FABRIZIO PALADIN

 

COMMEDIA DELL'ARTE WORKSHOP

INTERNATIONAL COURSE OF COMIC THEATRICAL ART

 

 

Conceived and directed by 

Fabrizio Paladin

 

 

Commedia Dell’arte (also known as Improvvisa, Commedia Zannesca or Italiana) began in Italy during the first half of the sixteenth century, and went on to become the primary form of theatre performed by professional actors. Unlike modern theatre, where set lines and cues are set down in a script, most Commedia performances follow what is known as a canovaccio – a kind of outline, or collection of sketches that provides the fundamental framework for the action: the themes, the entrances and exits, etc. Commedia actors improvise, following the structure of the canovaccio and the fixed characteristics of their own characters.

The improvisation techniques of Commedia also differ from more modern styles of improvisation.  Commedia improv is not based on quidquid in buccam venit (whatever comes to the mouth), but rather an almost extemporaneous assembly of a plurality of elements which make up the technical repertoire of the actor: the role, the character, the gestures, the monologues, the jests… Because of this, we can see that Commedia is a style of theatre that relies less on the craft of writers, and more on the skill, ability and professionalism of the actors.

In learning to perform Commedia, the actor, like a jazz musician, must know perfectly his own instrument (in this case, the body and the mask) and he must also know and respect the rules of the game he’s involved in. When the actor can ‘give’ himself generously to his art and to his audience, his own peculiar sensitivities will fill the sketch provided in the canovaccio with color and shade – a process I call “strategic acting”.

The following is a brief synopsis of the course, and the techniques I use with the students.

 

 

OVERVIEW OF THE COURSE

 

The goal of this course is to methodically walk the students through all of the necessary techniques and understandings needed to effectively and authentically perform Commedia. We start out with the characters of Commedia. Students work physically to find each character’s essential shape and movement. Students are introduced to the masks, and we explore techniques of using them effectively. Students are also given a thorough understanding of the history of Commedia and the historical scenarios that feed the situations used in performance.

Once the students have been brought to a comfortable familiarity with the characters and the technique of Commedia performing, we move on to simple improvisations, adding new theatrical techniques as we go, such as the use of props and music, and techniques of stage fighting.

Finally, students begin to write their own canovaccio, and we study the actual technique of assembling a Commedia performance, step by step.  At this stage of the course, each day ends with the students presenting their work in the form of a “show.”

 

Following is a more detailed breakdown of each stage of the course.

Character works begins with rigorous physical exercises designed to help the student find the “scenic presence” and “physical structure” of the character and ensure the effectiveness of the masks.

 

 

Conscious Movement

 

• Mirror exercises

• The elements of the movement (shape, rhythm, speed, power)

• the “yellow ball”

• Physical interpretation

 

 

Introduction to Acting with Masks

 

• Historical introduction to Commedia dell’Arte

• Meanings and symbols of the Mask

• The 3 positions (domination, collaboration, submission)

• Dilatation of body tensions to rebuild a “new scenic body” for the actor, an ‘alternative’ body created expressly for the stage and for the effectiveness of the mask.

• Improvisations with the mask without facing the specificity of each character.

 

 

The Characters of Commedia dell’Arte

 

-  The Servants The “Zanni,” or male servants, and “Servetta,” or female servants. These include the more popular    characters Arlecchino, Colombina and Brighella.

Includes   also “Infarinati”: male servants without mask with white make- up.  

-  The Elders These include the Miser, Pantalone, as well as       the Doctor, the Lady, the Notary and Tartaglia.

-  The Captain The glorious soldier – a braggart

-  The Lovers The “Innamorati” - Isabella and Flavio (non-masked characters)

 

Next, students move on to improvisations on simple themes, from basic entrances, introductions and exits, to character interactions, such as two servants meeting, the Captain and his servant training for war, and so on.

 

 

Theatrical Techniques and Props of Commedia

 

• Use of Zanni’s tool – the batocio, or “slapstick”

• Commedia fighting techniques

• Use of MUSIC on the stage

• The aesthetic of “ritardo” (“the late”)

• Theories and techniques of the lazzo (“the joke”)

• The Slapstick Comedy

• Realism

• Le macchine  (the “mechanics of the body’ of Commedia dell’Arte)

 

The Canovaccio System and the Assembly of the Show

 

After working with these simple improvisations, we will begin an analysis of historical canovacci (the Scala Scenarios, the Correr Scenarios, etc…).  Then the students themselves will work on creating their own original canovacci.  Roles will be assigned, and the students will begin the actual process of developing the show: 

 

• Improvisation of the scene in question from the canovaccio

• Analysis of the improvisation

• Recovery of the ‘good’ scenic material (material that is effective for the goals of the show)

• Repetition of the material selected from the improvisation, and fixing of the scene

• Improvisation of the subsequent scene

• Analysis of the improvisation

 

and so on…

 

The main goal of the workshop is to impart to students the fundamental building blocks for creating and performing Commedia. The recovery of the expressive body as a unique and fundamental scenic instrument, the importance of the art of the actor in scene creation, the respect of the dramatic functions of each character, and the collaboration between the performers on stage, all leading the story through to an organic solution of the conflicts presented. 

 

Commedia dell’Arte has been entertaining audiences or five centuries, and it is my belief that it can go on for another five, if the essence of its indelible characters and the basic rules of this theatrical game are passed on and respected. 

 

 

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• ALL LESSONS ARE IN ENGLISH

 

• The students will work with original Commedia leather masks made by Antonio Fava, Fabrizio Paladin and Carlo Setti.

 

 

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PROPOSALS DURATION

 

 

 WEEKEND INTENSIVE WORKSHOP

From Friday to Sunday

(fri evening, sat and sun all day : total 17 hours)

 

 

 

    COMMEDIA DELL’ARTE WORKSHOP

From 1 to 4 weeks (35 h. - week)

Final  demonstration show

 

 

 

ADVANCED COURSE-

                  COMMEDIA DELL’ARTE WORKSHOP                       From 3 to 4 weeks dedicated to the building of as how based on ancient original italian canovaccio. Only for experienced artists.

 

 

 

 

PS: This is a standard format, other solutions in the organization can be discussed