Silvio Essay

As a performer, discuss how you would want your audience to respond to the role of Silvio in the course of the play. How would you perform the role in at least two sections of the play in order to achieve your aims? You must make specific reference to the social, cultural and/or historical context of So2M in your answer.

For this question – develop an essay plan.

  • Work out what you would say in the Introduction
  • Know what 3-4 aims /points you wish to get across
  • Work out which your 2 ‘sections’ will be.

Introductions – TIPS

  • A good place to drop in historic and social ‘pearls of wisdom. (E.g. what stock type is your character, their origins, how has Goldoni changed the character,
  • Mention your ‘interpretation’ and your actor’s ‘intention/aims’. [how old are they, how would they be dressed, what traits are you going to focus on revealing.
  • No need to list the scenes you will use [you can do that at the start of each paragraph] or state general plot. Plot detail needs to be relevant to your character.

[GENERIC OPENING] ‘A Servant to 2 masters’ (1745) is a fast moving comedy written by Carlo Goldoni towards the end of the 200 year period when Commedia dell’Arte was the most popular theatre form in Europe. It features instantly recognisable stock characters who are “an exaggerated mirror of Italian society” [Didi Hopkins]

WHO IS SMERALDINA?

We will explore Smeraldina ahead of acting out some key scenes next lesson.

Read and add to your notes about Smeraldina:

  • List the scenes she is most prominent in. (plot summary)
  • commentaries (the short 3 paragraph section about her character.
    • Watch the clips below and add to your notes
  • form your own opinions /imagine your own virtual performance
Where does Smeraldina appear and what does she do.?

Act 1

  • Scene 1 – S. she listens to others, comments to audience, answers door (establishes her role, attitude)
  • Scene 2 – S.meets Truff, plays it cool, reveals she might be interest
  • Scene 12 – Announces arrival of Federigo to Clarice

Act 2

  • Scene 5 – Stops Clarice from from killing herself, turns on Silvio and has speech about ‘position of women in society’
  • Scene 13 – Outside Brighella’s inn – running a message, chatted up by waiter, she dismisses him
  • Scene 14 – Flirtation with Truff.
  • Scene 15 – Trying to read a letter with Truff- shows she illiterate

Act 3

  • Scene 12 – Encourages Clarice to make up with Silvio
  • Scene 14 – S. says she’d like to get married, though she has no one in  mind.
  • Scene 15 – S. ask Clarice for permission to ask Beatrice to release Truff. so that he can marry her. Finally Truff asks S. to marry him.
Commentary notes:

Stock type: female servant (servetta) Soemtimes known as Columbine. Did not wear a mask. Costume: apron, dress, low cut blouse

Goldoni ‘interested’ and ‘promoted’ this part! WHY?

Personality: outspoken, sharp, perceptive (sees the world as it is), observant, wants to be married, motherly(?) towards Clarice (female mentor?)

Knows her place but doesn’t like it.

Not afraid to speak her mind (even in front of her boss – Pantaloon)

Didi Hopkins says in her Characters video:

She has aspects of all 4 of the MAIN MASKS

She’s good with money (Pantalone) – able to debate and argue (Doctore) – playful and flirtatious (Harlequin) and cunning (Brighella)

Video: Servant of Two Masters: Commedia Character Shorts-Lesson Six: Smeraldina

Watch clip from 0:40

Watch from 3:40 for Smeraldina’s scene with Silvio.

Dr Lombardi and Pantaloon’s relationship.

As a director for Dr Lombardi and Pantaloon, discuss how you would create comedy in TWO sections of the play where they appear together. You must make specific reference to the social/historic and/or cultural context of ‘The Servant of 2 Masters’ in your answer.

Your answer needs to contain an Introduction (both a quick generic one for the play in general and a specific one explaining your directorial concept/aims. ]

Then a Body of 4-6 paragraphs that ‘zoom in’ on the ‘go-to moments’. This is the bit where you have to use the terminology of acting and directing. A short conclusion if time allows.

You must have quotes.

You must work in your historic/ social knowledge into your writing – NOT just bolt it on to your Introduction.

SAMPLE WRITING:

[Generic opening]The Servant of Two Masters’ is a fast-paced comedy written by Carlo Goldoni in 1746 and strongly influenced by the style of Commedia dell’Arte.  The play is populated with exaggerated stock characters like masters, lovers and servants, who were “an exaggerated mirror of Italian society” – Didi Hopkins. 

[Specific Introduction] As the director of the Old Men (Il Vecchi), I would aim to show the disintegration of an old friendship. I would use the traditional qualities of Dr Lombardi and Pantaloon to create outrageous parodies, use physical comic violence and props and create moments of uncharacteristic behaviour to create comedy.

(Body) Paragraph structure – Point – Example – Explain (what, how, why)

In Act 2 Scene 1, Pantaloon attempts to tell the Dr. that the engagement between Silvio and Clarice is off, but  he cannot get a word in edgeways.  I will direct Dr L. to use a raised hand to silence Pantaloon and increase the volume of the first word of his next line drawing out the word to add greater importance to it – e.g: “S T O P!, I know exactly what…” This is intended to silence Pantaloon  and drown him out. Pantaloon will get increasingly exasperated, rolls his eyes and huff and sigh. It will be funny as the Dr is unaware of Pantaloon’s behaviour as I will position him downstage. As the scene progresses and Pantaloon cannot finish his sentences: “Well actually…” and ” If you’ll allow me to speak…” I’d direct Pantaloon to show his increasing exasperation by making some gestures: looking at his watch attached to his waistcoat and using his hands to mimic the Dr’s mouth and endless talking. In this up stage position I can direct Pantaloon to upstage the Dr. The Comedy will be generated by the impudence of the ridiculing as well as the exaggerated ‘pompous and verbose’ qualities of Dr Lombardi.

When the Dr breaks into Latin, (a common trait which reveals him as an academic who has had a University education) I will direct him to stride around the front of the stage as if giving a lecture using a posh R.P accent, focusing on the audience and drawing out his vowels in order to sound impressive. This parody of a ‘know-it-all’ presents his pompous and pedantic traits. I would seek to create comedy from his exaggerated mannerisms, his physicality and his lack of understanding regarding the feelings of others – “He knows everything about everything, but understands nothing” – Ninian Kinnar-Wilson.   His lack of awareness of what Pantaloon is doing behind him, should make the audience laugh at him.

To finish the scene I will direct Pantaloon to act like a child involved in playground bickering. He will illustrate the line, “The wart on the end of my arse is worth more than the entire house of Lombardi.” As he does so he’ll wiggle his bum in the direction of a shocked Dr L. He’ll stress the word ‘arse’ and generally deliver the final speech in a heightened state of agitation. All this will be comic as we do not expect this type of behaviour and language coming from a 70 year old ‘honest tradesman of my nation.’ (Goldoni)