Improvisation in Commedia dell’Arte (Part 3)


Much of the art in playing Commedia dell’Arte has to do with being constantly on the alert, always ready to jump in to the action or leave space for another mask. This does not just apply when we are on stage. We must all the time be ready if we are needed on stage for a sudden introduced lazzo. We have fist and most the happy circumstance that unexpected things on stage happen. Every time we play, especially outdoors, we have to count on that something “goes wrong”. It may be scenography that falls, dogs that barks, actors does make mistakes, skinheads entering the stage, masks that fall of and so on. This is the actor’s gifts from God.
If the actor only is ready and skillful enough to use the situation it might very well be what lifts a mediocre, tiring performance. It may wake actors who until then have played a well-rehearsed without being ready to take any risks. The obstacles can naturally not be insurmountable.TS60

Another important aspect is that is more or less impossible for a mask to improvise with more than one mask at the same time, since the masks also constantly are improvising with the audience. To keep contact with more the two at the same time, knowing where they are on stage, seeing their reactions, giving them reactions, using a very narrow field of view through the mask is too great of a task.
Therefore there are seldom many masks on stage at the same time, except in opening and closing scenes off course, in Commedia dell’Arte. That doesn’t mean that we are not working as a group the whole time. It is important to work from a group feeling either we are on stage or not. Not just because of the atmosphere we create around us but also for the actor’s feeling of security.
Since it is not always only two masks on stage we have to develop strategies in order to improvise with only one mask or “unit of masks” on stage and create “binary relations”. See more HERE.

Back to Part 1 or Part 2

Filed in Acting style | 2 Comments

Improvisation in Commedia dell’Arte (Part 2)


When I work with Commedia dell’Arte I don’t let improvisation be the most important, even though it still is important. I do this for three reasons; Commedia dell’Arte is played from a plot, even though it is of less importance when it comes to why we play; there are very few actors with that tremendous improvisation skills; the fixed elements – the acrobatics, the music, battute, concetti, all forms of disciplines, lazzi – is what I find most interesting in Commedia dell’Arte.
One more thing that makes Commedia dell’Arte is rhythm. We can look at Commedia dell’Arte as a musical representation. Every scene in a performance, every mask all the way down to every gesture or line is sat within a rhythm. It is important to let the audience breath with the performance. This rhythm is what builds up the show to a musical performance. There are rhythm, crescendos and pauses in breathing; therefore it is vital that the actor first listen to the rhythm of the performance before he starts to improvise.
I always start up by creating highly firm scenery, most of the time we are even working from a written script. This gives the actor the security he needs to be able to come back to the rhythm at any time in the play. The actor also learns when not to improvise. The more the actor has to fall back on the more free he can be in his improvisations, without risking to ruin the rhythm of the performance.Callot04
It is when we are getting closer to the opening of a play, having all the firmly fixed sceneries in the actor’s backbone, that we start to fly, in other words we let the improvisations free. This is where we start to use test audiences in order to be sure the play is constantly aimed to it, listening to it and improvising to it by reacting to it. We also start to put “monkey spanners in the works” in order to force the actors to start improvising so the acting won’t get too static

Continue to Part 3
or back to Part 1

Filed in Acting style | 1 Comment

Improvisation in Commedia dell’Arte (Part 1)


How much in a Commedia dell’Arte show during the renaissance that was improvised is something we will never know. What we know is that a lot was written down: lazzi, burle, some monologues and dialogs, battute, concetti and we can also read from some actors own notes. Commedia dell’Arte is also built on various disciplines such as music, dance, acrobatics, fencing and different circus skills that are impossible to improvise. But they never used ready scripts.

It is easy to understand, in our text based theatre world, that is the lack of scripts that have fed the myth about Commedia dell’Arte as a throughout improvised theatre form. Many scholars have speculated in how the eccentric idea come up to start improvising or playing theatre without having a text as base, as if theatre wasn’t born long before it was written down. (See HERE) Let us here and now determine that it is not a text that makes theatre and that it is not the absence of a text that creates improvisations. Or to recite Flaminio Scala from the prologue to Il finto marito, from 1619:

For this reason, then, oration, or even locution, and words alone, have little to do with imitation, because even the smallest gesture at the right moment, and made with feeling, can achieve a greater effect than all the philosophy of Aristotle or the rhetoric or Demosthenes and Cicero.TS23

What we can be sure of is that it gave the notion that it was improvised, as all good theatre. That is something most theatre thinkers at the time agreed on, but then they were practitioners as well. Cecchini in his book from 1628 talks much about timing and coordination in building a play for example.
The theory about how much was improvised is that the actors composed already rehearsed and prepared parts in a play with in the frame of the scenario. It was made in a way so that the actor had the freedom to alter the parts he used in a play. We can also hold in mind that Cecchini and Perrucci both talked about how the improvising actor must have a good memory.
Plots, tricks and characters from literary and oral traditions were often stolen and put into different scenarios. Since originality was not the most important attribute for an artist to steal from other authors or groups was not looked upon as something particularly bad. Copyright was not invented yet. It could even be seen as an achievement to, in a refined way, steal and incorporate something already written or played.
It is not relevant for us here today to know how much was improvised to understand how to play Commedia dell’Arte today. We must find our own way in to the work or to quote Tim Fitzpatrik “actors – trained for their task – playing with a limited preparation”.

Continue to Part 2 or Part 3

Back to Acting style in Commedia dell’Arte

Filed in Acting style | 1 Comment

2014 – Sexfiaskon och en stol (sex/six-failures and a chair)


This was a fall production from the second year students at Kulturama’s physical theatre program in the fall of 2014. The show played in Stockholm with three shows.

Back to:
Sexfiaskon och en stol 
Micke’s videos
Commedia dell’Arte

Filed in 1 Commedia dell'Arte, 4 Videos, Commedia dell'Arte videos | 1 Comment

Sexfiaskon och en stol (Sex/six-failures and a chair)


Text and directing – Micke Klingvall

Zanni – Yosefin Bouhler
Pantalone – Per Mollan
Flavio – Mårten Gunnarsson
Flavia – Malin Andersson
Capitano – Axel Boberg
Signora – Manuela Bjelke

Click here to see a trailer of Sexfiaskon och en Stol.

This was a fall show for the second year class of physical theatre 2014/15 at Kulturama in Stockholm. It opened at Kulturama in Stockholm 16/12-2014 and played three shows.


The show is a classic Commedia dell’Arte, with of lots of play, lots of audience participation and some acrobatics. It was the first production for the students. We focused much on finding the play with the masks and the Commedia dell’Arte attitude.
The plot is based on the Signora who seeks seduce Flavio just as Flavia enters and misunderstands the situation. Then Capitano enters also wanting Signora, but gets caught by Pantalone who is looking for Signora who has been buying to much clothes. And so on…


Back to:
Micke’s directing
Mickes CV
Commedia dell’Arte

Filed in 1 Commedia dell'Arte | Comment Now

Commercialism in Commedia dell’Arte (Part 2)


The classical way is to wait until the hat is full before the show starts. The advantage with this way is that once “the hat is full” the actors don’t have to think about it and can concentrate on the show itself. The flip side is that not many people nowadays are ready to give money for a show they have not seen and they might not even have the time to stay to see the show.
The most usual way is to ask for money after the show is over. Hopefully the show has gathered a great crowd. Now people are happy and are willing to give some money for the show. Unfortunately it seldom works that way. Usually most part of the audience sense that it’s time to be asked for money and they leave the show in the middle of the final song while the actors are looked up on stage. So if we want to pass the hat at the end of the show we better promise something extra at the end of the show, maybe even after the final song. Another way is to go out in the audience just before the final song or even the final itself. It may be suddenly in the middle of the show spontaneous or not. Or as a part of the show, for example: “We must have enough money to make the marriage possible (Here is a chance for having another ending depending on how much money it brings). The best way, at least is it what I think, is to pass the hat in the middle of the show. We can’t trust that it is always possible. The actors that are not on stage at the moment can be doing the sound effects, have to be ready to jump onto the stage etc. Another problem that may occur is that an actor who is out in the audience may not be able to come back in time for his or her entrance. We never know what will happen out there in the audience, an old lady may be looking forever in her handbag for her purse; someone starts a discussion with a mask and so on.
One way it to give the audience some kind of reward, like letting someone up on stage or just give the person applause.  This work perfectly in Italy where people seems to love to be in center of attraction, but in Sweden it seems to be the other way around. People are very shy.KK38One of the great things with street theatre is that it is free. We shall not forget that. We can never force or demand payment from anyone, doesn’t matter how hungry we are. I guess we all have seen a street artists that more or less demand money saying something like: -“This is my job!”.  As if that was the audience’s problem.

Back to Part 1

Filed in 1 Commedia dell'Arte, Acting style | Comment Now

Commercialism in Commedia dell’Arte (Part 1)


Commedia dell’Arte is commercial by nature. One of the earliest names on Commedia dell’Arte was Commedia Merceraria (One of the many early names it has). The troupes played it in order to make money as any profession would. Commedia dell’Arte was born long before the romantic era with its idea about “the artist” as someone who don’t need prosaic things like respect, food or money as long as he could practice his art. This hypocritical view on the artist is still more or less reign.
So please let us see Commedia dell’Arte for what it is: a very practical art form with actors that not only want to survive, but also live well.

In practice this means that we have to use the idea, especially when playing in the street. If we want to earn any money at all we have to take that in consideration already when we prepare a show. It is not enough to just put a hat or a box in front of the stage for people to give money in. We must also find ways to remind the audience of the hat. It is not of greediness people don’t give. They might forget about it, they are sometimes too involved in the show itself or they are too shy to get up in front of the audience to give their contribution.
If the show is not bought by a festival or similar we will have to go “hat in hand”. That raises lots of questions: When in the show is it most effective? Can we make it to an integrated part of the show? Should it be done after the show, or even before? Is it possible for an actor or a mask to walk around in the audience during the show? Can that be part of the show?TS08

Continue to Part 2

Back to Acting style in Commedia dell’Arte

Filed in 1 Commedia dell'Arte, Acting style | 2 Comments

Mask technique in Commedia dell’Arte in Commedia dell’Arte (Part 2)


A dialog works as follows: the first mask to speak first turns to the mask he speaks to, in order to show him and the audience who he is talking to. The he turns his mask to the audience and acts and says what he has to say. The other mask looks at the mask that speaks so the audience understands that he is listening. When the fist mask is ready he turns back to the second mask to give him the focus. The second mask turns out to the audience to answer or react to what is said.
This technique is not only used for dialogs it has to be used for every reaction the masks have. If the for example find something on the floor it first see is turns out the mask to give the audience its reaction. If he chooses to pick it up or choose not to, he must show the audience his decision and the reason for it. It is these small reactions that build the plot in Commedia dell’Arte, since we can’t follow the face of the actor and since we see the bodies of the actors through the masks. See HERE
This “takes” (the turn of the head out to the audience) or “body takes” (a bigger turn using the whole body) are the mask’s windows to the audience. It is here the audience can follow the inner life of the mask. It uses the takes when it speaks, reacts, change state of emotions even when it speaks direct to the audience. In this way the mask technique reminds of puppet theatre or the way cartoons are drawn.

But the masks are not puppets or cartons. They are flesh and blood. It is therefore extremely important that the actor behind the mask really sees and communicates with the audience he or she is reacting to.
If the actor is too fast to see or chooses not to see the audience, the audience will not see the mask and its intentions. The content of the show and the mask’s/actor’s loses its value and he becomes as dead as the puppet in puppet theatre. Both the mask and the puppet are just pieces of dead matter until and actor fills it with life.Kult87

Commedia dell’Arte is a kind of theatre with no idea about a 4:th wall and it is constantly in contact with its audience. The most important focus for the actor is always the audience. If the mask loses the contact with the audience it dies or playing something else than Commedia dell’Arte.
Obviously the actors have to be in contact with its colleagues on stage, but that contact is secondary to the contact with the audience. Every mask uses all the time the other masks as their sounding board in its dialog with the audience.

Back to PART 1

Filed in Acting style | Comment Now

Mask technique in Commedia dell’Arte in Commedia dell’Arte (Part 1)


First of all we must establish that the mask technique is used by every mask in Commedia dell’Arte, consequently also the masks that don’t actually have a mask in their face. That is so all masks are playing in the same “world”, the same way, with the same energy and size. It does not work to have some masks (those without masks in their faces) act in another way then the rest.
The mask also has the power to emphasize those who don’t wear a mask by the contrast between the stylized, static and the living face. This demands off course that that the actors without masks act with the same energy and technique as those with a mask.

One of the most important aspects of the mask technique is that the mask does not work in all angles. For example the audience will not be able to follow the masks emotions and intentions in profile as it don’t see the face of the mask. It depends on the fact that we can’t see the eyes of the mask when the mask is turned too much to a side. The static face of the masks also disappears when the mask is in profile. This is even more important as we are so much used to look at each other’s faces and communicate with our faces. See HERE.TS40
The mask is communicating with the audience almost only when it is turned to it, so that the audience can see the actors eyes and follow the reactions of the mask. Therefore does the mask turn to the audience every time it speaks, reacts or change emotional state. This obviously feels awkward for the actor, who is used to react in the direction of the stage or who he or she is talking to. This can also be quite difficult since the mask usually has rather small eyeholes and the sight is limited.
Since Commedia dell’Arte is played without a “4:th wall this is perceived as quite natural for the audiences. Sometimes the audience doesn’t even notice the technique.

Continue to PART 2

Back to Acting style in Commedia dell’Arte

Filed in Acting style | Comment Now

Entrees, sorties and sidelines in Commedia dell’Arte


Some of the special conventions in Commedia dell’Arte are the use of entrees, sorties and sidelines. An entrée always have to be exaggerated and articulate. I don’t just have to be so full of energy that the mask entering the stage takes over the focus and raise the level of performance; it also has to present the character of the mask, emotional state and business. In the old times the actors could get extra paid for every entree applause.
Sometimes I have used small trampolines behind the backdrop to help the actors get the right energy at the entrée. Every time a mask comes on the stage he bounces off from the hidden trampoline and sort of flies on to the stage.

Equally important is the sorties. Just before a mask leaves the stage he turns out in a fast “tag” to bid farewell to his audience. It is not just because he wants to be sure he hat the audience’s favor when he leaves, but also to tell them where he is going, what he thinks about it, and what his mood is and so on…
Even if the form of the sortie is important can it be highly unmotivated. From the same idea that the mask may never enter the stage if he doesn’t have anything to do there he may just unmotivated leave the stage when he has done his business. Either the mask just leaves the stage or it finds an silly or simple motivation on the spot. But still the form of the sortie and what it says is important.


An aparte is just Italian for a sideline or an “aside”. In Commedia dell’Arte, with its mask technique, a mask does an aparte when it – for I short while – let’s go of the action on stage, take a step forward to the audience, and deliver a line or two, then steps back and continue as nothing has happened.  Meanwhile the other masks either freezes or continue their actions quietly without carrying the plot forward. This is a way for a mask to comment on what is happening undisturbed. The actor may even chose to take of the mask in order to make his comment from another angle than what the mask is able to.
Note that it is not really the same thing as in a melodrama for instance, where it is used to help the plot forward, while in Commedia dell’Arte it is more used for just a gag or a lazzo. And since Commedia dell’Arte, with its loss of the 4:th wall, as a form is in constant dialog with the audience is not needed in the same way. Read More

Filed in Acting style | Comment Now