The Theatre in Italy in the 17th century / The carnival       The carnival The carnival has existed in Europe since the ancient times. The idea of reversing roles, taking the place of another by the donning of a mask and a disguise, or giving free reign to old pagan beliefs has spread through all countries and each has adapted it according to its culture and its social and religious situation. From the akkadian rituals of Babylon in the third century BC, to the Feasts of All Fools' Day of the Christian Middle Ages, the carnival always represented one moment of exception during which all values changed sense, allowing a total but temporary liberty for the duration of these festivals of enchantment and parody. In Italy, the carnival soon becomes the most extravagant model of the aristocratic fairs and the Italian cities adopt subtle and sophisticated parades in which the supremacy of the city is superimposed on the madness. From the Renaissance, the carnival takes on such a social importance that it involves the greatest artists as much for the composition of the songs as for the design of the costumes and floats. In Tuscany, the cortege consists of mythological chariots, the trionfi, that team up with a comical and daring gallery of the guilds and a topsy-turvy world called the carri. The interplay of masks and inversions is very fashionable, and every city also demonstrates its political or ecclesiastical power through the celebrations and masquerades of its carnival. In Venice the culmination of the rejoicing takes place in front of the Doge on the Thursday before Shrove Tuesday, with the sacrifice of bulls and pigs symbolising the annual levies due to the Republic. Rome illustrates the triumphs of Christianity and the “ Norcino ”, a daring slayer of infidels, symbolically pursues the Jews who, although protected by the Papal States, must reveal the foundation of their difference during the carnival. Soon theatre and carnival come together. Performing season is in full swing between Christmas and carnival, when all novelties are launched. This is why Ruzzanti starts his career in Venice presenting his Village Comedy, later performed by the Commedia dell'Arte. In the same way Orfeo, the first opera is staged in Mantua in 1607 on the occasion of the carnival festival. To a certain extent, during the 17th century the carnival is a festival for the entire city, allowing theatre access to the people by transposing performances from private palaces to places especially created for their purpose. In turn the theatre reflects its traditions back to the carnival and the masks of the Commedia dell' Arte become the perfect symbol of merriment. Thus, during the following century in Venice, the masks are featured to such an extent during the carnival that they allow the maddest follies. The masked ball is at the time the most valued entertainment of the decadent Republic and is emulated in every European court.