Two Pulchinellos 兩個潘基內羅

Pulcinella is a classical character that originated in commedia dell'arte of the 17th century and became a stock character in Neapolitan puppetry. Pulcinella's versatility in status and attitude has captivated audiences worldwide and kept the character popular in countless forms since his introduction to commedia dell'arte by Silvio Fiorillo in 1620.

Pulcinella represents a character who has acquired all the symbols and meanings of the popular and peasant world and has brought to all the scenes of Italian theaters, and beyond, a repertoire full of movements, gestures, acrobatics, typical dances and rituals of the Neapolitan gestural code. In fact, they accompany him on the theater and carnival scenes: the broom, the horn, the cowbells, elements that for the Neapolitans have propitiatory and antidote value against the evil eye and the bad luck.

His visual appearance includes a humpback, a crooked nose, gangly legs, a potbelly, large cheeks, and a gigantic mouth. These traits were inherited from two stock characters of the Atellan Farce. He typically wears a pointed hat (conical hat). When depicted as a member of the upper class, Pulcinella is a cunning thief and schemer. When depicted as a member of the servant class, Pulcinella is a perverted bumpkin. In either case, he is a social climber, striving to rise above his station in life. He is an opportunist who always sides with the winner in any situation and who fears no consequences. His main motivations are self-interest and self-preservation, yet Pulcinella tends to rescue other characters from trouble. He is said to be every character's savior, despite acting as a rebel and a delinquent.

He's a symbol of the common people and a figure who rebels against oppression.

Pulcinella is a popular theme at the Venice Carnevale, but few do it as well as Elisabeth and Rudolf Stelzig, veterans at the Venice Carnevale. They are from Berlin, and each year, they bring their Pulcinella costumes to the Venice Carenavle. I have long been a fan of their costumes, so this year, I decided to ask them out for a little photo session. I have long yearned for a portrait of a twin pulcinella photo...and none fits the description better than Elisabeth and Rudolf.

Photographs of such classical themes are not easy to do....chances are they may have been done many times before, so people tend to compare. And then one needs to stand out amongst other things like paintings, scupltures, capodimonte etc that frequently feature this very classic iconic.

Part of my inspiration comes from Gino Severini's 1922 painting The Two Pulcinellos.

After World War I, Gino Severini altered his painting technique to highlight a new artistic dynamic. He has a metamorphosis that is selectively observed throughout Europe as a component of the Return to Order once he distances himself from Futurism. Severini's Two Pulcinello retains the idea of his earlier, Futurist compositions while including classical elements that are common in the Return to Order. Early in the 20th century, Gino Severini painted in a modern, Futurist style. He took part in the Return to Order movement, which was started by French painters and advocated for more traditional art after World War I. Rather than being tumultuous and visually appealing, the paintings were generally more serene and structured.

In Gino Severini’s Two Pulcinello, he incorporates a 17th century character as the focus, allowing him to deliver a nuanced political charge. A “pulcinello” is a “hooknosed, humpbacked character…[who is] brutal, vindictive and deceitful..[and] usually at odds with authority.” The pulcinello are wearing contrasting colors of white and black, representing life and death. The simple color dichotomy corresponds to life and death associated with war. While maintaining the classic touch of the Return to Order, Severini creatively dictates the opinions shown in his futurist works. Instead of asserting his discontent using abstraction, he uses symbols and organization to continue constructing his points.

Over the past 2 years, I have changed my photographic styles quite a bit as well, with a preference for non masked costumers and painted faces. There is also a greater in-depth focus on the subjects costume and character, rather than just a pretty picture. As an artist, (well actually in everything we do, not just as an artist...) it is important that we need to evolve, to change for the better, otherwise we just get left behind.