Although the genre now known as Commedia dell'Arte had been a pillar of artistic pride for over 200 years in Italy (and, indeed, largely known in Italy and throughout Europe as simply "Italian Comedy"), by the mid- and late-18th century it had largely seemed to run its course. The rules and intellectualism of the neoclassicists had long since achieved a foothold, Shakespeare's treatments of Italian Comedy had come and gone, and Moliere's modern character- and societal-driven farces were all the range out of France. 

Previously cherished for its basis in improvisation, instantly recognizable stock characters, and broad "slapstick" physical comedy, it seems Commedia's charm as a street theatre was becoming passe, and masterful writers were now preferred to ensembles with improvised wit and physical genius.

Enter Carlo Goldoni. An avid Moliere fan and, as he makes clear throughout his memoirs, a devoted Italian, Goldoni seems to have been very concerned with creating a new "Italian Theatre." This new national style would take into account the Three Unities and other aspects that would later come to be known as ingredients for the "well-made play," while simultaneously providing the civic humor and character-driven comedy of his beloved Moliere. A great many of his plays feature aspects that many would recognize from Commedia traditions, while still breaking from these conventions and exploring modern techniques and themes. Most notably among his changes to Commedia were his decisions to have his actors go maskless (perhaps representing an interest in a more realistic portrayal of the admittedly still "stock" character, rather than embracing the anonymity of "type") and replacing the skeleton scenario plot sketch/improv with a fully fleshed-out script.  While some claim these changes reformed and saved Commedia and others claim they destroyed the artform, it is hard to deny these changes led to one of the most famous works of the genre.

In The Servant of Two Masters, Goldoni provides the basic framework of innamorati kept apart by the meddling of the Vecchi and the dim-witted Zanni who both complicates and unwittingly helps solve the dilemma of the scenario. He carries over adapted versions of traditional Commedia characters (see "The Characters" listed previously on this page), and--although tightly scripted--provides space for actors to enact various Lazzi as part of the performance (see "Style--Commedia"). The play is quintessentially Commedia in its humor and heart, while creating a modern (for its time) and somewhat more "realistic" variant (though still well shy of the Naturalism and Realism that would come a century later). For more info on Goldoni and his works, consider visiting here, here, and here.