1.
Tivoli Gardens
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Tivoli Gardens is a famous amusement park and pleasure garden in Copenhagen, Denmark. The park opened on 15 August 1843 and is the second-oldest operating amusement park in the world, after Dyrehavsbakken in nearby Klampenborg, also in Denmark. The amusement park was first called Tivoli & Vauxhall, Tivoli alluding to the Jardin de Tivoli in Paris and it is also mentioned in various books, like Number the Stars by Lois Lowry. Tivolis founder, Georg Carstensen, obtained a charter to create Tivoli by telling King Christian VIII that when the people are amusing themselves. The monarch granted Carstensen use of roughly 15 acres of the glacis outside Vesterport for an annual rent. Therefore, until the 1850s, Tivoli was outside the city, after dark, colored lamps illuminated the gardens. On certain evenings, specially designed fireworks could be reflected in Tivolis lake. Composer Hans Christian Lumbye was Tivolis musical director from 1843 to 1872, Lumbye was inspired by Viennese waltz composers like the Strauss family, and became known as the Strauss of the North. Many of his compositions are inspired by the gardens, including Salute to the Ticket Holders of Tivoli, Carnival Joys. The Tivoli Symphony Orchestra still performs many of his works, in 1874, Chinese style Pantomimeteatret took the place of an older smaller theatre. The audience stands in the open, the stage being inside the building, the theatres curtain is a mechanical peacocks tail. From the very beginning, the theatre was the home of Italian pantomimes, the absence of spoken dialogue is an advantage, as Tivoli is now an international tourist attraction. In the late 19th and early 20th century, Tivoli also hosted human exhibitions, in 1943, Nazi sympathisers burnt many of Tivolis buildings, including the concert hall, to the ground. Temporary buildings were constructed in their place and the park was back in operation after a few weeks, Tivoli is always evolving without abandoning its original charm or traditions. It will continue to grow as long as there is left in the world. In Swedish, tivoli has become synonymous with any amusement park, the park is best known for its wooden roller coaster, Rutschebanen, or as some people call it, Bjergbanen, built in 1914. It is one of worlds oldest wooden coasters that is still operating today. An operator controls the ride by braking down the hills so it wont gain too much speed and it is an ACE Coaster Classic
2.
Copenhagen
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Copenhagen, Danish, København, Latin, Hafnia) is the capital and most populous city of Denmark. Copenhagen has an population of 1,280,371. The Copenhagen metropolitan area has just over 2 million inhabitants, the city is situated on the eastern coast of the island of Zealand, another small portion of the city is located on Amager, and is separated from Malmö, Sweden, by the strait of Øresund. The Øresund Bridge connects the two cities by rail and road, originally a Viking fishing village founded in the 10th century, Copenhagen became the capital of Denmark in the early 15th century. Beginning in the 17th century it consolidated its position as a centre of power with its institutions, defences. After suffering from the effects of plague and fire in the 18th century and this included construction of the prestigious district of Frederiksstaden and founding of such cultural institutions as the Royal Theatre and the Royal Academy of Fine Arts. Later, following the Second World War, the Finger Plan fostered the development of housing, since the turn of the 21st century, Copenhagen has seen strong urban and cultural development, facilitated by investment in its institutions and infrastructure. The city is the cultural, economic and governmental centre of Denmark, Copenhagens economy has seen rapid developments in the service sector, especially through initiatives in information technology, pharmaceuticals and clean technology. Since the completion of the Øresund Bridge, Copenhagen has become integrated with the Swedish province of Scania and its largest city, Malmö. With a number of connecting the various districts, the cityscape is characterized by parks, promenades. Copenhagen is home to the University of Copenhagen, the Technical University of Denmark, the University of Copenhagen, founded in 1479, is the oldest university in Denmark. Copenhagen is home to the FC København and Brøndby football clubs, the annual Copenhagen Marathon was established in 1980. Copenhagen is one of the most bicycle-friendly cities in the world, the Copenhagen Metro serves central Copenhagen while the Copenhagen S-train network connects central Copenhagen to its outlying boroughs. Serving roughly 2 million passengers a month, Copenhagen Airport, Kastrup, is the largest airport in the Nordic countries, the name of the city reflects its origin as a harbour and a place of commerce. The original designation, from which the contemporary Danish name derives, was Køpmannæhafn, meaning merchants harbour, the literal English translation would be Chapmans haven. The English name for the city was adapted from its Low German name, the abbreviations Kbh. or Kbhvn are often used in Danish for København, and kbh. for københavnsk. The chemical element hafnium is named for Copenhagen, where it was discovered, the bacterium Hafnia is also named after Copenhagen, Vagn Møller of the State Serum Institute in Copenhagen named it in 1954. Excavations in Pilestræde have also led to the discovery of a well from the late 12th century, the remains of an ancient church, with graves dating to the 11th century, have been unearthed near where Strøget meets Rådhuspladsen
3.
Denmark
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The term Danish Realm refers to the relationship between Denmark proper, the Faroe Islands and Greenland—three countries constituting the Kingdom of Denmark. The legal nature of the Kingdom of Denmark is fundamentally one of a sovereign state. The Faroe Islands and Greenland have been part of the Crown of Denmark since 1397 when the Kalmar Union was ratified, legal matters in The Danish Realm are subject to the Danish Constitution. Beginning in 1953, state law issues within The Danish Realm has been governed by The Unity of the Realm, a less formal name for The Unity of the Realm is the Commonwealth of the Realm. In 1978, The Unity of The Realm was for the first time referred to as rigsfællesskabet. The name caught on and since the 1990s, both The Unity of The Realm and The Danish Realm itself has increasingly been referred to as simply rigsfællesskabet in daily parlance. The Danish Constitution stipulates that the foreign and security interests for all parts of the Danish Realm are the responsibility of the Danish government, the Faroes received home rule in 1948 and Greenland did so in 1979. In 2005, the Faroes received a self-government arrangement, and in 2009 Greenland received self rule, the Danish Realms unique state of internal affairs is acted out in the principle of The Unity of the Realm. This principle is derived from Article 1 of the Danish Constitution which specifies that constitutional law applies equally to all areas of the Danish Realm, the Constitutional Act specifies that sovereignty is to continue to be exclusively with the authorities of the Realm. The language of Denmark is Danish, and the Danish state authorities are based in Denmark, the Kingdom of Denmarks parliament, with its 179 members, is located in the capital, Copenhagen. Two of the members are elected in each of Greenland and the Faroe Islands. The Government ministries are located in Copenhagen, as is the highest court, in principle, the Danish Realm constitutes a unified sovereign state, with equal status between its constituent parts. Devolution differs from federalism in that the powers of the subnational authority ultimately reside in central government. The Self-Government Arrangements devolves political competence and responsibility from the Danish political authorities to the Faroese, the Faroese and Greenlandic authorities administer the tasks taken over from the state, enact legislation in these specific fields and have the economic responsibility for solving these tasks. The Danish government provides a grant to the Faroese and the Greenlandic authorities to cover the costs of these devolved areas. The 1948 Home Rule Act of the Faroe Islands sets out the terms of Faroese home rule, the Act states. the Faroe Islands shall constitute a self-governing community within the State of Denmark. It establishes the government of the Faroe Islands and the Faroese parliament. The Faroe Islands were previously administered as a Danish county, the Home Rule Act abolished the post of Amtmand and these powers were expanded in a 2005 Act, which named the Faroese home government as an equal partner with the Danish government
4.
Commedia dell'arte
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Commedia dellarte translates to theatre of the professional and is known as the first form of professional theatre. Commedia dellarte also is considered commedia alla maschera, commedia improvviso, a commedia, such as The Tooth Puller, is both scripted and improvised. Characters entrances and exits are scripted, a special characteristic of commedia dellarte are the lazzi. A lazzo is a joke or something foolish or witty, another characteristic of commedia dellarte is pantomime, which is mostly used by the character Arlecchino. The characters of the commedia usually represent fixed social types, stock characters, such as old men, devious servants. The main categories of characters include servants, old men, lovers. The characters are exaggerated real characters, such as a know it all doctor called Il Dottore, many troupes were formed to perform commedia dellarte, including I Gelosi, Confidenti Troupe, Desioi Troupe, and Fedeli Troupe. Commedia dellarte was often performed outside on platforms or in areas such as a piazza. The form of theatre originated in Italy, but travelled throughout Europe, the commedia genesis may be related to carnival in Venice, where by 1570 the author/actor Andrea Calmo had created the character Il Magnifico, the precursor to the vecchio Pantalone. In the Flaminio Scala scenario for example, Il Magnifico persists and is interchangeable with Pantalone, while Calmos characters were not masked, it is uncertain at what point the characters donned the mask. However, the connection to carnival would suggest that masking was a convention of carnival and was applied at some point, the tradition in Northern Italy is centered in Mantua, Florence, and Venice, where the major companies came under the aegis of the various dukes. Concomitantly, a Neapolitan tradition emerged in the south and featured the prominent stage figure Pulcinella, Pulcinella has been long associated with Naples, and derived into various types elsewhere—the most famous as the puppet character Punch in England. Although commedia dellarte flourished in Italy during the Mannerist period, there has been a tradition of trying to establish historical antecedents in antiquity. While we can detect formal similarities between the commedia dellarte and earlier theatrical traditions, there is no way to establish certainty of origin, some date the origins to the period of the Roman Republic or the Empire. The Atellan Farces of the Roman Empire featured crude types wearing masks with grossly exaggerated features, some historians argue that Atellan stock characters, Pappus, Maccus+Buccus, and Manducus, are the primitive versions of the Commedia characters Pantalone, Pulcinella, and il Capitano. More recent accounts establish links to the medieval jongleurs, and prototypes from medieval moralities, the first recorded commedia dellarte performances came from Rome as early as 1551. This view may be somewhat romanticized since records describe the Gelosi performing Tassos Aminta, for example, by the mid-16th century, specific troupes of commedia performers began to coalesce, and by 1568 the Gelosi became a distinct company. In keeping with the tradition of the Italian Academies, I Gelosi adapted as their impress the two-faced Roman god Janus, Janus symbolized both the comings and goings of this traveling troupe, and the dual nature of the actor who impersonates the other
5.
Ballet
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Ballet /ˈbæleɪ/ is a type of performance dance that originated in the Italian Renaissance courts of the 15th century and later developed into a concert dance form in France and Russia. It has since become a widespread, highly technical form of dance with its own based on French terminology. It has been influential and has defined the foundational techniques used in many other dance genres. Becoming a ballet dancer requires years of training, Ballet has been taught in various schools around the world, which have historically incorporated their own cultures to evolve the art. Ballet may also refer to a dance work, which consists of the choreography. A well-known example of this is The Nutcracker, a ballet that was originally choreographed by Marius Petipa. Ballets are choreographed and performed by trained artists, the word came into English usage from the French around 1630. Ballet originated in the Italian Renaissance courts of the 15th and 16th centuries before being spread from Italy to France by an Italian aristocrat, Catherine de Medici, in France, ballet developed even further under her aristocratic influence. The dancers in these early court ballets were mostly noble amateurs, Ballets in this period were lengthy and elaborate and often served a political purpose. Ornamented costumes were meant to impress viewers and restricted freedom of movement. The ballets were performed in large chambers with viewers on three sides, French court ballet reached its height under the reign of King Louis XIV. Known as the Sun King, Louis symbolized the brilliance of France, in 1661 Louis founded the Académie Royale de Danse to establish standards and certify dance instructors. In 1672, Louis XIV made Jean-Baptiste Lully the director of the Académie Royale de Musique from which the first professional ballet company, Lully is considered the most important composer of music for ballets de cour and instrumental to the development of the form. Ballet went into decline in France after 1830, though it continued to develop in Denmark, Italy, the arrival in Europe on the eve of First World War of the Ballets Russes of Sergei Diaghilev, revived interest in the ballet and started the modern era. The Russian choreographer Michel Fokine challenged tradition and called for reforms that reinvigorated ballet as an art form, in the 20th century, ballet had a wide influence on other dance genres, and subgenres of ballet have also evolved. In the United States, choreographer George Balanchine developed what is now known as neoclassical ballet, other developments include contemporary ballet and post-structural ballet. Also in the century, ballet took a turn dividing it from classical ballet to the introduction of modern dance. Stylistic variations have emerged and evolved since the Italian Renaissance, early, classical variations are primarily associated with geographic origin
6.
Modern dance
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Modern dance is a broad genre of western concert or theatrical dance, primarily arising out of Germany and the United States in the late 19th and early 20th centuries. Modern dance is considered to have emerged as a rejection of. Socioeconomic and cultural factors contributed to its development. In the late 19th century, dance artists such as Isadora Duncan, Maud Allan, moving into the 1960s, new ideas about dance began to emerge, as a response to earlier dance forms and to social changes. Eventually, postmodern dance artists would reject the formalism of modern dance, and include such as performance art, contact improvisation, release technique. American modern dance can be divided into three periods or eras, Modern dance has evolved with each subsequent generation of participating artists. Artistic content has morphed and shifted from one choreographer to another, artists such as Graham and Horton developed techniques in the Central Modern Period that are still taught worldwide, and numerous other types of modern dance exist today. In America, increasing industrialization, the rise of a class, and the decline of Victorian social strictures led to, among other changes. It was in this atmosphere that a new dance was emerging as much from a rejection of social structures as from a dissatisfaction with ballet, womens colleges began offering aesthetic dance courses by the end of the 1880s. Emil Rath, who wrote at length about this emerging artform at the stated, Music and rhythmic bodily movement are twin sisters of art. 1877, Isadora Duncan was a predecessor of modern dance with her stress on the center or torso, bare feet, loose hair, free-flowing costumes, and incorporation of humor into emotional expression. She was inspired by classical Greek arts, folk dances, social dances, nature, natural forces, and new American athleticism such as skipping, running, jumping, leaping and she thought that ballet was ugly and meaningless gymnastics. Although she returned to the United States at various points in her life and she returned to Europe and died in Nice in 1927. 1891, Loie Fuller began experimenting with the effect that gas lighting had on her silk costumes, Fuller developed a form of natural movement and improvisation techniques that were used in conjunction with her revolutionary lighting equipment and translucent silk costumes. She patented her apparatus and methods of lighting that included the use of coloured gels and burning chemicals for luminescence. 1905, Ruth St. Denis, influenced by the actress Sarah Bernhardt and Japanese dancer Sada Yacco, developed her translations of Indian culture and her performances quickly became popular and she toured extensively while researching Oriental culture and arts. Other pioneers included Kurt Jooss and Harald Kreutzberg, an accomplished choreographer, she was a founding artist of the first American Dance Festival in Bennington. Holm choreographed extensively in the fields of dance and musical theater
7.
Canvas
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Canvas is an extremely durable plain-woven fabric used for making sails, tents, marquees, backpacks, and other items for which sturdiness is required. It is also used by artists as a painting surface. It is also used in such objects as handbags, electronic device cases. The word canvas is derived from the 13th century Anglo-French canevaz, both may be derivatives of the Vulgar Latin cannapaceus for made of hemp, originating from the Greek κάνναβις. Modern canvas is made of cotton or linen, although. It differs from other cotton fabrics, such as denim. Canvas comes in two types, plain and duck. The threads in duck canvas are more tightly woven, the term duck comes from the Dutch word for cloth, doek. In the United States, canvas is classified in two ways, by weight and by a number system. The numbers run in reverse of the weight so a number 10 canvas is lighter than number 4, canvas has become the most common support medium for oil painting, replacing wooden panels. One of the earliest surviving oils on canvas is a French Madonna with angels from around 1410 in the Gemäldegalerie, however, panel painting remained more common until the 16th century in Italy and the 17th century in Northern Europe. Mantegna and Venetian artists were among those leading the change, Venetian sail canvas was readily available, as lead-based paint is poisonous, care has to be taken in using it. Early canvas was made of linen, a sturdy brownish fabric of considerable strength, linen is particularly suitable for the use of oil paint. In the early 20th century, cotton canvas, often referred to as cotton duck, linen is composed of higher quality material, and remains popular with many professional artists, especially those who work with oil paint. Cotton duck, which stretches more fully and has an even, mechanical weave, the advent of acrylic paint has greatly increased the popularity and use of cotton duck canvas. Linen and cotton derive from two different plants, the flax plant and the cotton plant, respectively. Gessoed canvases on stretchers are also available and they are available in a variety of weights, light-weight is about 4 oz or 5 oz, medium-weight is about 7 oz or 8 oz, heavy-weight is about 10 oz or 12 oz. They are prepared with two or three coats of gesso and are ready for use straight away, artists desiring greater control of their painting surface may add a coat or two of their preferred gesso
8.
Rope
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A rope is a group of yarns, plies, or strands that are twisted or braided together into a larger and stronger form. Ropes have tensile strength and so can be used for dragging and lifting, as a result, they cannot be used for pushing or similar compressive applications. Rope is thicker and stronger than similarly constructed cord, line, string, fiber rope is made from fiber, whereas wire rope is made from wire. Rope may be constructed of any long, stringy, fibrous material, synthetic fibre ropes are significantly stronger than their natural fibre counterparts, but also possess certain disadvantages, including slipperiness. Common natural fibres for rope are manila hemp, hemp, feathers, linen, cotton, coir, jute, straw, synthetic fibres in use for rope-making include polypropylene, nylon, polyesters, polyethylene, Aramids and acrylics. Some ropes are constructed of mixtures of several fibres or use co-polymer fibres, wire rope is made of steel or other metal alloys. Ropes have been constructed of fibrous materials such as silk, wool, and hair. Rayon is a fibre used to make decorative rope. The twist of the strands in a twisted or braided rope serves not only to keep a rope together, without any twist in the rope, the shortest strand would always be supporting a much higher proportion of the total load. Rope is of paramount importance in fields as diverse as construction, seafaring, exploration, sports, theatre, and communications, to fasten rope, many types of knots have been invented for countless uses. Pulleys redirect the force to another direction, and can create mechanical advantage so that multiple strands of rope share a load. Winches and capstans are machines designed to pull ropes, such ropes normally use a kernmantle construction, as described below. Static ropes, used for example in caving, rappelling, and rescue applications, are designed for minimal stretch, the UIAA, in concert with the CEN, sets climbing-rope standards and oversees testing. Any rope bearing a GUIANA or CE certification tag is suitable for climbing, climbing ropes, however, do cut easily when under load. Keeping them away from sharp rock edges is imperative, rock climbing ropes come with either a designation for single, double or twin use. A single rope is the most common and it is intended to be used by itself, single ropes range in thickness from roughly 9mm to 11mm. Smaller ropes are lighter, but wear out faster, double ropes are thinner ropes, usually 9mm and under, and are intended for use as a pair. These ropes offer a margin or security against cutting, since it is unlikely that both ropes will be cut, but they complicate belaying and leading
9.
Peafowl
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The peafowl include three species of birds in the genera Pavo and Afropavo of the Phasianidae family, the pheasants and their allies. There are two Asiatic species and one African species, male peafowl are known for their piercing call and their extravagant plumage. The latter is especially prominent in the Asiatic species, who have a tail or train of covert feathers which they display as part of a courtship ritual. The term peacock is properly reserved for the male, the female is known as a peahen, the functions of the elaborate iridescent coloration and large train of peacocks have been the subject of extensive scientific debate. Charles Darwin suggested they served to attract females, and the features of the males had evolved by sexual selection. The Indian peacock has iridescent blue and green plumage, the peacock tail, known as a train, consists not of tail quill feathers, but highly elongated upper tail coverts. These feathers are marked with eyespots, best seen when a peacock fans his tail, both sexes of all species have a crest atop the head. The Indian peahen has a mixture of grey, brown. The female also displays her plumage to ward off female competition or signal danger to her young, the green peafowl differs from the Indian peafowl in that the male has green and gold plumage with black wings with a sheen of blue. Unlike the Indian peafowl, the green peahen is similar to the male, only having shorter upper tail coverts, a more coppery neck, the Congo peacock male does not display his covert feathers, but uses his actual tail feathers during courtship displays. These feathers are shorter than those of the Indian and green species. Females of the Indian and African species are dull grey and/or brown, chicks of both sexes in all the species are cryptically coloured. They vary between yellow and tawny, usually with patches of brown or light tan and dirty white ivory. Occasionally, peafowl appear with white plumage and this can result in the complete lack of coloration of their plumage, while preserving normal eye colour. By contrast, true albino peafowl have a lack of melanin. Leucistic peachicks are born yellow and become white as they mature. As with many birds, vibrant iridescent plumage colours are not primarily pigments, optical interference Bragg reflections based on regular, periodic nanostructures of the barbules of the feathers produce the peacocks colours. Slight changes to the spacing of these result in different colours
10.
Pierrot
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Performing unmasked, with a whitened face, he wears a loose white blouse with large buttons and wide white pantaloons. Sometimes he appears with a frilled collaret and a hat, usually with a crown and wide round brim. But most frequently, since his reincarnation under Jean-Gaspard Deburau, he wears neither collar nor hat, the defining characteristic of Pierrot is his naïveté, he is seen as a fool, often the butt of pranks, yet nonetheless trusting. It was a generally buffoonish Pierrot that held the European stage for the first two centuries of his history. For Jules Janin and Théophile Gautier, Pierrot was not a fool but an avatar of the post-Revolutionary People, struggling, sometimes tragically, in short, Pierrot became an alter-ego of the artist, specifically of the famously alienated artist of the nineteenth and early twentieth centuries. Much of that mythic quality still adheres to the sad clown of the postmodern era and he is sometimes said to be a French variant of the sixteenth-century Italian Pedrolino, but the two types have little but their names and social stations in common. Both are comic servants, but Pedrolino, as a so-called first zanni, often acts with cunning and daring and his origins among the Italian players in France are most unambiguously traced to Molières character, the lovelorn peasant Pierrot, in Don Juan, or The Stone Guest. In 1673, probably inspired by Molières success, the Comédie-Italienne made its own contribution to the Don Juan legend with an Addendum to The Stone Guest and he acquires there a very distinctive personality. He seems an anomaly among the busy social creatures that surround him, he is isolated, Columbine laughs at his advances, his masters who are in pursuit of pretty young wives brush off his warnings to act their age. His is a voice, and his estrangement, however comic. But the character seems to have regarded as unimportant by this company. His real life in the theater in the century is to be found on the lesser stages of the capital. Sometimes he spoke gibberish, sometimes the audience itself sang his lines and this holds true even when sophisticated playwrights, such as Alain-René Lesage and his collaborators, Dorneval and Fuzelier, began to contribute more regular plays to the Foires. The broad satirical streak in Lesage often rendered him indifferent to Pierrots character, and sometimes the most opposed to his personality. Besides making him a valet, a roasting specialist, a chef, a hash-house cook, in not a few of the early Foire plays, Pierrots character is therefore quite badly defined. In the main, Pierrots inaugural years at the Foires were rather degenerate ones, an important factor that probably hastened his degeneration was the multiplicity of his fairground interpreters. Not only actors but also acrobats and dancers were quick to seize on his role, but in the 1720s, Pierrot at last came into his own. It was also in the 1720s that Alexis Piron loaned his talents to the Foires, the retirement of Hamoche in 1733, writes Barberet, was fatal to Pierrot
11.
Harlequin
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Harlequin is the best-known of the zanni or comic servant characters from the Italian Commedia dellarte. The Harlequin is characterized by his chequered costume and he later develops into a prototype of the romantic hero. As the Harlequinade portion of English dramatic genre pantomime developed, Harlequin was routinely paired with the character Clown, as developed by Joseph Grimaldi around 1800, Clown became the mischievous and brutish foil for the more sophisticated Harlequin, who became more of a romantic character. The most influential such pair in Victorian England were the Payne Brothers, although the origins of the Harlequin are obscure there are several theories for how the character came to be. These demons were led by a masked, club-wielding giant and they were known as familia herlequin and this medieval French version of the Germanic Wild Hunt, Mesnée dHellequin, has been connected to the English figure of Herla cyning. Hellequin was depicted as an emissary of the devil, roaming the countryside with a group of demons chasing the damned souls of evil people to Hell. The physical appearance of Hellequin offers an explanation for the colours of Harlequins red-and-black mask. The names origin could also be traced to a knight from the 9th century, Hellequin of Boulogne, cantos XXI and XXII from Dantes Inferno there is a devil by the name of Alichino. The re-interpretation of the stock character as a zanni character of the commedia dellarte took place in the 16th century in France. Zan Ganassa, whose troupe is first mentioned in Mantua in the late 1560s, is one of the earliest known actors suggested to have performed the part, although there is little hard evidence to support. Ganassa performed in France in 1571, and if he did play the part there, he left the open for another actor to take up the role. The motley costume is sometimes attributed to Martinelli, who wore a costume of colourful patches. Martinellis Harlequin also had a black leather half-mask, a moustache and he was very successful, even playing at court and becoming a favourite of Henry IV of France, to whom he addressed insolent monologues. 1630 in Bologna as well as Turin and Mantua, the Italians were expelled from France in 1697 for satirizing King Louis XIVs second wife, Madame de Maintenon, but returned in 1716, when Tommaso Antonio Vicentini became famous in the part. The rhombus shape of the patches arose by adaptation to the Paris fashion of the 17th century by Biancolelli, the primary aspect of Arlecchino was his physical agility. He was very nimble and performed the sort of acrobatics the audience expected to see, the character would never perform a simple action when the addition of a cartwheel, somersault, or flip would spice up the movement. By contrast with the first zanni Harlequin takes little or no part in the development of the plot and he has the more arduous task of maintaining the even rhythm of the comedy as a whole. Arlecchino is sometimes referred to as putting on a show of stupidity in a attempt to create chaos within the play
12.
Margrethe II of Denmark
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Margrethe II is the Queen of Denmark. She is also the authority of the Church of Denmark. Born into the House of Glücksburg, a house with origins in Northern Germany, she was the eldest child of Frederick IX of Denmark. She succeeded her father upon his death on 14 January 1972, having had become heir presumptive to her father in 1953, on her accession, Margrethe became the first female monarch of Denmark since Margaret I, ruler of the Scandinavian countries in 1375–1412 during the Kalmar Union. Having been on the Danish throne for 45 years, she is the second longest-reigning Danish monarch after her ancestor Christian IV, in 1967, she married Henri de Laborde de Monpezat, with whom she has two sons, Crown Prince Frederik and Prince Joachim. Princess Margrethe was born 16 April 1940 at Amalienborg Palace in Copenhagen as the first child of Crown Prince Frederick, later King Frederick IX and Crown Princess Ingrid and her birth took place just one week after Nazi Germanys invasion of Denmark on 9 April 1940. She was baptised on 14 May in the Church of Holmen in Copenhagen, since her paternal grandfather was also the King of Iceland, she was given an Icelandic name, Þórhildur. When Margrethe was four years old, in 1944, her first sister, Princess Benedikte later married Prince Richard of Sayn-Wittgenstein-Berleburg and lives some of the time in Germany. Her second sister Princess Anne Marie was born in 1946, anne-Marie later married Constantine II of Greece and now lives in Greece. Margrethe and her sisters grew up in apartments at Frederick VIIIs Palace at Amalienborg in Copenhagen and she spent summer holidays with the royal family in her parents summer residence at Gråsten Palace in Southern Jutland. On 20 April 1947, King Christian X died and Margrethes father ascended the throne as King Frederick IX. At the time of her birth, only males could ascend the throne of Denmark, as she had no brothers, it was assumed that her uncle Prince Knud would one day assume the throne. The process of changing the constitution started in 1947, not long after her father ascended the throne, the popularity of Frederick and his daughters and the more prominent role of women in Danish life started the complicated process of altering the constitution. The law required that the proposal be passed by two successive Parliaments and then by a referendum, which occurred 27 March 1953, Princess Margrethe therefore became heir presumptive. On her eighteenth birthday,16 April 1958, Margrethe was given a seat in the Council of State and she subsequently chaired the meetings of the Council in the absence of the King. Margrethe was educated at the private school N. Zahles School in Copenhagen from which she graduated in 1959 and she is a Fellow of the Society of Antiquaries of London. Queen Margrethe is fluent in Danish, French, English, Swedish and German, Princess Margrethe married a French diplomat, Count Henri de Laborde de Monpezat,10 June 1967, at the Church of Holmen in Copenhagen. Laborde de Monpezat received the style and title of His Royal Highness Prince Henrik of Denmark because of his new position as the spouse of the heir presumptive to the Danish throne, Margrethe gave birth to her first child 26 May 1968
