Tag Archives: Pulcinella

Disciplines in Commedia dell’Arte

Tweet Commedia dell’Arte is sprung from a time long before circus and theatre were divided as separate genres, when all sorts of stage disciplines could be played on the same stage without one having to be better or more refined … Read the rest of this entry

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Improvisation in Commedia dell’Arte (Part 3)

Tweet 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 … Read the rest of this entry

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Improvisation in Commedia dell’Arte (Part 2)

Tweet 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 … Read the rest of this entry

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Improvisation in Commedia dell’Arte (Part 1)

Tweet 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 … Read the rest of this entry

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Commercialism in Commedia dell’Arte (Part 2)

Tweet 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 … Read the rest of this entry

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Commercialism in Commedia dell’Arte (Part 1)

Tweet 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 … Read the rest of this entry

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Entrees, sorties and sidelines in Commedia dell’Arte

Tweet 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 … Read the rest of this entry

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

Tweet 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 … Read the rest of this entry

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No 4:th wall in Commedia dell’Arte (Part 2)

Tweet One convention in Commedia dell’Arte is to take of the mask in the middle of the play explaining that a mistake has been made and he will now be repeating the gag or trick or blaming the director/author when … Read the rest of this entry

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No 4:th wall in Commedia dell’Arte (Part 1)

Tweet In most theatre today there is an idea that the audience is supposed to sit down passively and don’t disturb the performance. We shut down the light in the house, demand total silence of the audience and then act … Read the rest of this entry

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