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]
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)
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:
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
Their 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.
Pantaloon’s costume
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.
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.
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.
