Tag Archives: Dottore

The Stage

Traditionally a Commedia dell’Arte stage was used to be a banco, made of wood, about two meters tall and not much bigger than a horse driven cart, about 3 x 4 meters. It usually had a simple backdrop and where … Read the rest of this entry

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Acrobatics as a discipline in Commedia dell’Arte

Acrobatics and slapstick (together with the music) may be the most used discipline in Commedia dell’Arte. They work with symmetries, physical turns or physically exaggerated reactions or positions. Acrobatics is a way to stylize and it is used, just as … Read the rest of this entry

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Mime as a discipline in Commedia dell’Arte

All disciplines are not equally easy to use in Commedia dell’Arte. As an example on a problematic discipline we can look at mime or rather mimed objects. All objects on stage should be real. If we start to mime object … Read the rest of this entry

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Music as a discipline in Commedia dell’Arte

The music is off course the most central of all disciplines in Commedia dell’Arte. It is there to heighten the performance and it helps up the atmosphere of feast that is so characteristic in Commedia dell’Arte. I the very first … Read the rest of this entry

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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 … Read the rest of this entry

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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 … Read the rest of this entry

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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 … Read the rest of this entry

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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 … Read the rest of this entry

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No 4:th wall in Commedia dell’Arte (Part 3)

We can take in the audience in the performance either as an organism in itself or turn to different individuals in the audience. The show becomes a play between the audience and the masks on stage. In this play the … Read the rest of this entry

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Sound and sound effects

Commedia dell’Arte can very well be played without words, but never without sound, not even for a short moment. That is because it is street theatre. Sound has the ability to draw attention to it. I usually do an experiment … Read the rest of this entry

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