Commedia Dell ‘arte Theatre Workshop – Concept Statement

Commedia Dell ‘Arte Theatre Workshop – Concept Statement

As an associate director for the Sydney Theatre Company, over the last several months I have acquired the role to construct a workshop about the Italian theatrical tradition of ‘Commedia Dell ‘Arte’ to be administered across NSW schools. Having worked alongside Ali Landvatter, founder of the alumni commedia Tut’Zanni Theatre Company and specialist of Commedia Dell ‘Arte, evident in her published work “Exploring Modern Commedia Dell ‘Arte,” I also have attained similar finesse in the discipline. The following concept statement, designed to cater for the learning needs of students participating, conceptualises the theatrical experience.

The Program

Outline

Commedia Dell ‘Arte is a unique theatre tradition that essentially cannot be taught overnight but takes years to master the understanding and skill of performance. Despite the commitment required, the Sydney Theatre Company has constructed an hour-long workshop directed to teaching senior students the primary aspects of the theatre through actively engaging them to transform from merely observers but partaking actors. The program has been constructed resourcefully requiring two instructors, the portable props they will bring with them and outlining the fundamentals, conventions and concept designs throughout the hour, in the most efficient manner. Upon arrival at the college, the class of students will be immediately briefed on the historical context and an analysis of Commedia Dell ‘Arte before being divided equally into two groups, to rotate after thirty minutes, beginning with the study of the stock characters, their masks and costume, and the second group focusing on the set and technical aspects of the humorous theatre. The understanding is that tuition on a more direct and personal level will not only control the class but also allow for a more enhanced grade of teaching.

Historical Context and Analysis

To begin the workshop all the students will gather in one central room to watch the two tutors dress up and perform a sample of Commedia Dell ‘Arte illustrating that it is improvised, exaggerated and therefore humorous. At the conclusion of the piece, the tutors will introduce themselves and ask the audience if they notice anything usual. Perhaps their uniform, the absurdity of their masks, specific techniques such as the over emphasise on every part of their behaviour and conclude that the workshop today will explore Commedia Dell ‘Arte and by the end, hopefully have taught everyone something new about 16th Century Italian humour. Amongst this introduction, Commedia Dell ‘Arte will be given a background understanding; professional actors travelled in troupes across Italy and performed throughout despite language barriers. Traditionally, as Italian dialect did differ from region to region, this would be problematic, and further, in this comedic theatre il Capitano would have spoken in Spanish and I’Arlecchino in complete and utter gibberish; however the focus was placed on physical agenda rather than on spoken text. Commedia Dell ‘Arte continued to flourish beyond Italy and across Europe, and today these stock character types have elements found internationally in figures including Bip, the white faced clown, deconstructed by Marcel Marceau and stereotypes of American Clown routines.

Stock Characters

In this workshop the stock characters of Commedia Dell ‘Arte will be introduced and recognised in their mask, costume and exaggeration. To begin, a student will be asked to model a mask and the garments of a specific character to the rest of the audience as they distinguish its prominent features. The teacher will guide the class through a range of characters through explanation and ask the students to pick their favourite character to act later. Information covers a variety of aspects in relation to costume; garments alternated from tight to loose and contrasted in colour for emphasis and exaggeration, masks represented own individual character recognition such as their great menacing nose which served as a sexual innuendo. Commedia Dell ‘Arte conventions were recognised and adhered to regardless of where the actors toured, and similarly, students will develop a dearth of understanding in the character types.

According to renowned Commedia Dell ‘Arte Maestro Antonio Fava, the stock characters could be divided into four main categories; the servants, the old men, the young lovers and the boasting Captains. Though hundreds of character types did exist, all can be deemed into these particular derivatives and could even be said to be apart of specific Italian regions such as the old greedy man Magnifico. In Italian, Magnifico is symbolic of one that is great, grand and generous, however, he is the exact opposite in his pursuit of power over the economy and his family. His given name is determined by dialect and geography; however, the most famous Magnifico is the Venetian, Pantalone. The name is also a contraction of “pianta il leone”, which translates to he who plants the lion, a symbol of the Venetian Republic. Venetian merchants “planted the lion” in southern and Mediterranean markets and is reason for the thriving economy at the turn of the first century.