1) Reading Act 1 Scene 2, 3 & 14 (where Beatrice asks Brighella for help)

2) On lined paper you MUST put together a MIND-MAP imagining how ‘comedy can be created from Beatrice’s disguise.

Consider these sub-headings

Physicality:

• How does Beatrice walk, stand/pose as Federigo?
• What’s her rhythm (swagger?)
• Does she keep this up or does she lapse into more feminine physicality?
• If so, what does that look like?

Voice:

• What does her voice sound like as Federigo?
• Does she maintain it 100% of the time or does it ‘fail her’?
• If so, when? (quotes when she might ‘accidentally’ use a feminine voice?)

Costume

• What does she wear that is masculine?
• Look on the blog for:

1) the costumes pictures of gentlemen / highway men

2) What does she wear that might make Dr Lombardi describe her as a ‘bruiser?’

3) Does she have accessories? Facial hair/ hat / eye patch / sword. Do these ‘malfunction’ at any time?

Remember that all ideas MUST be practical AND tied into what people do and say in the scenes.

Remember to talk about how she ‘reacts’ to others and how others react to  her.

Look at the Post “Commedia Performance” from 12th September.

Look at the character of the Capitano in the video (go to 5:24mins/secs to 6:35 mins/secs)

Although the Capitano isn’t in ‘this play ‘Servant’ some of his ‘traits’ could be useful for the disguise.

ALL NOTES /MIND MAPS NEED TO BE IN JOURNAL READY FOR FRIDAY.

Quotes: (to Pantaloon)

“Mr Pantaloon, it appears the courtesy which I have received in correspondence is not matched by your behaviour in person…

…having dutifully sent up my servant to gain an audience with you, I am left standing this half-hour before you condescend to receive me.”

Quotes to Brighella

“For heaven’s sake please don’t undo me now, Brighella….I have borrowed my brother’s clothing and some letters of identification and with the money that I will get from Pantaloon I’ll be able to track Florindo down. Please don’t give me away”

“What do you mean swindled? For God’s sake that money is rightfully mine. Am I not my brother’s heir?”

WHAT VOICE AND EMOTION GO WITH EACH PASSAGE?

The following is a transcript of the ‘sample answer’ that was done in class.

As you read it be aware of the What/How/Why structure; how quotes are dropped in to provide examples & justifications.

Notice also how the majority of EACH paragraph is HOW: you are writing a Drama essay which is about the text in performance and not an English Literature essay which would focus on the text alone.

Questions: As a Director, how would you direct the actors in Act 1 Scenes 1 & 2 (So2M) to reveal their essential characteristics, relationships and any sub-textual issues at the start of the play. Make reference to the audience and your aims as a Director.

*This a very broad question: you MUST be selective and NOT write about every character. Just the ones who you think will answer the question.

Mr Jones’ example:

As the curtain rises on Act 1 Scene 1, I want the audience to see 2 clear groups and to understand some key relationships (WHAT). The Lombardo family (Dr L. and Silvio his son) will be centre stage right (CSR) and Clarice and Smeraldina will be Down Stage Left (DSL). Pantaloon (the host and Master of the house) will be shuffling between both groups and a servant (up stage) who will have a tray of drinks. Brighella will stand further off Stage Right. {a quick diagram could have been used with characters labels if you could do that quicker than writing} (HOW) By using proxemics, the audience will understand that Silvio is related to Dr L., that Clairce and Smeraldina are very close, despite their class differences, that Pantaloon is an old slightly fussy man and that Brighella is a new friend who is present as a witness so therefore stands away from the main groups. (WHY)

Class written example:

An essential characteristic of the Lovers is that they are , “in love with themselves being in love” (Rudlin). As a Director I will direct them to have exaggerated gestures and movement and to share their focus between the other Lover and the audience. (WHAT) Silvio will glide gracefully and balletically centre stage, drop to one knee and offer an engagement ring to Clarice. Clarice will gasp and clasp her hands to her heart. On her line, “Dearest Silvio…promise to be your wife..” I will direct her to use a breathy R.P accent as she floats dreamily towards Silvio. (HOW) This will show the audience their melodramatic characteristics, how they publicise their love and how they have been given an expensive education (illustrated by the way they speak and move). (WHY)

Mr Jones’ example:

Later in Scene 2, when Beatrice (dresses as her dead brother Federigo), arrives suddenly in the room, I will direct the Lovers to show different aspects of their character. (WHAT) My interpretation {Relationship} of these young Lovers is that they have been childhood sweethearts as their fathers are old friends. Both are surprised to be marrying for love as opposed to an arranged marriage for social advancement. I will cast Silvio as a 19 year old who is just starting to make his way in adult society. When facing Beatrice/Federigo, Silvio will puff out his chest, stand will strong legs and a wide stance and place himself between Clarice and Beatrice with his arm thrust out in a dramatic protective gesture. On the line, “…you are mine and I will let no man tear us asunder.” he will look out to the audience and drop his pitch to emphasise his strength and masculinity. (HOW) All this, when delivered with exaggerated conviction and forcefulness, will make the audience laugh at him and reveal some of his sub-textual issues: namely his hot-headed, violent tendencies. (WHY)

• [Analysis: Each paragraph has a structure WHAT/ HOW / WHY and addresses an aspect of the question.
• Each paragraph takes around 7-8 mins to construct (therefore in 50 mins of writing time you could expect to create 5 of these and stiil have time for a brief introduction.
• This is well on it’s way to achieving a Top Band grade (A or B)

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

Title, author, date, style (Commedia) genre (comic farce) = 1 line

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 Introduction – 5 mins

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.

Compare your Intros

SAMPLE ANSWER – ‘DRAMA & THEATRE    

(Mr Jones)        

Remember:                       

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. It’s “an exaggerated mirror of (Italian) society.” [Didi Hopkins]

[Link to the question – contains Historic and Social ‘pearls of wisdom -POW]

Beatrice is inspired by the stock character of the Lover but for most of the play she is in disguise as a typical male Master. Women in the 18^th century were not meant to be adventurers, but remain docile and subject to the wishes of their father’s and husband’s. (POW) 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: YOUR TURN

• What 1st impression do you want to make as Beatrice.
• What moment of comedy can you create [think voice or physicality or costume or a combination.
• What will be the effect on the characters and the Audience?

YOU SHOULD AIM TO WRITE A DETAILED PARAGRAPH USING A WHAT/HOW/WHY STRUCTURE.

*Write in the knowledge that your work COULD be shown to the whole class

SENTENCE STARTERS:

In order to create comedy from Beatrice’s entrance…

The first impression I want to create from Beatrice’s entrance is…

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.  I would drop this accent when talking as Beatrice (to Brighella and then Clarice in private).

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 4 – 20/25  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.