Serving the 2 masters (the most famous scene in the play)
Watch the clip above and list all the physical comedy moments and interactions with props and other characters that you can find.
Create a list of ‘ways that comedy can be created’ that is relevant to the scene. (Physical and other means)
Use these categories Comedy of Personality / Comedy of Situation / Comedy of ‘gags’ to organise your ideas (in readiness for an essay).
DIRECTOR FOCUS
Q1 You are a director staging the ‘famous’ serving of two Masters scene (Act 2 Scene 12)
Discuss how you would direct the actor playing Truffaldino in his interactions with props and other characters in order to create physical comedy.
You must make specific reference to the social, cultural and/or historical context of “A Servant of Two Masters” in your answer.
Sentence starters;
As a director I would create comedy by…
My directorial intention at this moment will be to…
As the director of this scene I want the audience to be amused by…
Try this question – identify the command and key words – make a plan for what you could talk about based on the clip above – (make reference to audience interaction – which is very clear in this production – and the physicality/acrobatic qualities and speech – delivery/pace.)
Examiner’s say the Indicative content for a Director focused question could include… [remember you wouldn’t be expected to cover it all!!]
physical appearance, age, height, build, colouring, facial features of ALL characters
vocal qualities, pitch, pace, tone, accent of ALL characters
delivery of specific lines: interaction with others, eye contact, spatial relationships, physical contact
use of space
KEY relationships
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.
Social, cultural or historical context might include, for example:
reference to stock characters
why is it physical comedy and not verbal
structure of play
concepts of Commedia – lazzi, audience interaction
Don’t ‘bolt’ all your historical and social knowledge on to the Introduction. It delays getting you into the main part of the essay which is HOW you’d act.
Get to the acting quicker BUT do set up the context (2 sentences max.) Why is Smeraldina there in the scene?
Make the acting ideas creative and specific – steal if you have to but be assertive and bold. “I will…”
Try and get some historic/social facts into the paragraph ONLY IF THEY ANSWER THE QUESTION
SAMPLE INTRO – generic and then specific:
In Carlo Goldoni’s Commedia inspired 1745 play, ‘A Servant to 2 Masters (So2M), Smeraldina has a more prominent role than in earlier traditional Commedia scenarios. She is still based on the stock-type ‘servetta’ and she still has a commentator’s role bridging the gap between characters and audience, but she has been given her own romantic plot line with the other main servant Truffaldino. She is outspoken and bold in the face of male authority but equally shy and endearing to the audience when seeking a suitable marriage partner. It is these character traits that I would exploit in my performance to create comedy for the audience.
1st Paragraph (showing HOW I would do this)
WHAT: A moment with comic potential is in Act 2 Scene 5 just after Smeraldina has saved her mistress Clarice from trying to commit suicide. She turns on Silvio; the hot-headed son of Dr Lombardi and Clarice’s fiancé, and delivers an amazingly energetic rant about the status of women in society and the inequality of the sexes, “The only reason we get the stick is because we don’t have a dick.” Her parting shot to Silvio is, “They (women) wouldn’t give you a second glance, ‘big boy’.” HOW: As Smeraldina, I’d use a sarcastic tone of voice and emphasise the words ‘big boy’ whilst dropping my pitch to imitate a male voice. I’d change my body language to that of a hulking, stiff alpha-male flexing his muscles in order to poke fun at Silvio and get a laugh from the audience. WHY: This would also be bold and spirited thing to do as Silvio is socially more superior, but as I’m playing Smeraldina as a 30 something woman with worldly experience and Silvio is just out of his teens, the audience will enjoy and hopefully find it funny that I am putting him back in his place through verbal and physical parody.
NEXT PARA:
Discuss something funny from the same moment – perhaps some of the sword business.
Next 2 PARAS:
Go to a new section: The Courtship of Truffaldino and Smeraldina Act 2 Scene 14: It’s a long scene so ask yourself the Question ‘WHAT’S THE FUNNIEST MOMENT’ AND JUMP TO THAT.
WHAT: Later in the play (Act 2 Scene 14) when Smeraldina and Truffaldino are having their awkward courtship, there is physical comedy that can be brought out from the moment that both admit they they can’t read.
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.
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?’
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!
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)
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 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.
