The first question is why use "commedia dell' arte" as a training tool for modern actors at all, since drama and the business of acting has hopefully moved on since the Italian Comedians finally left Paris. The fact remains, however, that the dominant form of acting today that both exists as the aspiring young actor's performance role model and as a category of performance in itself is T.V. naturalism. We are lucky in that something both inspirational and technical has survived from those heady times. When contemporary acting technique does not provide all the answers that actors may be looking for, it is not surprising that they look towards the past for inspiration. It is in this grey area between researching historical certainties and reconstructing guessed at acting technique that we must look. These Martinellis and Andreinis were the superstars of their day and the question that most often gets asked is "how did they do it?"(Oliver Crick).
The fact that some of these performers were verging on genius is without dispute. This fact alone does not help us at all in training a contemporary performer. What can help us, though, is the wide variety of theories concerning the acting techniques, styles and training of these late entertainers. In a sense it is irrelevant where these theories come from and even how historically correct they are. As an actor (and a trainer of actors) one has a duty to choose what will work for an audience and to ignore the rest. The current historical theory as to how Isabella Andreini performed a particular
"lazzi" might come from an impeccable source, but if a contemporary audience is unappreciative, then dump it quick, and on with something will work. There may be a case for re-creating "commedia dell'arte" as it was done, but does this really help the modern actor? Even in the more old-fashioned drama school period movement is meant to help an actor interpret a historical role, and is not mean't as an end in itself (David Claudon).
One solution is to approach an actor at the beginning of their training, and see where knowledge of "commedia dell'arte" and its performance can expand a performer's range. The contemporary young actor's most familiar performance role model is that of televisi...
... middle of paper ...
...terisation (Claudon). It may not be the whole answer, but it certainly plugs a few gaps that naturalism leaves open. "Commedia dell'arte" is also beneficial in any study of acting because it utilises a theatrical grammar, as well as a very intimate relationship with the audience (Crick). Now we can only wait until The Globe reopens to experiment with these theories in a purpose-built theatre.
Works Cited
Claudon, David. A Thumbnail History of Commedia Dell’Arte. 15 Oct. 2003
.
Crick, Oliver. “The Uses of Commedia Dell'Arte in Training the Modern
Actor.” Austin Commedia Society. 27 Nov. 2003
.
Gordon, Mel. “Lazzi: the Comic Routines of the Commedia Dell’Arte.” New
York; Performing Arts Journal Publications, c1983 (1992 printing).
Lea, Kathleen M. “Italian Popular Comedy; a Study in the Commedia Dell’Arte, 1560-
1620, with special reference to the English stage.” New York: Russell & Russell, 1962.
Rudlin, John. “Commedia Dell’Arte: an Actor’s Handbook.” London; New York:
Routledge, 1994.
Throughout the years, America has pursued the performing arts in a large variety of ways. Theatre plays a dramatic and major role in the arts of our society today, and it takes great effort in all aspects. Musical Theatre, specifically, involves a concentration and strength in dance, acting, and singing. This is the base that Musical Theatre is built upon. For my Senior Project, I helped choreograph multiple scenes in a community musical “Thoroughly Modern Millie”. Choreography is a way of expressing oneself, but it has not always been thought of for that purpose. Agnes de Mille’s expressive talent has drastically affected how people see choreography today. Agnes de Mille’s influence in the world of dance has left a lasting impact in the Performing Arts Department, and her revolutionary works are still known today for their wit, lyricism, emotion, and charm.
Musical performances are evaluated on many different aspects, including if the performance is historically accurate. The Eightieth century Opera was an up and coming genre that was spreading its way through Europe. Opera’s style and aesthetics in the baroque period could always be traced back to its Italian roots. In Ryszard Daniel Golianek’s article In Search of a Perfect Performance of the 18th Century Opera; Johann George Silzer’s Lexicon as an Aesthetic Guide he states “three general conditions of a good performance are mentioned: Deutlichkeit(Thoroughness), Ausdruck (expression) and Schönbeit(beauty)”. (p.150) Castrati were often used in lead roles of baroque opera. When performing baroque opera today, conductors are left with a difficult descion on how to replace the castrato while still attempting to remain historically true to the values of the composition.
Commedia dell'arte is a truly popular form of theatre - of the people, by the people, for the people.
Antoine Marie Joseph Artaud, best known as Antonin Artaud, was an anomalous yet astonishing French artist of the early 20th century who held an array of titles including poet, playwright, actor, director, and dramatic theorist. Artaud is profoundly associated with the Surrealist Movement of the 1920’s as well as avant-garde, or experimental, radical theatre. Although his innovative ideas surrounding theatre have influenced many popular writers and dramatists in history, Artaud received little to no success for his poetry, acting, or directing during his lifetime. His greatest contributions to theatre were his harsh and elaborate criticisms of dramatic art, which influenced playwrights
In 1545, the history of pantomime began when Commedia Dell’Arte was first performed. Commedia Dell’Arte, similarly acknowledged as ‘Comedy of arts’. Is an improvisational style of theatre comprising of unpremeditated dialogue and a company of vibrant stock characters. Emerging in Northern Italy in the 15th century, its exact origins are unknown. However, O’Brien (2004, p.23) states that “Commedia Dell’Arte was influenced by ancient Roman and Greek comedy and the medieval traditions of carnival acrobats and performers”.
Commedia Del’Arte is a form of theatre that is a semi-improvised variation of comedy originating in Italy and lasted for about four hundred years. These comedies focused more on the manner of performance, rather than the subject matter of the play. Commedia Del’Arte relied on a universal-adaptor cast of stock characters, whose roles, characteristics and costumes were well defined and widely known. Actors would travel in troupes that usually consisted of 10 to 15 performers and were usually run by a single leader. The actors wore elaborate masks that exaggerated facial features to convey their character’s personality. Troupes traveled with everything that they needed: costumes, props, and simple, portable stages that they could set up in any outdoor space. As troupes gained more success, they would acquire wealthy patrons who would sometimes provide theatres for them to perform in. By the end of the sixteenth century, popular comedies were traveling throughout Europe.
The epic actors must be be able narrate and demonstrate simultaneously as well as to follows Brecht’s rule on being detached from their character. The actor must always remember that they are an actor on stage expressing another’s emo...
Commedia dell’arte had quite an impact on Shakespeare, whether it be comedy or tragedy, as well as with many contemporary movies and television shows, creating many characters we know and love today. This impact has brought forth arguably some of the best characters the world has ever seen. Commedia dell’arte is a timeless art. Hopefully this trend, whether done on purpose or not, continues to do so for many generations to come, so great characters we can relate to will come to life forever.
It has influenced a plethora of playwrights and actors from every form of theatre. Commedia has provided us with a list of familiar and beloved characters that we often see portrayed in modern theatre without even realizing it. It is influence is evident in the writings of Shakespeare, the acting of Charlie Chaplain, the cast of shows like Saturday Night Live and Whose Line is it Anyway, as well as in comics and video games. Commedia dell’Arte may have had its time to flourish but its innovative ideas and relatable characters have insured that this beautiful form of art will never die. I hypothesis that the influences of Commedia dell’Arte will continue to impact theatre for many generations to come.
Societies progress can lead to intercultural similarities, and vastily obvious differences. These influences can be seen within the contemporary theatre of the times, explaining and progressing the status of community through storytelling and performance. The reactions to these changes are important, and help shape the society we have today. These elements are best seen between the medieval ans renaissance period.
Commedia Dell’ Arte was a distinctive form of stage art in the 1600’s and the famous playwright Moliere furthered its acceptance and import throughout his life. Originating in Italy, the popular art form spread quickly with the aid of traveling troops. One area that was greatly affected by this form of theater was France. The French people adored this theater and made it fit in with their culture. This can be seen in an essay by Gustave Lanson when he states, “In Paris Italian farce had replaced French farce.” The success of Commedia Dell’ Arte during the reign of Charles IX is well-known” (Lanson, 137). This effect can be seen through one of the country’s most famous playwrights, Moliere. Moliere was a renowned playwright and actor that continues to be well-known today. He was greatly influenced by Commedia Dell’ Arte. “Well-known definitions of the Commedia Dell’ Arte are that it was a semi-literary form of theatrical performance based primarily upon effective gestures and lazzi, and involving a limited number of generally accepted types who in their contrasting relation provide the setting for a light and flimsy action linked somehow by the eternal theme of love”( 704). His showing of the art form can be seen through his three most famous plays Tartuffe, The Misanthrope, and The Imaginary Invalid. As Lanson stated, “From soiling the noble and pure conception of comic genius given to us by The Misanthrope and Tartuffe” (Lanson, 134). With the progression from an earlier play to his final play, we can see where Moliere used aspects of Commedia Dell’ Arte and where he veered away to fit his own personal tastes and that of France’s. Moliere was born Jean-Baptise Poquelin in 1622 to a father who was an upholsterer for th...
Melodramas were slowly pushed out of the metaphorical spotlight as Realism and Naturalism took its place. Naturalism is a philosophy of being able to put a ‘slice of life’ on stage (Hartnoll (ed.) 1967, p. 67); that is, a small piece of everyday life, as if the audience wasn’t there. Naturalism was a leader into the modernist period and was considered a revolutionary movement of the time. Naturalism was a new and improved kind of theatre, often confused with and mistaken for realism, which, in itself is a very similar type of theatre that began to emerge alongside Naturalism in the late 19th Century. Realism is the practise of Naturalism’s ideology; Naturalism being the theory of putting a ‘slice of life’ onstage; once something is placed on stage it is no longer ‘natural’, therefore Naturalism can never be created on a live performance stage. Realism however, is the practise of this theory in which the stage is made to look as close to real life a possible, accompanied by psychological development of characters rather than physical development, accompanied by extravagant stages, costuming and make-up, common in the melodramas seen before realism became
In this paper, I will be focusing briefly on my knowledge and understanding of the concept of Applied theatre and one of its theatre form, which is Theatre in Education. The term Applied Theatre is a broad range of dramatic activity carried out by a crowd of diverse bodies and groups.
Theatre as we know it now was born more than two thousand years ago and has gone through many streams until it reached the current modernity. Among these streams is the avant-garde theatre. This theatre achieved a break in the traditional theatre and became the forefront of a new experimental theatre. Therefore it is necessary to ask how this theatre started, what impact it had on society and if this type of theatre is still common in our modern era.
For thousands of years, people have been arguing that theatre is a dying art form. Many people think theatre is all just cheesy singing and dancing or just boring old Shakespeare, but there is much more to theatre than those two extremes. Theatre is important to our society because it teaches us more about real life than recorded media. Theatre has been around for thousands of years and began as a religious ceremony that evolved into an art form that teaches about the true essence of life. Theatre can incorporate profound, and provocative, observations of the human condition that can transcend time; lessons found in Greek plays can still be relevant to the modern world. People argue that the very essence of theatre is being snuffed out by modern