Notes for my TPPP: Commedia dell'Arte

HL and SL:

• Realizing a performance, the devising and rehearsal techniques and the technical elements of the production.

The use of stock characters as a basis for the performance. They gave us something to work with as apposed to starting from scratch. Even if we didn't yet have a script, we knew which stock characters we were using and could base our script around those characters and their specific traits. Similarly, a lot of the technical elements we used were based off of the stock characters as well (e.g. their walks, lazzi's etc.)

• Technical skills developed throughout the course and the abilities and aptitude they have gained.

I now have the ability to recognize Stock Characters in other situations, mostly fairy tales (e.g. Cinderella, Sleeping Beauty and Snow White). I have always loved fairy tales and I am now able to critique and analyze them in a different way in comparison to just watching them and loving the innocence of them. 

• Critical response to their own work and the work of others.

If I am watching another Commedia piece, I am able to identify stock characters and take mental notes on certain aspects of the characters they are using or if there is something they could improve on. 

• Effect of the performance on the spectators and the context in which it was received.

The spectators of our performance had the same knowledge of Commedia as we did. Therefore, it wasn't  a case of being critiqued by an audience that was superior to us. One of our main goals in the performance was to highlight specific Lazzi's that we used. As I was backstage when a lot of them were being performed, I couldn't necessarily tell if they were being recognized. However, due to the laugher, I assume they were.

HL only:

• Research and planning processed involved in realizing the performance.

As a group we decided to go with a more traditional story. Therefore, we focussed on the story of 'forbidden love' (e.g. Romeo and Juliet) and filled it with Lazzi's (e.g. Pantalone losing his money). This gave us the opportunity to focus more on the character traits and humor of the performance, as apposed to spending all of our time writing a completely original idea.

• Making and justifying aesthetic and practical choices.

Practical choices like Brighella's many jobs, and Capitano's role as detective were always justified in our process. In typical Commedia plays, Brighella always plays the role of a working class employee. However, for our specific performance, we decided to give her many jobs. This worked due to the fact that she is always a working class employee, and because at the same time, she was stealing Pantalone's money. Another choice such as Capitano's role as detective, was justified by his superior character traits. 

• How effectively concepts were realized on stage.

The main aspects of our play that we wanted to be noticed with the Lazzi's. For example, at the beginning of the play we had Brighella's stick her butt in Pantalone's face while she was shining his shoes/reaching for the money in his money sack, between her legs.

• Theories, research and practical exploration.

When devising our piece we had to take into account the stock characters and their traditional character traits. It is as if we had freedom, but at the same time we had certain rules that we had to follow. For example, there was Pantalone and his walk and money sack, Capitano and his walk, Brighella and Arlecchino and their high voices, the lovers and their drama etc.

• Source Materials.

A lot of what we incorporated in the play were concepts that we had either learned from ISTA or discussed in class. However, a lot of it came from Vince who not only gave most of us (myself included) a commedia workshop at the ISTA conference, but also came to Atlanta to perform for us, his commedia piece.