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Carlo Goldoni wrote his famous comedy in 1745 at the height of the Rococo period and on the threshold of the Enlightenment - the play ushered in the end of the Commedia dell'Arte, the comedy form of "masks" - stereotypical characters that decidedly served social types.

Berliner Ensemble, Außenaufnahme
Berliner Ensemble, Außenaufnahme © Monika Ritterhaus

Beatrice travels to Venice disguised as a man in search of her lover Florindo, who is on the run for stabbing her brother - a Turin businessman. Her servant Truffaldino also enters Florindo's service, whom he meets by chance on the street, and thus a round of confusion, dissimulation and disguise begins. Truffaldino quickly becomes entangled in all kinds of difficulties and, through ever new excuses, gets from an initially simply bad starting situation (hunger!) into ever more complicated entanglements.With great alacrity he juggles notebooks, plates, suitcases and letters between two gentlemen and creates a horrible chaos, which he only manages with difficulty.

Goldoni's intention with The Servant was to offer a piece of good entertainment whose core does not contain any moral message, but instead plenty of comedic dynamite.

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Additional information
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Participating artists
In einer englischen Bearbeitung von Antú Romero Nunes (Autor/in)
Stefanie Reinsperger (The Servant)
Constanze Becker (Kayden March, Jolene March, Brody Bandson)
Cynthia Micas (Willie-Jay, Kaylee, Two Servants)
Lili Epy (Braiden, Cupcake, Two Servants)
Sina Martens (Hank)
Bettina Hoppe (Hank)
Antú Romero Nunes
Matthias Koch
Helen Stein
Anna Bauer
Rainer Casper
Clara Topic-Matutin
Berliner Ensemble: Großes Haus
Berliner Ensemble: Großes Haus