As a performer playing Smeraldina, discuss the performance methods you would employ in order to create comedy for your audience in at least 2 sections of the play. Make specific reference to social and/or historic contexts in the play (Servant of 2 Masters) in your answer.
Introduction
What generic (general) information do you need?
What specific information? (a good place to get in some of your social / historic information, BUT don’t let it turn into a History of Commedia essay!)
Use the notes I gave you and the Commentary about 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 (read the paragraph section about her character.)
Add to your notes
Form your own opinions /imagine your own virtual performance
What’s WRONG with the picture at the top?
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) Sometimes known as Columbine. Did not wear a mask. Costume: apron, dress, low cut blouse
Goldoni ‘interested’ and ‘promoted’ this part! WHY?
Didi Hopkins says she has aspects of the 4 mains Masks: She’s good with money (Pantoloon) She is able to engage in an academic debate about men /women/ injustice and society (Doctore) She is playful (Harlequin) and cunning (Brighella)
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
Video: Servant of Two Masters: Commedia Character Shorts-Lesson Six: Smeraldina
Write down this question into your Live Theatre Journals
Briefly explain the effects created by a non-naturalistic approach to costume design at particular moments. Analyse and evaluate how this contributed to the total dramatic effectiveness of the production by referring to two or three specific designs.
[25 marks]
Here is what you are expected to do: Read thoroughly.
In your opening paragraph of any Live Theatre questions you need to establish these things + engage briefly with the question set.
Name of company and play / playwright / genre
The media you saw it on/in
The Director and number of actors
The type of production and the space
The style of performance – Brechtian
The theme being focused on
The concept of the production (Bouffons) – why
Sample introduction (Mr Jones)
Introduction
We watched a digital performance of the Shakespearen tragedy ‘Macbeth’ performed by Splendid Productions, adapted and directed by Kerry Frampton. The production was designed for a schools’ tour with 3 actors, no lighting and minimal use of props and set. It had many Brechtian elements like multi-roling, use of song and placards and a knowing sense of theatricality. Frampton’s overall concept, taken from Macbeth’s line “It’s a tale told by an idiot…” was to tell the story using 3 Bouffons. These bouffons: “People who believe in NOTHING and make fun of EVERYTHING” – Jacques Lecoq engaged with the audience in a very direct way.
5 lines
You need to engage briefly with the question (consider this an over view of what you will focus on in the Main Body of your essay.)
Introduction Cont…
As with the other non-naturalistic elements of this touring production, the costume designs were simple, inventive and allowed for swift changes of character. They were non-naturalistic in terms of colour scheme, shape and had symbolic elements to effectively help the audience understand themes like kingship and when actors were playing Shakespeare’s characters and when Bouffons.
The main body of your essay needs to be built up with a number of paragraphs that follow a Point, Evidence, Explain structure and follow the Question’s command words of Analyse and Evaluate.
Sample 1st paragraph (always useful to start with 1st impressions)
The first impression the audience have of a non-naturalistic approach to costume are of a chorus of grotesque Bouffons standing with placards stating, ‘Leaders wanted’. Bouffons traditionally were misshapen, deformed figures living on the edges of society and the costume’s shape acknowledges this with exaggerated shoulders pads, elbow patches and misshapen headwear. The costumes are as misshapen as they can be given that the actors are not exclusively ‘bouffons’ throughout the play. The headwear is created from various items of baby clothing. One Bouffon has a stuffed baby grow on his head (Insert diagram) This is a reference to the innocent children killed in wars and also a comment on the idea that the Macbeth’s are childless. Coupled with this, is the make-up design which has the actor’s faces in smudged white foundation with dark sunken dark eye sockets. This effectively makes the actors seem ghoulish and other worldly making them convincing as the Unknowns (as the Witches are known in this version). There is also comic and clown connotations with the white face and supports the director’s concept that this is a story ‘told by… idiot(s) ‘ who exist outside the Shakespearean world. Director Kerry Frampton indicates in her production notes that the Unknowns are meant to be ‘otherworldly’. They link heaven and earth. The all-white costumes indicate purity and the mud, blood spatters and rips (usually in the lower part of the costumes) is a result of the Bouffons walking the earth and being sullied and made dirty.
[This LINKS back to the Bouffon paragraph which already makes reference to deformity] The convention (rule) created in the first few scenes is that when the Bouffons remove their headwear they ‘take on the role’ of the various Shakespearean characters. As well as creating a silhouette that is misshapen and deformed, the addition of pads and wires under the costumes, especially the shoulder area, makes the Shakespearan characters seem powerful and masculine. Even Lady Macbeth has this feature to her costume. It bulks out her outline rather like an American football shirt. This enhances her power and is effective and appropriate as she is often more masculine than Macbeth – she is the one who suggests the murder of Duncan and strengthens Macbeth’s resolve when he is weakening. The Bouffons say “If she were born a man, would she be king already?’
Do this in your Journal for ‘Servant of 2 Masters’
What is a character arc? What is an emotional journey? (Are they the same? THINK /PAIR /SHARE
Consider Clarice in all 3 Acts (how does she develop)
Skim read the plot summary and identify ALL the scenes that Clarice is in. Then create a table
What happens in the scene
How does Clarice come across to the audience
Act 1 Scene 1
Clarice is being engaged to |Silvio – she does not grieve at losing Federigo as her true love has always been Silvio.
She is over the moon in love. Excessive “my heart would always be yours” – She wants to go somewhere private with Silvio – she’s like a giddy teenager. Daddy’s girl!
Continue for the rest of the play
Create an ’emotional journey for Clarice –
She starts off displaying XXXX then moves into displaying YYYY (that sort of thing)
Make sure you get into Act 2 and Act 3
Discussion: Create one – two sentences that explain your ‘director’s concept’ for Clarice. You want the audience to see WHAT over the course of the play?
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)
YOU SHOULD HAVE READ THE WHOLE PLAY A NUMBER OF TIMES BY NOW. I
IF YOU HAVE ANY TIME LEFT IN THIS LESSON YOU MUST READ ACT 3 WHICH WE DIDN’T DO IN CLASS
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 – answers to INCLUDE the KEY WORDS of the question
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? (You need to watch one of the early videos on the Blog about characters)
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
30) Explain in a paragraph how you would play the role of Pantaloon (focus on personality, voice, posture, body shape, rhythm, facial expression) 6 marks available
Look at the structure of the mark scheme for this part of the exam.
Identify what the General progression is up the Bands
Identify what the SPECIFIC bullet points that you (the candidate have to make)
PAIR TALK what your understanding of this is (the language can be quite hard to decipher at first)
Look at your essay again (1 week later)
What Band would you give it (where does MOST of the essay fit)
Now, give it a NUMERICAL MARK out of 25 based on your analysis and the Notes I have provided.
Look at the Mark Scheme I have given you to see if your analysis of your essay corresponds to mine.
Stick in the BLANK Mark sheet into your So2M Journal.
How to improve (some general points)
POSITIVES: Most of you understood and got in some historic facts about|:
Harlequin being the original / traditional name.
The characters being a servant and lover (with the better answers indicating that the lover role was 1) made larger and 2) was more romantic than just ‘lust’ because Sacchi was the ‘star’ and had paid for the ‘commission’
Most of you mentioned Sacchi but BE CAREFUL that you don’t rob yourself of time for the detailed focus on ‘performance’ that the essay is all about.
YOU ARE NOT WRITING A HISTORY OF THE PLAY type essay – it must be an essay about HOW WOULD YOU PERFORM TRUFFALDINO.
All of you wrote about being the PERFORMER (no one missed the target)
NEGATIVES:
Write more! I gave you a detailed plan – you should have written for 45 mins {but actually you had 30-35 mins}. At 7-10 mins a paragraph that’s 4.5 paragraphs = 2 to 2.5 side of A4
You must talk in specifics: Establish the moment clearly. Who, where, when and why: {Zoom in from a Long shot to a Close Up) “ When I enter Pantaloon’s room to announce my Master is down stairs, I will…”
You MUST imagine you are playing the role. “If I was playing the part…(?) You are playing the part!!! E.g. “As Truff. I will… {Use the PRESENT tense as if you are acting as you write}
You need to state ‘the effects’ you wish to create. I gave you a list of 6
Some of you MUST re-read your words/sentences because what you’re writing is NOT GOOD ENGLISH.
Try and develop a writing style that is simple but specific. Every line you write should specifically refer back to the question or illustrate your answer in some clear way.
Don’t say ‘over the top’ – say exaggerated or heightened …
Get in more than 1 acting skill per example: If you are saying something about vocal delivery then go on to add what your face is doing, add a gesture or move you make, say what your body language is doing, how close or far away you are from other characters or the audience. (Try for 4 acting terms – the Mark scheme say you must use subject specific terminology)
Be more creative – don’t just say what the script says (add value!) E.g. The letter re-sealing lazzo. To say you’ll do it 3 times is just repeating what’s in the script. To say you strangle yourself in your attempt not to swallow or you tie string to the bread as a ‘clever’ precaution is CREATIVE – even if the idea came from someone else. Pass it off confidently as yours!
One actor reads the words and the other comes up with comic business. Try and use the script as a blue print but feel free to improvise lines or physical business. Swap over when done.
Watch this and see what ‘invention’ this actor brought to the lazzo. You will get credit for ‘creative additions’ [value added] As there is virtually no stage directions MOST of the physicality in this play is up for you to decide upon.
Other moments:
What voice? (Explore the monologue Truffaldino has on P16
Explore P26 – How does Truffaldino’s voice and physicality change depending on whether he is talking to a Master or the Audience.
What can we deduce about his relationship with the audience?
As well as your NOTES you MUST find answers to these questions. [Read Commentary – Origins pages xxvi, xxvii, xxviii, xxvix, xxx
What is a lazzi and why does Commedia have them?
Who was Sacchi?
What did Goldoni think of Sacchi?
Why is Truffaldino called Truffaldino and not Harlequin?
Are there any changes that Truff. undergoes at the hands of Goldoni.
What does Niniar Kinnar-Wilson mean when he says that Harlequinio is ‘amoral not immoral’?
Lazzo of the Fly (9 mins in)
What is this showing us about the character?
Read or Stage the Lazzo of the Trunk. On the page it is nothing. How can you stage it to make it into a piece of comic business? Watch the sequence in this student production – (Start at 27:25 mins in) HAVE THEY MISSED A COMIC OPPORTUNITY?
Look at the lazzo of the letter (P28) How can you stage it to make it more comic and inventive (Value added – credit will be given for ‘creative’ ideas that you bring tot he play as long as it fits the plot, characters and style.
PREPARATION FOR TRUFFALDINO (ACTOR) ESSAY
Try this question – make a plan for what you could talk about – (make reference to audience interaction – which is very clear in this production – and physicality/acrobatic qualities and speech – delivery/pace.)
04 As a performer, discuss the effects you would wish to create through your presentation of Truffaldino. How would you perform the role in at least two sections in order to achieve your aims? You must make specific reference to the social, cultural and/or historical context of ‘A Servant to Two Masters (So2M).
[Use your work on the Lazzi we have explored in class]
Analyse the question (command words and key words)
Mind map an Introduction,
key moments you will ‘go to’.
Make sure you have an ‘interpretation’ that is supported by the text, your knowledge of the social/historic/cultural contexts of the character/play and Commedia, and covers a range of specific actor skills
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?
