WORKSHOP

WORKSHOP PROJECT

    (masterclass in University of Art of Minsk 2014)

Historical Introduction

Commedia dell'Arte

A theatrical genre developed in Italy in the mid-sixteenth century and popular until the end of the eighteenth century, which from its inception thrilled audiences with its unique and peculiar features. The actors did not recite from scripts, but rather improvised dialogues while playing ' fixed types,’ i.e. characters who reappeared regularly (such as Arlecchino, Capitano, Brighella, etc.). Some of these characters wore leather masks and would communicate in a variety of Italian dialects and foreign languages.

The ‘theatrical trade’

Before actors had begun to associate into 'Compagnie dell’Arte,’ theatrical performances would either include acrobats, charlatans and storytellers performing at fairs, markets, or during the carnival, or would be enacted by ‘educated amateurs’ who would reenact Greek and Roman plays. Sometimes the artists were jesters or buffoons who performed and lived in courts and would sometimes play their chosen character for life. In the mid-sixteenth century, people from varied social backgrounds and with different specializations began to come together to create more complex performances, which instead of being paid for via donations, could be 'bought’ by the aristocracy or by the less-wealthy public through the sale of admission tickets. Moreover, Commedia dell'Arte helped establish the figure of the professional actor (the definition of "art" being ‘trade’ or ‘profession’) and for the first time in the history of theater permitted women to act onstage.

Fixed types and improvisation

As the Commedia dell’Arte was primarily a ' trade,’ the principal requirement was to produce constantly changing shows, frequently involving improvisation. In order to accomplish this, actors had to assemble a vast arsenal of jokes, songs , short skits and monologues which could be implemented in various situations. It was consequently easier for each actor to specialize in only one character. Such fixed types were defined by their costume, specific dialect, age and social status, and sometimes by their occupation as well. Fixed types possessed particular features which enticed the public's imagination: bizarre costumes (such as Arlecchino), unusual languages (such as the Spanish of Capitano), or the use of masks. Plays usually featured one or two pairs of young lovers, one or two servants (eg. Arlecchino and Buffetto), a maid (eg . Colombina) two old men (such as Pantalone and the Doctor), and the Captain (Capitano). Some of these characters also appeared in written comedies, in particular in those of C. Gozzi and C. Goldoni .

(translated from Italian, Enciclopedia Treccani)

Premise

The Commedia dell'Arte (also known as Commedia all’Improvviso) laboratory is intended as the discovery of a theatrical code which includes the use of expressive half-face masks, a particular acting style, vocality, rules and actor-audience relations. The laboratory is however not intended as a strict attempt at philological recovery of a genre which may seem otherwise outmoded. The strength of Commedia all’Improvviso is represented by its particular characters (Pantalone, Arlecchino, Zanni, Dottore, Brighella, innamorati, capitani etc.) who represent archetypes of human society which can be found in every culture and in any period.

This genre was one of the longest-lived in the history of theater, thanks in great part to characteristics which made it universally understandable, such as physical communication, the recognition of a character based on their mask, the immediacy of a non-psychological code, direct contact with the audience, the flexibility and adaptability of the dramatic canovaccio through improvisation, and the clear definition of roles and vocal characterizations.

These are some of the characteristics which allowed Italian actors to travel and be appreciated across Europe. Indeed, the Commedia dell'Arte has also influenced the work of great European playwrights such as Shakespeare, Moliere and Lope de Vega.

The laboratory

The “maskwork” involved in the Commedia dell'Arte represents a milestone in an actor's work, as it holds all the tools and principles of the art of acting. This type of work requires a great deal of involvement on the part of the actor, who is also required to have good physical ability.

The Commedia dell’Arte, with his work on types, on the expressiveness of the body, on the use of the mask and with its canovaccio, represents a unique opportunity for an actor’s training. Such training teaches the actor to combine realism and artifice, ‘natural’ gestures with the expressiveness of the mask, and to transform this creative game into the audience’s comprehension and enjoyment.

The first phase will be devoted to physical and vocal training with a targeted use of body language, expressiveness, quality of movement, vocality and rhythm.

Structure:

Historical Introduction: the birth and evolution of the Commedia dell'Arte , its masks and their function, iconographic and literary sources , the Commedia dell'Arte today (photographic and video material will be used).

The mask: A series of exercises will explore the following: propulsion points, the mask as a tool and its use/functionality, the physicality of the mask, search for a mask’s own voice, the concepts of riporto and a parte.

Traditional and modern characteristics: The unique characteristics of the Commedia dell’Arte will be studied together with the intentional/emotional world of the following masks: Dottore, Pantalone, Zanni, Arlecchino, Brighella, la Serva, Capitano, gli Innamorati, Strega. Their study will include an in-depth analysis of their posture and social relations. The next step is the allocation of the best-suited mask to each of the participants in order to develop individual characters.

Canovaccio: through improvisation exercises on a theme, using the classic patterns of dramatic construction, an original canovaccio will be developed, which will be presented as a final project open to the public.