We are going to chart the relationship between Pantaloon and Dr Lombardi and Silvio and Clarice in a number of scenes I call ‘insults and duels’.

For the characters make sure you have a clear idea of the following:

1. physical appearance, age, height, build, colouring, facial features
2. vocal qualities, pitch, pace, tone, accent
3. delivery of specific lines: interaction with others, eye contact, spatial relationships, physical contact
4. use of space
5. Their relationship with other KEY characters
6. movement, gesture, gait, posture, energy, demeanour and facial expressions
7. style/use of costume/make-up; of props and accessories
8. specific performance ideas clearly calculated to reveal the specified interpretation in key scenes.

• What is their relationship at the start of the play?
• How does it develop over the course of the play?
• What are the go-to scenes for these 2 characters “where they appear together?“
• What sorts of comedy is present?
• Is it comedy of character (traits pushed to the max) or of interactions (misfortunes, slapstick, vocal insults). Is it the audience that finds humour in the misfortune of the characters.
• Social/Historical ‘pearls’ – how have the characters been ‘reformed’ by Goldoni

• Watch the clip above – find the scene you have been working on. Make notes on what ‘invented business’ the actors came up with. How did the COMEDY work?
• Further reading:
• Commentary in Text
• Read the sheets linked below and make notes on the ‘reforms’ that Goldoni made to the Commedia tradition.
• HOMEWORK RESEARCH:
• https://jerseyedu.sharepoint.com/:b:/r/sites/hautlieu/pa/students/A%20LEVEL%20DRAMA/Servant%20of%202%20Masters/So2M%20Historic%20Contexts.pdf?csf=1&web=1&e=lpzUeM

SENTENCE STARTERS: “To generate comedy as Silvio, I would….” [duel] be kicked in the balls by Beatrice.I would react in an exaggerated but realistic way, groaning and wincing. Then I would kick her in her crotch but she would not double up in pain as I did. I would look in disbelief at her like she is some ‘superman’ then I would ‘clock her crotch and finally I would clock the audience to share by dismay with them. The audience would find my reaction comic as I don’t know Beatrice is a woman.

There are 3 characters who could be described as ‘boys/men with swords’ Florindo / Silvio and Beatrice {disguised as Ferderigo}

HOMEWORK:

It is important that we consider how different {as well as similar} they are in terms of characteristics (traits) , voice, physicality, rhythm of walk etc.

TASK 1: Use the table below to build up your notes of Silvio and Florindo. [Do one for each character – in your Journal or on a Word doc.]

Name of character _____________________________________________________

Qualities /Personality (adjectives – adverbs)	Stock-type / Previous-other names
How do they move/speak?	Major scenes (what happens?)
Social – Historic – Cultural ‘pearls of wisdom’	Quotes

Here are some key scenes from early in the play (early scenes are always good ‘go to moments’ to see how a playwright presents the characters to the audience.)

Task 2: Read, think and add to your notes.

Act 1 (scene 2) P 13 Silvio’s reactions to Federigo’s arrival and the stopping of the engagement.

Act 1 (scene 4) Florindo interactions with Truff and Porter

Act 1 (scene 5) Silvio with Truff and Silvio with Florindo.

Who do you think has the higher STATUS? – Why?

Who is the ‘best’ swordsman?

As a performer, how would you play Clarice in Act 1 to reveal different aspects of her character? Make specific reference to any social/historical & or cultural contexts

[Different aspects = comedic and serious]

With a partner, work out a PLAN for this question that involves an:

Introduction

Paragraph 1

Paragraph 2

Paragraph 3

You’ll need KEY SCENES to refer to in the 1st ACT

You’ll need to use the terminology of the ACTOR (Think STICK MAN)

Examiner’s say the Indicative content for a performer focused question could include [remember you wouldn’t be expected to cover it all!!]

• physical appearance, age, height, build, colouring, facial features
• vocal qualities, pitch, pace, tone, accent
• delivery of specific lines: interaction with others, eye contact, spatial relationships, physical contact
• use of space
• XXXX’s relationship with other KEY characters
• movement, gesture, gait, posture, energy, demeanour and facial expressions
• style/use of costume/make-up; of props and accessories
• specific performance ideas clearly calculated to reveal the specified interpretation in key scenes, for example:

Social, cultural or historical context might include, for example:

• reference to stock characters
• structure of play
• concepts of Commedia – lazzi, audience interaction