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?