black). While its placement in the plot was usually fixed during rehearsals, it was acceptable for an actor to unexpectedly utter a predetermined line of dialogue that instructed fellow performers to enact lazzi at any time during the performance. Sometimes lazzi could take place in dances or songs accompanied by onstage stringed musical instruments.

A libretto (from the Italian word libretto, lit. 'booklet') is the text used in, or intended for, an extended musical work such as an opera, operetta, masque, oratorio, cantata or musical. The term libretto is also sometimes used to refer to the story line of a ballet or the texts of major liturgical works, such as the Mass, requiem, or sacred cantata.

The Italian word libretto (pronounced [liˈbretto], plural libretti [liˈbretti]) is the diminutive of the word libro ("book"). Sometimes other-language equivalents are used for libretti in that language, livret for French works, Textbuch for German and libreto for Spanish. A libretto is distinct from a synopsis or scenario of the plot, in that the libretto contains all the words and stage directions, while a synopsis summarizes the plot. Some ballet historians also use the word libretto to refer to the 15- to 40-page books which were on sale to 19th century ballet audiences in Paris and contained a very detailed description of the ballet's story, scene by scene.

An object of the mind is an object that exists in the mind or imagination, but which, in the real world, can only be represented or modeled. Some such objects are abstractions, concepts and scenarios in literature and fiction.

Closely related are intentional objects, which are what thoughts and feelings are about, even if they are not about anything real (such as thoughts about unicorns, or feelings of apprehension about a dental appointment which is subsequently cancelled). However, intentional objects may coincide with real objects (as in thoughts about horses, or a feeling of regret about a missed appointment).

A thought experiment is an imaginary scenario that is meant to elucidate or test an argument or theory. It is often an experiment that would be hard, impossible, or unethical to actually perform. It can also be an abstract hypothetical that is meant to test our intuitions about morality or other fundamental philosophical questions.

A conflict is a situation in which unacceptable differences in interests, expectations, values, or opinions occur between individuals, or between or in groups.

Pedrolino is a primo ('first') Zanni, or comic servant, of the commedia dell'arte; the name is a hypocorism of Pedro ('Peter'), via the suffix -lino. The character made its first appearance in the last quarter of the 16th century, apparently as the invention of the actor with whom the role was to be long identified, Giovanni Pellesini. Contemporary illustrations suggest that his white blouse and trousers constituted "a variant of the typical Zanni suit", and his Bergamasque dialect marked him as a member of the "low" rustic class. But if his costume and social station were without distinction, his dramatic role was certainly not: as a multifaceted first Zanni, his character was—and still is—rich in comic incongruities.

Many commedia historians make a connection between the Italian Pedrolino and the later Pierrot of the French Comédie-Italienne, and, although a link between the two is possible, it remains unproven and seems unlikely, based on the scant evidence of early Italian scenario texts.

A canovaccio is a scenario used by commedia dell'arte players. It consisted only of a list of acts and scenes; the details were left to the improvisation of the actors. Actors in the commedia dell'arte thus had to be endowed with an inventive mind since the success of the play depended largely on their creativity and above all on their lazzi (jokes and gags). The spotlight fell on the actors rather than on the play itself.

The use of improvisation on top of canovaccio enabled the avoidance of censorship because censors cannot censor that which is not written. Since the dialogue was almost entirely improvised on stage, actors and theatre companies could get away with almost anything.