As well as your NOTES you MUST find answers to these questions.
What is a lazzi and why does Commedia have them?
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?Start at 27:25 mins in
What do you notice about his energy? / Energy: Direct or Indirect?
What do you notice about focus (on whom?)
PREPARATION FOR TRUFFALDINO (ACTOR) ESSAY
You 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?
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?”
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
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 18th 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.
There are 3 characters who could be described as ‘boys/men with swords’ Florindo , Silvio and Beatrice {disguised as Ferderigo}
HAVE YOUR NOTES READY FOR NEXT WEEK
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: Read the Character Notes for EACH character.
TASK 2: Create a separate page in your Journal for EACH character. (or use the sheets provided.)
Use the table below to build up your notes.
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 3: 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.
Out of the 3 of them, WHO do you think has the higher STATUS? –
Read and take notes from the Commentary on Truffaldino (your copy of the set text) – make specific note on the skills needed to play him, his origins, his characteristics (traits) and how he was developed by Goldoni.
Truffaldino – case study.
Recap – Traditional v Goldoni adaptation
Acrobatic clown – A Servant
Anarchistic (rebel)
Quick physically – slow mentally – thinks with his stomach
Discuss: In the absence of a true Brighella stock type you could say that Truffaldino has been given some of these characteristics.
Watch Video: Servant of Two Masters: Commedia Character Shorts-Lesson Two: Truffaldino (Go to 58 secs in and watch to 2 min 25 secs)
Discuss:
Watch this demonstration for physicality.
Watch Video (Go to 46 secs in and watch to 2 min 45 secs)
Discuss:
Why does Truff. stand straight out to the audience?
Light or Heavy
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}
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 Truffaldino can be ‘doltish’
Meaning: 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)
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.
aldino been modified?
Show Clips: “One Man, Two Guvnors” starring James Corden
Re-read the first 3 scenes of Act 1 and be completely familiar with WHO, WHERE & WHAT.
Think about what relationships are present on stage. Who knows who and for how long? Who is High/Low Status?
As you read it try to imagine a Voice and a Body Shape for EACH character.
Try and identify facts / backstory/ Social and Historic references to character {Why does Pantaloon want the engagement party to be ‘low-key?’}
For Homework you need to complete the diagram on the back of the Handout “Section 2-Analysis” showing HOW all the characters interlink. Bring to the next lesson.
Exam style question to keep in mind during these lessons on Act 1 / Scene 1-2
As a Director, how would you direct the actors in Act 1 Scenes 1 & 2 (So2M) to reveal their essential characteristics, 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]?
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 ……”
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
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