Tag Archives: Theatrestudio

Posted on 2016-04-04 by Micke Klingvall

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

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 like … Read the rest of this entry →

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Posted on 2016-04-01 by Micke Klingvall

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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Posted on 2016-03-15 by Micke Klingvall

Distance as acting style in Commedia dell’Arte

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 simplicity … Read the rest of this entry →

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Posted on 2016-02-29 by Micke Klingvall

2015 – En Herrgårdssägen (The Tale of a Manor)

We opened the play in 17 April 2015, as a final production for Kulturama’s second year students in Physical Theatre that year. The performance played for three shows at Kulturama in Hammarby Sjöstad, Stockholm, and then it toured Trondheim and … Read the rest of this entry →

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Posted on 2016-02-29 by Micke Klingvall

En Herrgårdssägen (The Tale of a Manor)

by Selma Lagerlöf Herr Blomgren – Per Mollan Fru Blomgren – Yosefin Buohler Gunnar Hede – Axel Boberg Ingrid – Manuela Bjelke The Priest’s wife, The owneress at Munkhyttan– Malin Andresson Gustav Åhlin, Pigan, The Angel, Lady Grief, Karin Landeberg … Read the rest of this entry →

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Posted on 2016-02-26 by Micke Klingvall

Prolog or opening in Commedia dell’Arte

The introduction to a Commedia dell’Arte show in very important. It does not only have to present the different masks so that a modern audience will know them at an early stage in the show, it must also introduce the … Read the rest of this entry →

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Posted on 2016-02-23 by Micke Klingvall

Lazzo in Commedia dell’Arte

This might be the most known term in Commedia dell’Arte, though it is hardly known at all to those who are not involved in Commedia dell’Arte. It is not used anywhere else, but very often used in Commedia dell’Arte. What … Read the rest of this entry →

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Posted on 2016-02-22 by Micke Klingvall

Canovaccio in Commedia dell’Arte

If we go back to the heydays of Commedia dell’Arte the concept of canovaccio becomes more complicated. It was used both as a full scenario or just a plotline in a scenario. The word means “what’s on the canvas”. But … Read the rest of this entry →

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Posted on 2016-02-08 by Micke Klingvall

Svejk i Andra Världskriget (Schweik in the Second World War)

by  Berthold Brecht Svejk – Johanna Nyberg-Rydström Baloun – Agnes Dahlén Kopecka, Kati – Vivi Laakko Prochazka, Anna – Stina Rundberg Brettschnieder, The Individual – Anton Cöster SS-man, Bullinger – Daniel Taylor Music and music study – Affie Andersson Directions … Read the rest of this entry →

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Posted on 2016-02-04 by Micke Klingvall

Hierarchies and status play in Commedia dell’Arte

Commedia dell’Arte also built on the play with status. It is the old master/servant relation, where Pantalone and Dottore are the highest ranked and the zanni the lowest. In between them is Capitano who represents the military power, is an … Read the rest of this entry →

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