Richard Andrews (1988), 'Arte Dialogue Structures in the Comedies of Molière', in Christopher Cairns (ed.), The Commedia dell'Arte from the Renaissance to Dario Fo, Italian Origins of European Theatre IV, Lewiston, NY: Edwin Mellon, pp. 142-60.

Thereisnoneedtospendmuchtimedemonstratingthat Molierehadcontactwith,andwasaffectedby,Italianformsof comictheatre.Thatsuchinfluenceswereconstantlyavailableto him,bothduringhistouroftheprovincesfrom1645to1658 andduringhiscareerinParisthereafter,isacommonplace ratherthanapointofcontention.Letjusttwofactsstandfora hostofothers.sothatwemaydisposeofthepoint.From1658 to1660,newlyarrivedinParisandnewlypatronizedby MonsieurtheKing'sbrother,Moliere'scompanysharedtheir actingspace,LaSalleduPetit-Bourbon,witharesidentItalian troupe.Secondly,hispersonalactingstylewasseenby contemporariestohavebeenmodelledtosomeextentonthatof TiberioFiorilli-somuchsothatafamoussatiricalengraving showsMolierewithamirrorinhand,tryingtocopyexactlythe postureofFiorilli'smaskScaramouche.lItisaccepted, therefore.thatMolierehadItalianmodelstohand,andthathe usedthem;andweknowthatInthe1660sthespecialityofthe ItaliancompanyinPariswastheimprovisedplayingknownat thattimesimplyastheatreitalien,andwhichwenowmore oftencallCommediadell'arte.