The innamorata and the innamorato are the young, female and male (respectively) lovers present in most commedia plays. They are also called the amarosa and amaroso as well. In many scenarios they are the central focus of the plot yet they are seldom the most important characters for moving the story. It is their desire to be with each other that prompts most of the action, allowing the other Masks to work for, work against, or foolishly mess up this goal. The innamorati themselves can rarely solve their own problems. Historically, they are the few characters in commedia who are not amongst the parti ridicole - they were, instead, played in a more serious manner to contrast the outrageous fools around them and help the audience sympathize with their exploits at finding true love. Traditionally, neither wore masks and while their make-up and costume could be exquistite and grand, it was nothing more than the best garments of the current fashion of the times. Unlike most of the other Masks, they did not have a specific color or symbolic dress and changed with each new trend. They were to be the beautiful yet everyday person. Today, they are often as ridiculous as the other parts but even at the rise of commedia they could be quite foolish. They are shallow, pretty, and vain creatures. They will fall in love immediately and the world will be a beautiful place - but then, when anything disrupts their dreams (no matter how trivial), they fall fast into abject despair believing nothing can be done. It is up to the servetta and the zanni and others to make things right and coax the lovers into action. It has been said that the lovers are first in love with themselves, then in love with being seen by the world as young lovers in love, and finally (if there's still time) in love with each other - on the rare occasions they actually get to be together without interruptions. They are not above flirting with other Masks or even the audience - they very much want to capture everyone's attention. However, they can have attention spans of young and hyper children. Every love is the one-true love - just like the last time they have now forgotten. Though any problem to their romance is insurmountable one moment, whenever anyone (especially the foolish or malicious characters) offers them hope, they grasp at it as if a plan that cannot (but will) fail. Many historical scenarios had two pairs of innamorati often encouraging chains of unrequited infactuation or mixed up arranged engagements. At least a few if not all are the sons and daughters of the old men. This placed them in households to have servants who could help them - or mess things up. Because the lovers cannot fix their own problems (which often begin from their fathers) they use the servants as go-between. However, Arlecchino will invariably get confused and inadvertantly make matter worse or Brighella will work some con for his own benefit. Luckily Colombina can usually save the day, though she's smart enough to see what should be done - which is often not the way the lovers would ever have thought. The innamorati had many names. The most popular being Isabella, Flammina, and Vittoria (for the amarosa) with Flavio and Oratio (for the amaroso). Isabella, the prima donna innamorata. She is the most common amarosa in the historical scenarios and the most famous today. In many of the early plays and many scenarios written today she is just as dim and fickle as the other lovers. However, her best known actor was Isabella Andreini (1562-1604) of the great i Gelosi. She was internationally famous and beloved, well educated, and a prolific writer of songs and poems. She brought to the character of Isabella more sense, strength, and confidence. This Isabella was not as swayed by events as the typical innamorati. She could work solutions on her own and would often adopt expert disguises or intricate plots. She's very flirty and teases all the men who fall in love with her. She can be fiery and stubborn, getting her own way even against her father. This Isabella could be seen as a strong female lead, similar to some female protagonists in both Shakespearean and modern romantic comedies. When crafting a new scenario of our own, we have reserved the name Isabella for a character of those strengths and not for the silly and flighty amarosa of old. Because of this, Flaminia is the most used innamorata in The Confused Greenies. When doing scenarios from other troupes we often stick to the original character names as given. While Vittoria could be played as the generic amarosa she has sometimes been given a twist by modern troupes, such as i Scandali. This Vittoria is crafty and calculating, often out to profit herself. The more gentle variants are just successful businesswoman (and often the madams of their own brothals). The harsher ones can be infamous black widdows who trick men for their money - Pantalone or a (seemingly) rich Capitano being prime targets. Some are less like a lover and more like an experienced Colombina who is no longer a servant to anyone. Vittoria is intelligent and manipulative (for better or worse) though she can be a source of advice for the young lovers or a younger servetta similar to Fiorinetta. An aged Vittoria might become the lover for one of the old men, a slightly younger Vittoria able to capture and overwhelm Capitano, or even give some experience to a young amaroso. A villainous Vittoria is one of a danger character as she's smart and cunning though still trumped in the end.

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The Confused Greenies is an officially recognized student organization by the Undergraduate Student Government (USG) of Case Western Reserve University but The Confused Greenies do not represent USG or the University or its policies. i Verdi Confusi is an active troupe in the Society for Creative Anachronism (SCA) but is not an officially recognized entity nor represents the SCA, any local chapters, or policies. Email the troupe at lazzi@case.edu with any questions or comments. This page last updated on Thursday, January 15, 2009.