Presentation

The main purpose of this presentation was for us to research other types of masked theatre alongside we had been physically training in for the week.
I have an interest in dance so I went for a traditional dance mask.

Topeng dance is a type of storytelling or drama dance from Indonesia accompanied with music. Dancers wear masks and bright costumes that represent characters in the play. It appeared in the 15th century in Bali and Java where is prevalent still but it can also be found in other islands of Indonesia. Topeng dance originated from tribal dances held in the honor of ancestors, where dancers with masks were playing roles of messengers of Gods. In the beginning; prevailing themes of Topeng dance were nature and ancestral spirits.

The dance over the years developed stories over royals, and the incorporation of the religion; in particular Hinduism. Predominantly performed at a temple anniversary celebration called Odalan;

the order of the performance begins with the appearance of all characters wearing a mask on stage (no matter whether they are part of the story, this is 4 or 5 characters who have to embody all the roles of the story); characters of a higher status have whole face masks and say nothing as their focus is their movement and dance itself. Their masks are golden or white to make their status prevalent. The servants then are the narrators and all wear half masks for this reason,they are informing the audience of the same story but all from their own perspective which is where the humour comes into play. There are also masks of demons and animals that share common animalisitc features. Shapes of masks are defined by the local tradition. Masks in central Java are triangular in shape, in East Java they archaically stylized while mask in Cirebon are very stylized and have faces reduced almost to a symbol. It is also believed that when actors puts his mask on he is connected to the spirit realm and is in form of a trance.

(all italic information is from:

http://www.historyofmasks.net/mask-history/history-of-dance-masks/

Preparations for the show

Our week could not have ended quicker, by Friday we were already playing with improvised sketches and making sure that we wrote them down. Over the weekend, this was our time to brush up on our character knowledge, relax our bodies and really get a thorough understanding for what would need to be completed Monday and Tuesday.
The official devising process began with those of us who weren't aware to be told the character that we would be playing. The play we were interpreting in our own way was Macbeth by William Shakespeare; this play offers lots of comedic elements within the original plot. 'The play opens as 3 witches plan a meeting with the Scottish nobleman Macbeth, who at that moment is fighting in a great battle. When the battle is over, Macbeth and his friend Banquo come across the witches who offer them three predictions: that Macbeth will become Thane of Cawdor and King of Scotland, and that Banquo's descendants will become kings.'

Below are notes that I took down from my scenes in particular.

Within our running which I managed to compile, is the summary of our twisted tale.

Prologue	Macbeth and Banqio introduce themselves.	Jovan Tom
Scene 1	McGeoff and Spankio are lost in the mist.	James Michael
Scene 2	The witches introduce themselves; create a potion and read the prophecy for McGeoff and Spankio. Confusion between Macbeth and McGeoff occurs for the first time.	Eden Janay KJ Lily
Scene 3	Introduced to Jeremy and Frederick (comedy duo) and King Dunkin’. King Dunkin’ discovers his letter was sent to McGeoff instead of Macbeth.	Daisy Georgia A. Georgia O. Lily
Scene 4	Introduced to Lady McGeoff and Lou-Anne. Lady McGeoff receives news about her husband’s prophecy. King Dunkin’ visits.	Corrina Daisy Georgia A. Georgia O. Saskia
Scene 5	There is a plot to kill King Dunkin’ which is revealed. Jeremy and Frederick up to antics with Lady McGeoff outside the bedroom door. Dunkin’, Jeremy and Frederick’s death take place.	Corrina Daisy Georgia A. Georgia O. Michael Saskia Sim
Scene 5a	King’s Coronation. Spankio Dies.	Corrina Daisy Georgia O. James Jovan Lily Michael Nathan Saskia Sim
Scene 6	Zanni banquet: cleaning and then eating.	Corrina Eden KJ Molly Saskia Sim Tom
Scene 7	The official banquet where Spankio’s ghost haunts McGeoff.	Corrina Daisy Georgia O. James Lily Michael Nathan Sim Tom
Scene 8	The 3 witches debating previous scenes events. Reapproached by McGeoff and prophesised once more for him.	Eden KJ Janay Michael
Scene 9	Introduced to the McMuffin family. Mother and Son die.	KJ Molly Nathan Sim Tom
Scene 10	Doctor’s surgery. Lady McGeoff seeks council and help from the doctor.	Corrina Sim
Scene 10a	Lady McGeoff contemplates suicide, attempts and fails but accidently kills herself afterwards.	Corrina Molly Saskia
Scene 11	Death to McGeoff. The burning of the trees towards McGeoff’s castle by the opposing army.	Danni Jovan Lily Tom
Scene 11a	Zanni formation and march towards the castle.	Corrina Danni Eden Georgia A. Jovan KJ Lily Saskia Tom
Scene 12	Fight Scene.	Everyone

References:

http://www.bbc.co.uk/schools/gcsebitesize/english_literature/dramamacbeth/1drama_macbeth_plotrev1.shtml

The Process

Our first days we were introduced to both Graham and the basics of Commedia.
This artistic form is incredibly physically strenuous and requires an intense and thorough warm up to allow all senses to be fully active as well as to ensure the lesser risk of injury. 

The stances are very particular and precise movements; we were told time and time again that 'there was a fine line between amateur acting and commedia', movement was key to this.
There is an unspoken element to commedia which makes it both very entertaining and watchable, the physical precision and strength of the actor through the character they are portraying. Stamina of oneself is the deciding factor of the quality of the play the audience come to see. 

To ensure that we were all aware of the demands of our workshop throughout the week we would engage in a warm-up. 

Once done, the first two days we were taught three - five character stances and were given the opportunity to play with them through improvised scenes or exercises.

Another key element to Commedia is improvisation, and the actor being able to go with their first thought or idea and not questionning themself. 

Below is a table of the characters we were taught or at the very least told about and then researched later:

(characters with non-specific individual traits, physicality or masks)

Zanni
- Zagna

-  Burattino, Cola, Coviello, Pepe-Nappa, Francatrippa (Bertolino, Brandino, Trappola, Scatozza, Scarmoza)

- Servetta/ Columbina

-(Columbine, Smeraldina, Olivia, Nespola, Spinetta, Ricciolina, Corallina, Diamantina, Lisetta, Violetta)

- (1st) Brighella (Mezzetino)

- (2nd) Arlecchino (Fritellino, Trivelino, Truffaldino)

- (1st) Pulchinella (Mr Punch, Hanswurst, Polichinelle, Toneelgek, Kasperle, Petrushka, Karagoz)

- (1st) Pedrolino/Il Farinato (Pierrot, Pero, Pierrotto, Pagliaccio, Gian-Farina)

Pantalone / Il Magnifico

- (Cassandro, Roberto, Ubaldo, Zanobio)

- Tartaglia

Il Capitano

- La Capitana 

- La Signora

-Scaramuccia

-Scapino

-(Giangurgulo, Cocodrillo, Fanarone, Matamoros, Spavento, Meo Squasquara)

Innamorati / The Lovers

- La Signora (Corallina, Luisa, Rosaura, Olimpia)

-(Flavio, Silvio, Fabrizio, Aurelio, Orazio, Ottavio, Ortensio, Lelio, Leandro, Cinzio, Florindo, Lindoro, Fulgenzio) Male lovers

- (Isabella, Angelica, Eularia, Flaminia, Vittoria, Silvia, Lavina, Ortensia,Aurelia) Female lovers

All above information is research based from:

http://www.factionoffools.org/history

http://abs.kafkas.edu.tr/upload/225/CommediaNotes.pdf

http://www.youtube.com/playlist?list-PLrb9r20lv7tZAhKyfSblGxW5HB2hmgS4E

New Year Adventures

Having completed this course the year previously, I went into this year with an air of confidence.

(all information below is the assignment brief and information that we were given prior to first lesson)

Introduction

The use of Mask within the Performing arts dates back many thousands of years. First emerging in ritual use and then developing into an art form of its own. You will have been introduced to a number of different mask forms within the initial presentation of this unit and from looking at the resources available to you online.

The main body of this assignment is about working to brief that has been set as part of the Mask in Performance unit you will be working with a Commedia practionner to learn Commedia techniques and put on a piece of work for International Commedia Day. The following is some information about the brief and also further information about Commedia to act as a starting point for your own research and development. 

A brief history of Commedia Dell' Arte

On February the 25th 1545 a Commedia dell' Arte theatre company in Padua (Italy) signed a legally binding contract and established the first professional theatre company in Europe. Travelling troupes were then formed and the style of Commedia dell' Arte spread out from Italy to cover the whole of Europe and even further afield. Its influence can be seen in the plays of Moliere, Shakespeare, and of course Goldoni, even today you can see its legacy in the slapstick of Laurel and Hardy , Chaplin, Keaton and the Marx Brothers, and in comedy programs such as Fawlty Towers, and The League of Gentlemen, in Pantomime; Punch and Judy shows,and of course in Street Theatre and Trestle type mask comedy shows.

What is Commedia Dell' Arte?

Commedia dell' Arte is a style of comedy performance that according to Antonio Fava adheres to four main elements:

1) The use of half masks

2) The use of stock characters

3) The use of improvisation as method to devising

4) The use of multiple languages in performance

In the use of stock characters it is considered that they are four main 'types'

1) The old man

2) The servant

3) The lover

4) The captain

Commedia dell' Arte uses half masks enabling character to speak, sing, and play instruments etc. This calls for a particular technique of mask work, different to that of neutral or full face mask. Commedia dell' Arte uses a range of stock characters, such as Pantalone, Il Dottore, The Lovers, Arlecchino, Brighella, Pulcinella, Zanni, Columbina, Pedrolino, La Signora and Il Capitano, and all associated variants. Each character has their own physicality, mask, way of moving, Lazzi and plot function. Improvisation is an important part of Commedia dell' Arte, Canovacci (scenarios) are devised by the performers using improvisation as a method. Commedia dell' Arte has always been multi lingual, initially utilising the many and distinct dialects of Italy, and then adding languages such as French and Spanish, and of course the language of which every country it performed in. 

Commedia dell' Arte is physical comedy, it is also vocal comedy; form sublime wit to more base 'gags'. It uses slapstick, indeed the term slapstick derives from the Commedia dell' Arte object the 'Batocio' (literally two flat pieces of wood that slap together, carried by the Zanni). Commedia makes use expressive phsyicality, it adapts to its location both physically and contextually (site specific), it use live music and the voice, acrobatics, stage combat and circus skills. 

What you will gain from the workshops...

- A solid physical grounding in the traditional style of Commedia dell' Arte

- You will explore and play with the main characters and their variants, both in and out of mask

- You will discover and explore the use of Canovaccio, Lazzi and he Batocio

- Explore the use of Commedia masks. The masks we use are of the highest quality, specificaly designed for Commedia dell' Arte. Our masks are made by maestro mask maker Alberto Sarria (Venice). Whilst we prefer to use traditional leather masks, we also have some high quality papier Mache masks, should any students have an issue with leather. 

- The basics of stage combat both unarmed and armed.

Second, you will gain a greater understanding of the roots of western theatre, to explore its history and make up, its influences and legacy today, to understand the Commedia dell' Art orgins of theatrical characters such as Pierrot (Pedrolino), Harlequin (Arlecchino), Colombine (Columbina) and Mr Punch (Pulcinella).

Who are we?

Sometime Soon Arts is a Brighton based performing arts company working locally, nationally and internationally, aside from Commedia dell' Arte, we also specialise in; site specific and outdoor performance, storytelling theatre, circus theatre, stage combat, and physcial theatre. A performing company, we have a distinguished reputation for our educational projects and our wide ranging selection of prefesisonal tutors. Commedia dell' Arte workshops are principally taught and led by Sometime Soon Arts director Graham Shackell. 

Graham Shackell studied Commedia dell' Arte in Italy with Antonio Fava, arguable the most respected and renowned practitioner and tutor of Commedia dell' Arte. Graham has been teaching and playing Commedia for a number of years most notably with Sometime Soon's production ,' Love in the time of Y Pestis' commissioned by StreetFest Street Theatre Festival, and 'Commedia en Masse' for Artichoke Theatre.

Graham also teaches residencies in Verona (Italy) with Pavillion Tours; to add to his repetorire he has represented the UK 2010 - 2014 for International Commedia dell' Arte day.

Presentation

Notes

Below are images of notes taken down for research purposes alongside writing up the work we were partaking in, my scenes in particular. I played the part of the lover within the complicated story of Cyrano De Bergerac.

Diverse Aspects of Commedia

What is Commedia d'ell Arte?

An online definition, " an improvised kind of popular comedy in Italian theatres in the 16th -18th Centuries, based on stock characters. Actors adapted their comic dialogue and action according to a few basic plots (commonly love intrigues) and to topical issues." This is not entirely true, both by secondary information which then was verified by primary research, Commedia in fact began as early as the late 14th century/early 15th century. Not quite developed into what it became to be within the next century, it originally started as a comedy of the servant character Zanni.
Performed during this period, all performances were held outdoors and within an amphitheater with a small stage central and on ground level. These stages tended to be wooden and hollow, which meant that in order to be heard and keep the audience engaged, their footwork had to be grand yet precise and incredibly quiet otherwise they would not be heard by the drum effect of the flooring. These pieces could last up to 3/4 hours at best, and all were improvised pieces which discussed social aspects of the time and, as mentioned above, incorporated a love sequence which opened the possibilities of mistaken identities, misinterpreted letters/messages, and also the bawdy humor that may come with it.
Commedia has many certainties that need to be abided by, one of them is the type of comedy used; mentioned previously bawdy humour is accepted however, there is a very fine line between vulgar humour and obscene. An example would be, a slapstick comedy scene in which a man is trying to bed a woman, there could be moments when he is about to achieve exactly what he wants but will just miss it by an inch, the overstepping of the line (into obscene behaviour) would be if he achieved his goal and then wallowed in the moment. Almost as though the joke has been made and then it's explained in great detail as it's happening, there's a high chance of 'over-egging the pudding' and it ruins the art of the comedy.
Masks are also a  huge element within commedia. The preset expressions on the material make the scenes funnier as they either agree with the situation or juxtapose it, but both are very comical outcomes. Not full face masks, these masks can cover the cheeks, nose, eyes and forehead like this:

Stock characters are another big part of commedia, These are characters which are predominantly based on social stereotypes; these attributes are culminated and exaggerated through personality traits, gestures and the manner in which an actor decides to speak. These tend to be emphasised to the level at which they are recognised in many pieces of theatre and film today, they can be rooted back to commedia, Below are a few of the characters that we looked into in a bit more depth:

Characters	Movement	Relationship
Capitano	Tall Rolling of the shoulders Knees up and outwards Chin high Broad shoulders Chest outward	High status. A loner, self obsessed and vain. Fearful of any form of combat but a great self proclaimer. Egotistical and has a large presence on stage.
Columbina	Introvert but confident Steps in a sequence of 3 Replicates a Zanni stance	Low status. Zanni and Columbina have chemistry however, nothing is ever pursued. Female Zanni.  Normally perky and petite, circus like. Moves efficiently and pacey to be an effective servant.
Innamorati (Lovers)	Leaps and jumps Fluid movements (grand) One leg is always bent Elegant and sleek	High status. Infatuated. In love with themselves being in love. Always aware of being watched.
Pantalone	Crouched stance Walks with a bounce	High status. Collector of money. Driven by finance. Egotistical and sexually driven.
Zanni - Forms of a zanni can be named Brighella, Alichino	Walks with a hunched shoulders Leg raised to waist height Opposite arm meeting leg with each step Curved back	Easily distracted, clumsy, food obsessed servant. Can easily fall asleep on the job and is able to sleep upright.

As well as performances which took place within a theatrical sense, a lot of commedia took place within the streets. At a market for instance, there may have been a lot of Brighella (higher status than a Zanni, however, a servant nonetheless) characters putting on mini plays in order to earn money.