Commediadell’Arte
is what I first of all specialized in through the years. The mad
energy of the masks; the searching in the 16:th century world
of theatre; lazzi and pranks; acrobatics, the music; the theatre
of the actors – all those things are what attracted me to
Commedia dell’Arte.
The Commedia dell’Arte that I work with is mostly early
Commedia dell’Arte. It is more original, more popular and
closer to the rites than the newer styles. It is also more physical
and less literary. |
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The
workshop stands on four legs, a short opening lecture, the character
of the masks, the mask technique of Commedia dell’Arte and the
mad, happy energy. |
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We
start with a shorter version of the lecture
in Commedia dell’Arte, (Click
to read more.) inorder to work from common references
later. It contains an explanation about what Commedia dell’Arte
is, about its origins and beginning, its functions and how it
is played now and then.
The first things we work with physically are the masks and their
characters. The foundations of Commedia dell’Arte is are
its masks and their characters. We try each mask on our feet,
their physical attitudes, carriage and specific movements, their
voice and inner life and character, after a short introduction.
A lot of that work is made by working on the bodies of the masks
and improvisations. All participants also gets the opportunity
to try on the masks.. |
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The
technical side is the second thing we work with on the floor. That is
the basis for how the masks will be seen and understood by the audience.
The techniques in Commedia dell’Arte are as much about the masks
tremendous contact with the audience, as it’s straight practical
mask and movement technique. We work from exercises where the technique
is a part of the expression itself instead of being a dead tool. |
The
last thing we work with is the happy energy, the crazy whims
and motive powers of Commedia dell’Arte. Without those
we would not recognize Commedia dell’Arte. It would just
be plain comedy dressed up in mask. Here we are mostly working
with improvisations and playing with the audience.
If we have enough time we complete the workshop by working with
small scenes, lazzi* or canovacci**. Here we will get the opportunity
to put together what we have learned during the
workshop.
The goal with the workshop can be anything
from that the participants should be able to work independent
with Commedia dell’Arte to give a “taste”
of the form, depending on how long the workshop is, how prepared
the actors are and so on.
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Group: |
8 – 20 persons. |
Level:
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The
group should be on approximately the same level in order to work
more efficient although the workshop works for all levels. |
Length: |
By
agreement. |
Price: |
By
agreement. |
Other: |
The
participants should have clothes easy to move in. |
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*
Joke or gag wish is not part of the action line.
** Action line or part of a longer action.
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