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
IN LESSON AND FOR HOMEWORK YOU SHOULD WRITE A ‘SAMPLE’ ESSAY ON TRUFFALDINO (PUTTING INTO ACTION ALL YOUR RECENT RESEARCH)
YOU WILL END UP WITH A FULL INTRODUCTION (GENERIC + YOUR OWN TAKE ON THE QUESTION) – FOLLOWED BY 2 FULL PARAGRAPHS LOOKING AT TRUFFALDINO’S 1ST ENTRANCE AND ANOTHER MOMENT. YOU WILL USE QUOTES FROM THE PLAY AND YOUR RESEARCH IN EVERY PARAGRAPH
Traits that sum up Truffaldino.
Servant (social status = low, but he can invert this)
Under-dog (creates a strong bond with the audience)
Hungry (‘a body-character’)
Poor (peasant) Looking for work
Thinks he’s clever
Lives in the moment.
Amoral not immoral (doesn’t know the difference between good and bad)
A rebel (anarchic – rule-breaker)
Write out this question: (identify key/command words)
As a performer, discuss how you would perform the role of Truffaldino in at least two sections of the play in order to convey your interpretation of the character to the audience. You must make specific reference to the social, cultural and/or historical context of A Servant to Two Masters in your answer.
Is this an Open or Closed Question?
Write your generic Introduction? [1-2 lines]
Give a summary of the character and his basic plot.
Show you know something of his traditional portrayal and how Goldoni has changed him in this play.
State your Interpretation in the first 3-4 scenes (1st impressions you want audience to have).
THINK/ DISCUSS –What are the ‘GO-TO’ moments you could use to illustrate your “interpretation” from the first 4 scenes?
Paragraph #1 (PEE structure)1st entrance & disregard for authority
Where and How does Truff. make his 1st impression.
How does he show his disregard for authority?
Paragraph #2 (PEE structure)Lustful urges
How does he show his basic urges like ‘lust’?
What’s the reaction from the audience?
OR
Paragraph #3 (PEE structure)Talking to the audience
Act 1 Scene 4 (Monologue) – What’s the effect/reason for him talking to the audience?
Read the Commentary on Truffaldino (your copy of the set text) On the double page in your Journal make specific notes on the skills needed to play him, his origins, his characteristics (traits) and how he was developed by Goldoni. (Use the appropriate side – Traditional vs Goldoni’s Reforms)
stock character – stereotype –
character traits (adjectives)
animal types
Mask (draw it!)
Costume
Motivation
Social background (where is he from, what do others think of him, what does he think of himself?)
Watch the Harlequin section from the Blog / films clip [The World of Commedia – Post: 31st October 2022] and take notes on MOVEMENT.
Piccolo Theatre Servant of Two Masters, Omen Sade (Performer) as Arlecchino/Truffaldino in traditional commedia dell’arte costume with white-with-multi-colored-triangles, hat, battoccio (stick/club) and leather mask created by Antonio Fava.
As well as your NOTES you MUST find answers to these questions.
10. Why is he called Truffaldino and not Harlequin?
11. Are there any changes that Truff. undergoes at the hands of Goldoni.
12. What does Niniar Kinnar-Wilson mean when he says that Harlequinio is ‘amoral not immoral’?
CLASS WORK
Watch Video: Servant of Two Masters: Commedia Character Shorts-Lesson Two: Truffaldino (Go to 58 secs in and watch to 2 min 25 secs)
Discussion points:
What’s the Dr Lombardi line that is quotes mean to you?
———————————————————————-
Watch this demonstration for physicality.
Watch Video (Go to 46 secs in and watch to 2 min 45 secs)
Discussion points:
Why does Truff. stand straight out to the audience?
Light or Heavy
Lazzo of the Fly (9 mins in)
What is this showing us about the character?
Read or Stage the 1st Entrance {always a good idea to talk about the 1st entrance if given a question about interpretation or aims/effects} Start at 8:45 mins in
What do you notice about his energy? / Energy: Direct or Indirect?
What do you notice about focus (on whom?)
Goldoni says in his own introduction “to the Readers” that Truff. can be ‘doltish’
adjective
(of a person) stupid; idiotic: a doltish character.
When he operates in a thoughtless fashion
(eg: tearing up the bill of exchange – act 2 sc 9 – P51-55)
And then ‘mischievous’
adjective
1 causing or showing a fondness for causing trouble in a playful way: mischievous children | a mischievous grin.
(eg: serving 2 masters – act 2 sc 12)
PREPARATION FOR TRUFFALDINO (ACTOR) ESSAY
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
Extension: How has the character of Truff. been modified?
The costume for men from a privileged background Highway man ‘look’
You are performing the role of Beatrice from her first appearance in Act One to her exit at the end of Scene Three. Explain how you would create comedy from Beatrice’s disguise as Federigo. [or]
You are performing the role of Beatrice from her first appearance in Act One to her exit at the end of Scene Three. Explain how would you want to present Beatrice to the audience?
You must make specific reference to the social, cultural and/or historical context of The Servant of Two Masters in your answer. [25 marks]
Look at the 2 versions of the question – What is the difference? {Open & Closed Questions}
This is a typical essay with an essay structure – What is that?
[Remember (What /Statement – How / Example – Why /Explain – Link to the question or Social/Historic/reference.]
Your answer needs to be about 5-6 paragraphs in length.
[What should go into the Introduction?] – Pair talk
Some context for the question: who she is, why is she coming to Venice, that this is the 1st time we/audience sees her. =1-2 lines
Any historical or social information relevant to the Question.
What your intention as a performer would be. =1 line
Write your own – 5 mins
Explore HOW you would generate comedy from Beatrice first appearance (DISCUSS IN PAIRS)
Write your own paragraph – 7 mins {focus: a costume malfunction or a physical/vocal mishap}
Compare your Intros and 1st paragraphs to the ones below.
SAMPLE ANSWER – ‘DRAMA & THEATRE
(Mr Jones)
[Remember Structure: What /Statement – How / Example – Why /Explain – Link to the question or Social/Historic/reference.]
You are performing the role of Beatrice from her first appearance in Act One to her exit at the end of Scene Three. Explain how would you want to present Beatrice to the audience?
You must make specific reference to the social, cultural and/or historical context of The Servant of Two Masters in your answer. [25 marks]
Introduction:{Link to the question}
‘A Servant to Two Masters’ (So2M), written by Goldoni in 1745, is a fast, action-driven, comic play that has many well-known characters from the Commedia tradition. Beatrice is inspired by the stock characters of the Lover and the Master, but in this play her role is complicated by the fact that she is dressed in men’s clothing (disguised as her dead brother Federigo). She is searching Venice for her lover Florindo. As a result for most of the play she presents as a typical male Master. Women in the 18th century were not meant to be adventurers, but remain subject to the wishes of their father’s and husband’s. Therefore, seeing a woman dressed and behaving as a man would have been a source of amusement for the audience. It is this comic potential that I wish to draw out in the opening scenes.
Paragraph 2:What costume / 1st impressions would you make?
As Beatrice, I would wear a man’s costume loosely based on the stock character of The Captain (a Commedia character who doesn’t appear in Goldoni’s play.) I would have a hat with feather, a cloak, riding boots, a sword and an eye-patch. I would talk in a ‘foreign accent – possibly French to indicate that Beatrice is from Turin and an outsider to Venice.
In order to create comedy from Beatrice’s entrance and clearly show the difficulty she has in maintaining her deception, I would say to Pantaloon, “Your humble servant, sir,” as I bow, take off my hat and throw the cloak over my shoulder puffing out my chest with confidence. Then, as I realise I am revealing my female cleavage, I would quickly turn away and cover myself with the cloak. In a fluster, I would have a voice break on the next words, “Federigo Rasponi” here my voice would revert to a higher feminine pitch. I would stop, then cough and say the name again in a deeper more stereotypical male voice whilst adopting the macho stance of standing, hand on sword, with my legs shoulder width apart.
Paragraph 3:choose a different moment and perhaps a different aspect of the performance – e.g: if paragraph 2 was about Beatrice’s costume and physical appearance then Paragraph 3 could focus on vocal delivery.)
Remember to include quotes– what Beatrice says AND also what is said to her that she must react to!
Later in the scene when Brighella recognises me as a woman I would want to portray her sincerity and distress as it looks my true identity is about to be revealed. I would move across to him and bring him downstage so that my aside, “Please don’t give me away” can be said quietly and in a feminine voice for the audience’s hearing only. This would reveal to them (if they haven’t already done so) that Federigo is a woman in disguise. There would be an urgency in my tone. At the same time I would lift up my eye-patch so that he can see that I am actually only pretending to have an injury. I could also wink with this eye to indicate a secret ‘agreement’ between Brighella and Beatrice on the line, “love could drive e to far greater excesses.”
Conclusion: The fact that the audience will quickly understand that I am a woman in men’s clothing, but the other characters (except Brighella) don’t, makes them ridiculous and allows the audience to laugh AT Pantaloon, the Dr and others, (which is part of the social satire that Goldoni was intending.) On the other hand it makes me (Beatrice) out to be a more sympathetic character acting out of more noble motives like true love and in the hostile environment of men (an under-dog style story).
45 mins = Band 420/25 Mark scheme – “thorough and thoughtful response”
I think this has the right balance between social and historic facts and knowledge and specific examples of HOW the part could be acted. It has a range of interpretations for Beatrice. It has enough terminology and the actions/vocal choices fit the character and her situation. There is use of quotes and a reference to audience. To move into Top Band 5 this needs possibly another paragraph and more perceptive comments about audience perceptions and a bit more creative acting ideas.
Colour 1 = References to historic/ social play knowledge
Colour 2 = Specific examples of acting or direction
This writing below came from a Y12 student in their 1st attempt at writing about So2M. This is a great example of clear, concise (no waffle) writing with historical and social knowledge coming naturally from the analysis. There is an obvious knowledge of theatrical terms like stage directions, physicality and conventions like the aside. The only area for improvement would be to use a lot more quotes to hang ideas onto specific moment of the play.
The question they had was:
How would you direct the first two scenes of Servant of Two Masters?
For the very opening of the play in Act 1 scene 1 when Silvio and Clarice are about to be engaged, I would have the two Lovers center stage looking at each-other, they are holding hands and are as close to each-other as they can be: this is to emphasize the intimacy and the genuine love they have for each-other. This will also be underlined through their speech. Often they will clock the audience to show that they wish to express their love to the whole world. I would place them center stage so the audience can understand that the focus of the scene is on these two characters, however they are not down stage center, The reason for this will come later in the scene. As for how the two will act, I would direct them to use an overly-dramatized style of delivery. This would involve large hand and arm gestures that are balletic and return to the heart. Their speech would be breathy to indicate they are feeling strong passions and well articulated to indicate their high level of education, This will invoke some comedy in the audience as is the aim of Commedia dell’arte, but also shows that the love these two have is genuine. It will also work in contrast later on in Act 2 when they hate the sight of one another. Since they are not masked I would expect big facial expressions from them, one would react with glee when the other speaks for instance.[Quote needed] The two will follow similar traits: Silvio would not (in this scene) act masculine, he too will be like Clarice in a floating joyful, gentle, innocent manner, this will show the audience that the two really work as a pair.
In terms of staging for other characters in Act 1 Scene 1 I will focus on proxemics and the other characters will be stationed according to their relationship with the two lovers. Pantaloon will be by the side of his daughter and Lombardi will be at the side of his son. This will help establish information as to the relationships with each character to the audience even before there is dialogue. Brighella would be downstage left on the Pantaloon side and Smeraldina will be down stage right on the Lombardi side. If you looked at the stage from a birds eye-view it would resemble a triangle with the two servants at the bottom moving up to the masters and the lovers at the top. Even though Brighella isn’t a servant in this play in normal Commedia he is and so I wanted to hearken back to that idea. He is a friend of Pantaloon however so that is why he is on the brides’ side to show his connection to the Pantaloon household. Smeraldina is a servant to Pantaloon as well however she is on Lombardi’s side in down stage right because that is the furthest point from Clarice, this shows discord between master and servant between Smeraldina and Clarice, the two still like each-other but in the context of this scene Smeraldina is envious of Clarice love. Downstage right is also a good position for Smeraldina to break the fourth wall which I intend her to do when she speaks much like an aside where only the audience can hear. If I had an extended cast I would also have one extra member playing a Zanni like servant giving drinks to Pantaloon, Lombardi and Brighella but not Smeraldina to underline that she is not considered an important individual to serve. A Zanni character would also hearken back to original Commedia dell’arte.
Example: How would you direct the first two scenes of Servant of Two Masters?
For the very opening of the play in Act 1 scene 1 when Silvio and Clarice are about to be engaged, I would have the two Lovers center stage looking at each-other, they are holding hands and are as close to each-other as they can be: this is to emphasize the intimacy and the genuine love they have for each-other. This will also be underlined through their speech. Often they will clock the audience to show that they wish to express their love to the whole world. I would place them center stage so the audience can understand that the focus of the scene is on these two characters, however they are not down stage center, The reason for this will come later in the scene. As for how the two will act, I would direct them to use an overly-dramatized style of delivery. This would involve large hand and arm gestures that are balletic and return to the heart. Their speech would be breathy to indicate they are feeling strong passions and well articulated to indicate their high level of education. This will invoke some comedy in the audience as is the aim of Commedia dell’arte,but also shows that the love these two have is genuine. It will also work in contrast later on in Act 2 when they hate the sight of one another. Since they are not maskedI would expect big facial expressions from them, one would react with glee when the other speaks for instance.[Quote needed] The two will follow similar traits: Silvio would not (in this scene) act masculine, he too will be like Clarice in a floating joyful, gentle, innocent manner. This will show the audience that the two really work as a pair.
As a Director, how would you direct the actors in Act 1 Scenes 1 & 2 (So2M) to reveal the essential characteristics of their character, key relationships at the start of the play and any sub-textual issues. Make reference to the audience and to your aims as director?
[what do you need the audience to understand]
You don’t have to reference all the characters but you should have…
PREPARATION: before you write out a full essay answer, it is useful to consider the following. Your answers should be short paragraphs.
Where would you place the characters at the start of the play and why?
When you your change this placement (BLOCKING) and why? [Needs quotes/lines for your Justification]
How would you direct PANTALOON to reveal an essential TRAIT of his character?
How would you use STATUS as a way to create comedy? [Think the INVERSION of status – arrival of Truffaldino]
Areas on the stage (where is the most PRIVATE part of the stage?)
YOU SHOULD MAKE SURE THAT YOUR ANSWER COVER
PARAGRAPH 1 – The lovers
PARAGRAPH 2 – Pantaloon / Dr Lombardi
USEFUL SENTENCE STARTERS
Eg: “My intention as a director at this point in the play would be to show/reveal/ focus on…”
“It is important for the audience to understand X at this point in the play so, as a director, I would ……”
COVER LESSON – WORK ON YOUR OWN IN THE LRC OR DRAMA 2
This is to test your knowledge of basic plot events, character knowledge and motivations in the first 2 Acts of the play “A Servant of 2 Masters” (So2M)
All the answers are in the play – you may also find the plot summary of the Commentaries useful.
TO BE DONE IN YOUR JOURNAL FOR NEXT LESSON
Comprehension Questions for Acts 1 & 2 of ‘Servant of 2 Masters’. (Questions)
Question
Answer
Mark
1
What are the 3 stock types of Commedia?
3
2
Traditionally which characters would have worn a mask
2
3
Name 2 character types that are not in the play?
2
4
Where is the play set – (city)
1
5
What is a lazzi?
2
6
Who wrote the play?
1
7
When did they write it (to within the nearest decade)
1
8
What are the names of the 2 older men?
2
9
What are the names of their children?
2
10
Beatrice comes from which city?
1
11
Who is her brother?
1
12
What has happened to him before the play begins? Who did this?
2
13
Who was he meant to marry and why?
2
14
Beatrice arrives at Pantaloon’s house disguised as whom?
1
15
Who recognises her and why?
2
16
Who is her servant?
1
17
Who is his love interest throughout the play?
1
18
What 2 things does Beatrice hope to get by arriving in Venice?
2
19
Why does Truffaldino sign up with another master?
1
20
Who is the ‘character’ Truffaldino. makes up?
1
21
Why does he ‘invent’ this person?
1
22
Name 2 objects that are the types of things that confuse Truffaldino now that he serves 2 masters?
2
23
Towards the end of Act 1 what does Beatrice do when in the company of a distressed Clarice?
2
24
Why is Silvio angry with Pantaloon and Beatrice/Federigo?
1
25
When discovering Silvio with a sword what does Beatrice/Ferderigo do?
1
26
What does Clarice threaten to do when confronted by Silvio’s jealousy?
1
27
What city is Truffaldino from?
1
28
How do we (the audience) know that Truffaldino can’t read?
2
29
Why does Truffaldino get a double beating at the end of the Act 2?
2
/44
30) Explain in a paragraph how you would play the role of Pantaloon or Dr Lombardi (focus on personality, voice, posture, body shape, rhythm, facial expression) 6 marks
Watch the following video and make some notes in your Journal about…
Grummalot (define it in your own words)
Why is it a useful ‘tool’ for improvising and exploring a text?
By watching the student actors, what skills do you think they show to successfully take part in a ‘grummalot’ conversation? [How does the listener know what is being said, how to respond, when to respond?]
Why does it simulate the world of Commedia (think accents and languages)
How could ‘grummalot’ be considered subversive during the time of Commedia?
