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.

2 moments that are comic – what would you choose?

Plan it! (10 mins) Be prepared to SHARE

WHAT: Know the point to your paragraphs

HOW: Know what examples / moments / quotes

WHY is it FUNNY

TASK 1

• 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?”

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)