European Stars And Stripes (Newspaper) - July 31, 1968, Darmstadt, Hesse                                By Sid Whipple staff writer to the 16th Century yokels of Italy the comic hero of All time was Arle Chino a witty conniving rascally servant who played coarse jokes on his master swindled him of his Gold and seduced his women. Arle Chino lived a riotous life on the european stage for More than 300 years and in fact still lives As arlequin on the French stage and As Harle Quin in British pantomimes and bal lets. He is the ancestor of All modern circus clowns although his character has changed Over the years from that of a disreputable rogue to that of a Wistful frustrated Little Man masking his rags and poverty with an air of pretentious  was a creation of the italian Renaissance although some of his theatrical business May have had its dim origins in the Broad and Bawd comedies of Greece and the decadent Days of the roman  was the mainstay of the Corn Media Dell arte. Travelling companies factors who working Only from a sketchy scenario plot improvised their Dia Logue and action As they went along. These travelling bands carrying their own scenery were popular throughout Italy and France although in the Latte country they suffered from the jealousy of the solidly entrenched Comedi Francaise which time and again drove them out of business by Force and violence. Arle Chino s foils on stage were few in number but with certain definite characteristics that became Stock Pat terns. There were Pantalone pantaloons Rich decrepit senile Dothard shuffling toward the grave in his worn slippers but still casting a lecherous Eye on the Young girls. He is the constant butt of his servant. Arle Chino. In Short a dirty old  Dottore a doctor of Law or medi Cine an arrogant ignorant miserly Page 12 bore the caricature of an intellectual Faker. Ii Capitanp a boasting bragging military figure who shrinks from Battle runs from a policeman an flees at the first threatening gesture of an opponent. Isabella the Only character on Stag with an unblemished character. She May be Pantalone s Young wife or Daugh Ter and is generally the object of the amorous attentions of All the males inthe. Cast. Columbina a Lusty country wench sometimes Isabella s serving maid a conspiratorial companion of Arle Chino and a ready accomplice in whatever illicit Enterprise he undertakes. D1 using the later Days of the Corn Media Dell arte a new development brought this form of entertainment closer to modern vaudeville by inclusion of a character known As the  the Carat Terista s role As de scribed in Thelma Niklaus Book. Har Lequin Phoenix the Boadley head London was to get into the act when Ever the players began to flounder. Occasionally the players dried up says miss Niklaus their improvisation suddenly failed. Or the troupe involved themselves in dialogue so complicated that it could not be continued. Whenever this happened he Thelara therista would come downstage and talk intimately with the audience diverting attention from the embarrassed players and forcing it upon himself. His act was very much like that of a Good music Hall comedian sensitive Toter pulse of the audience and Able to control them absolutely while entertain ing them with his comic Patter. His relation to the audience and the Type of comedy he put Over was in modern terms that of Danny Kaye or Gracie  the author might have added the names of some other modern entertain ers de Wynn will Rogers Al Jolsen a. C. Fields As examples of this Type of comedian audience rapport. In addition to his capabilities As comic interpreter of daily life Alec Chino also had to be an accomplished acrobat aerialist and dancer. The Chase always one of the Keystone Ops hilarious features in our Early films May have had its origin in the Clown s acrobatic escapes from his enraged , today a comedian must have More than one Talent to maintain in Terest in his performance. Fields was one of the world s greatest  Kelly the great american Cir Cus Clown began As an aerialist. Kaye was a dancer. Buster Keaton was noted for his acrobatic stunts. To the stars and stripes wednesday Century Are typified Harf fun with _ he basis for Public Delight in the Renaissance Clown however was the satisfaction of seeing the Little Man the obscure maltreated victim of social in Justice Triumph Over the big self important individual. It made no differ ence that the Victory was gained by deceit and trickery. The big joke was that the giant had been brought Low whether by a Slingshot or a  feature of comedy then As now was incongruity. The thought of dragged Clown a thing of shreds and patches As w. S. Sullivan wrote As Piring to the love of a beautifully gowned Noble lady was in itself Hilari Ous. We have the same reaction today when the unshaven unkempt Hobo Emmett Kelly sits Down on the Curbstone and gravely studies the Wall Street journal. Sometimes even a gesture can be mirth provoking As when Charlie Chaplin delicately fastidious brushes an imaginary speck from his shabby morning coat or increased  Clown proudly pushing a baby Carriage containing a Young pig or leading a Small dog at the end of a ship s hawser is following the Sam pattern of incongruity. Like his predecessors of four Cen Turies ago today s Clown continues to1 us  o Viu a a. With own maypole. Improvise to create to manufacture his individual acts and  in the end his Basic material is found in the fact that even in their most dignified moments humans can always find time to laugh at their own , in fact is the Only animal Cap Able of laughter. The Clown As a tycoon Emmett Kelly studies the Wall Street journal while Clad in rags. American clowns of 1880s used incongruity of Monkey Riding a pig to get extra laughs. The stars and stripes Page 13