Read the Commentary Notes and Character sheet on Brighella
Answer the following Questions:
1) What is the ‘traditional way’ that Brighella is played in earlier Commedia plays {reference stock type – origins – explain ‘trickster’}
2) What changes has Goldoni made to the character in this play?
3) Find moments in the play where “he has become a decent, honest man” – Commentary quote.
Identify the KEY scenes he is is (and what he does).
WHAT ARE YOUR ‘GO-TO’ MOMENTS (CHOOSE THE OBVIOUS ONE AND ONES THAT SHOW CONTRASTING FEATURES OF THE CHARACTER)
Act 1
Act 2
Act 3
INTRODUCTION (Generic)
‘The Servant of Two Masters’ is a fast-paced comedy written by Carlo Goldoni in 1745 and strongly influenced by the style of Commedia dell’Arte. Commedia was popular from the 16th to the 18th century in Europe, and much of its popularity comes from the plays being populated with exaggerated stock characters like masters, lovers and servants, who were, “an exaggerated mirror of Italian society” – Didi Hopkins.
INTRODUCTION (Specific) Mr Jones
Smeraldina is the unmasked female servant (servetta) based on the stock character Columbine in traditional Commedia. In this play, she is both Servant (a ‘lady’s maid’ to Clarice) and a Lover (of Truffaldino). I would play her in her early 30s. My interpretation is that she is a mother-figure for Clarice (in the absence of any Mother character.) I would speak with a Liverpudlian accent to emphasise her working class origins. My aim is to present a cheeky, intelligent, brave woman with a strong sense of the injustice and inequality between the sexes in 18th century Italy who is capable of creating comedy by being outspoken.
BODY:
Paragraph 1 – (1st moment/example)
An interpretation of Smeraldina that I want to get across to the audience is her ‘proto-feminist’ traits. (POINT) Though this term (feminist) is not known in the 18th century, Goldoni seems to like creating strong women’s role (Beatrice) (S/H/C CONTEXT). A moment where Smeraldina shows this aspect of her character would be Act 2 Scene 5 when Clarice is holding a sword trying to kill herself at Silvio’s suggestion. On my line ‘What on earth do you think you’re doing?’ I will scream in Silvio’s face whilst grabbing his shirt collar. During my speech, “Oh, yes a woman’s hysterical…” I will use the sword and wave it around Silvio’s face making him flinch and then slap him on the bottom with it to give him a taste of his own medicine.(EXPLAIN HOW) This use of slapstick will be funny for the audience because she is taking down the most arrogant male in the play and the audience will like her bravery and his embarrassment. (JUSTIFICATION) It would have been shocking and a little subversive for the original audience to see a Servant standing up for the equal right of women in the patriarchal society of 18th century Italy. (SOCIAL/HISTORIC CONTEXT)
A different aspect of Smeraldina’s that I’d like to bring out is her traits as a Lover. In his reforming of the Commedia genre, Goldoni enlarged Smeraldina’s part (possibly as he was having an affair with the original actress) and the love plot with Truffaldino gives her more stage time and endears her more to the audience.
Act 2 Scene 14 is the first time she’s had on her own with Truffaldino. It’s a private scene where I’d like her to come across as a little shy and unsure of herself. There’s also opportunity to get some laughs. (Unfinished)
We will explore Smeraldina ahead of acting out some key scenes next lesson.
Read and add to your notes about Smeraldina:
Watch clip from this video: Go to Columbina character section (Columbina is another word /name for the female servant (servetta)
Watch from 5:25
Didi Hopkins says…She has aspects of all 4 of the MAIN MASKS (remind yourself of who are the 4 Masked Characters.)
“She’s good with money (Pantalone) – able to debate and argue (Doctore) – playful and flirtatious (Harlequin) and cunning (Brighella)”
Watch clip from 0:40
Watch from 3:40 for Smeraldina’s scene with Silvio.
How does she talk to Silvio – how does she mock him?
What is this word – why is it relevant to COMEDY.
1st impressions:
There are 3 characters who could be described as ‘boys/men with swords’ Florindo / Silvio and Beatrice {disguised as Ferderigo}
HOMEWORK:
TASK 1: Read Act 1 Scene 5 and imagine you had to direct all the ‘boys with swords’.
How would you distinguish them apart from Costume? Think Vocally, Physically, Facially, Spatially
Write 1-2 sentences with your OVERALL ideas.
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 2: Use the table below to build up your notes of Silvio and Florindo. [Do one for each character – in your Journal or on a Word doc.]
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: Re-Read these other scenes, 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
Who do you think has the higher STATUS? – Why?
Who is the ‘best’ swordsman?
FOR HOMEWORK YOU SHOULD WRITE A ‘SAMPLE’ ESSAY ON TRUFFALDINO (PUTTING INTO ACTION ALL YOUR RECENT RESEARCH)
YOU WILL END UP WITH A FULL INTRODUCTION (GENERIC + YOUR OWN TAKE ON THE QUESTION) – FOLLOWED BY 3 FULL PARAGRAPHS LOOKING AT TRUFFALDINO’S 1ST ENTRANCE AND ANOTHER MOMENT. YOU WILL USE QUOTES FROM THE PLAY AND YOUR RESEARCH IN EVERY PARAGRAPH
Traits that sum up Truffaldino.
Write out this question: (identify key/command words)
Is this an Open or Closed Question?
THINK/ DISCUSS –What are the ‘GO-TO’ moments you could use to illustrate your “interpretation” from the first 4 scenes?
Paragraph #1 (PEE structure) 1st entrance & disregard for authority
Paragraph #2 (PEE structure) Lustful urges
Paragraph #3 (PEE structure) Comic business / Talking to the audience
You choose from:
This work is to be completed in your Journal (where you have notes on Truffaldino)
TAKE NO MORE THAN 1 HOUR
Create a DOUBLE page for Truffaldino.(ONE SIDE FOR HOW TO PERFORM AND THE OTHER FOR NOTES ON ORIGINS, HISTORY, SOCIAL CONTEXTS ETC)
Use the template HEADINGS given for Smeraldina.
YOUR NOTES MUST find answers to these questions. [Read Commentary – Origins pages xxvi, xxvii, xxviii, xxvix, xxx
Watch Video: Servant of Two Masters: Commedia Character Shorts-Lesson Two: Truffaldino (Go to 58 secs in and watch to 2 min 25 secs)
Discussion points:
What’s the Dr Lombardi line that is quoted mean to you?
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.)
[Use your work on the Lazzi we have explored in class]
Analyse the question (command words and key words)
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!!]
Social, cultural or historical context might include, for example:
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.
*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.
Generic Introduction
Specific Introduction
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 Lombardi 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 (dressed 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)
1) Reading Act 1 Scene 2, 3 & 14 (where Beatrice tells Clarice all)
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:
Voice:
Costume
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”
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?
SAMPLE QUESTION
You don’t have to reference all the characters
PREPARATION: before you write out a full essay answer, it is useful to consider the following. Your answers should be in short paragraphs.
Areas on the stage (where is the most PRIVATE part of the stage/ where the most PUBLIC?)
YOU SHOULD MAKE SURE THAT YOUR ANSWER COVER
PARAGRAPH 1 – The Lovers
PARAGRAPH 2 – Pantaloon / Dr Lombardi
PARAGRAPH 3 – Truffaldino OR Smeraldina and their relationship to the audience.
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 ……”
You don’t have to reference all the characters but you should have…