Monthly Archives: mars 2016

Tempo or rhythm

Tweet Commedia dell’Arte is always fast, it is always moving forward and there are no dead moments in it. Except from the fact that it is comedy and it requires a comedy tempo, it is a consequence of that it … Read the rest of this entry

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Size and visual narrating

Tweet It’s important to be seen when playing on the street. Therefore we must be big and distinct in movement. We must always make sure that we communicate on such a large distance that we, not only attract audiences to … Read the rest of this entry

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Grotesque as an acting style in Commedia dell’Arte

Tweet The acting style in Commedia dell’Arte is very crude and rough, especially in early Commedia dell’Arte. The masks can be tremendously grotesque; the plots plain vulgar; situations – burlesque. Over time Commedia dell’Arte got more refined, soon it had … Read the rest of this entry

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Distance as acting style in Commedia dell’Arte

Tweet Commedia dell’Arte is always played with a sense of distance. It comes from the stylizing of the mask, the size of play, the use of mask, loose phalluses and other deformities of the body, the actor’s energy and the … Read the rest of this entry

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What we really know about Commedia dell’Arte (Part 2)

Tweet Except from the fact that almost all that is written about Commedia dell’Arte from the renaissance is either from what is played in the castles and palaces for nobles and the learned or it is written by priests who … Read the rest of this entry

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What we really know about Commedia dell’Arte (Part 1)

Tweet No one can say what a Commedia dell’Arte show really looked like in the renaissance. Neither do we know about the relations between the actors and the rest of the population or what is myth and what is true … Read the rest of this entry

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