Commedia Character Shorts- Innamorati (Chapter 3)

Innamorati!

The Innamorati, or Lovers, are delightful characters!  They create situations of desperation, gossip, envy, and are always stumbling upon obstacles that keeps them apart from their lover...all excellent material around which action can be developed for all of the other characters. Being separated from their lover (could there be anything worse?) gives them reason to strongly lament and moan their state, although when finally face to face, they are at a complete loss for words. Or they speak in an elegantly  heightened speech of the upper class, close to poetry and sonnet. In dire situations, they have the habit of enlisting the help of a servant to act as a medium between the two of them, which of course only opens the door for confusion and hijinks caused by their hapless servants. Very selfish and self-centered, the Lovers are in their own worlds in which they themselves are the most important subjects. Along with loving themselves, they are in love with the very idea of love and what it pertains to. They are vain, thoughtless, change emotions on a whim, and could be cruel and callous while professing the most profound of loves. Attractive and elegant, they can still be as comic and as flawed as any of the other characters.

There can be two sets of lovers in a Commedia dell'Arte play/scenario.  The First Lovers, usually more intelligent and serious, and the Second Lovers, usually flighty and slightly silly.

The First Lovers (sometimes called the straight lovers) in Goldoni's Servant of Two Masters are Beatrice and Florindo. They are cultured, educated, and seem to have a much broader life experience than the Second Lovers.  Their attraction and love for each other is based on the feeling that they are true equals both in character, social status, and intelligence, and as a team they would be quite a force to be reckoned with. Even though the First Lovers are usually the most grounded characters on stage, they are still prone to bouts of deep melancholy, selfishly pursuing their needs with little heed to anyone else, and taking their frustrations out on servants.  Their manner of dress and movement is stylized (see 'posture' below).

The Second Lovers in Goldoni's Servant of Two Masters, are Clarice and Silvio.  They appear quite young and their love for each other is similarly immature in nature.  While still professed as true love, theirs is rooted in image, pretense and pure fluffy romance (think a sappy romance novel). When things are not going their way, they throw tantrums, pout, hurl insults, cry and whine. Their manner of dress and movement is highly stylized (more so than the First Lovers), making Silvio is quite a fop and Clarice a brilliant coquette. 

• The Lovers elegant costumes were always in the latest fashion, (often to styled to excess) and usually of the same color, just in case another couple of Lovers was in the play too. This only reaffirms how much they were made for each other.  Just like couples who wear matching outfits today!
• The Lovers are the only Commedia characters who are not masked. (With the occasional exception of the Smeraldina/Columbina character.)
• The posture that the Lovers take on is that of strong pride. Their chests are expanded and thrust out so that the heart essentially leads them, sometimes seeming to literally pull them across the stage. They balletically point their toes while standing, and when moving, take light, quick steps, giving them a floating appearance.  Overall, they lack contact with the ground and seem to float rather than take steps. Their hand movements and gestures are very grand, expansive and expressive.

Actors Denita Linnertz and Tommy Venuti play the heroic and tragically separated Beatrice and Florindo in Servant of Two Masters.




Actors Deborah Craft and Glenn Proud (married to each other in their off-stage lives) are playing the passionate and hilarious Clarice and Silvio.




Opening weekend was a raving success for Servant of Two Masters!  The reviews are rolling in, and the critics LOVE what they are seeing. We want to have you rolling in our aisles. Visit the Piccolo Theatre Website for information on how to get your tickets today.

Check back soon for links to the great reviews and the next installment of Commedia Character Shorts!

The Music of Piccolo's Servant of Two Masters

From the very first meeting I had with Director John Szostek, it was clear that we wanted to use the music in Servant of Two Masters as a nod to some of the oldest Commedia dell'Arte musical traditions.  Music is as deeply rooted in this tradition as the masks worn by the actors.  But it was equally important not take ourselves too seriously in the process.

The show opens with a rousing version of "Two Fools Went to Venezia", which is based on an old Italian folk song about some gentlemen who go out to show themselves a good time, but end up just getting drunk and sick. See if you catch the name of one of the 'gentlemen'.... as he will reappear later in the show.

The lovers (with the exception of Silvio) all sing songs made famous by Virginia Andreini, one of the most famous prima donna innamorata of Commedia's golden age, generally accepted as the late 1500s-mid 1600s. (This was also simultaneously the beginning of operatic history.)

Innamorati

Clarice sings "Care gioie che le noie" in a setting by Claudio Saracini (Seconde Musiche, 1620). The dark and romantic tone of the lyrics are particularly suited to the scene, as Clarice is just about to kill herself in response to being jilted by her lover, Silvio.

Dear joys that banish the suffering of sighs, that pleasure I have in my breast those scintillating eyes reveal.  Now that vain dream with is false and fair company doesn't feign, doesn't advance that hand with so sweetly wounds my breast.

Unfortunately for Clarice, not only is the sword too large to gracefully pierce her breast, but I set this song to be played by an accordion in the style of a folk tune.  A wink to the audience that we are not to take her too seriously, in spite of her despair.  

Guilio Caccini

Beatrice and Florindo both sing "Tu ch'hai la penne", which is the theme of  their romantic journey through the play. Giulio Caccini composed this piece in 1614 for Lo schiavetto, a comedy made very famous by Andreini.  Andreini sang this piece at the end of that production (accompanying herself on the lute), disguised as a man, and in despair of her character's plight.  It seemed so fitting for Beatrice and Florindo, as they are both in danger, Beatrice in man's dress, and thinking each other dead.

You, Love, who have wings and know how to spread them in flight, ah! fly quickly to where my heart is: and if you do not know the way, follow my sighs.

This is one of the only times in the play that we are allowed to take seriously, as Beatrice and Florindo are the "straight" or "dark" lovers, meaning that their plight carries the plot and gives the play the weight it needs to carry the rest of the comedy.

But lest we take ourselves too seriously and get too buried in all of this beautiful tradition, Truffaldino has a love song too. He must impress the delightful Smeraldina somehow....and he does that with a ridiculous rendition of Louis Prima's "Angelina", played on his mandolin.  Embraced by fans as the Italian-American from New Orleans, his lively love song fits right in to our score.

We bookend the show with another Italian folk song, Notter de Berghem, in honor of Truffaldino, our comedic servant who reminds the audience several times how proud he is to be from Bergamo, a small town 230km from Venice.

-Denita Linnertz, Music Director, Servant of Two Masters

Commedia Character Shorts- Pantalone (Chapter 2)

Pantalone!

You will see a lot of this hilarious character in Servant of Two Masters!  Pantalone is thought, for the most part, to be based on the old Venetian merchants and tradesmen, known for their stingy and less-than-pleasant personalities.  Pantalone is entirely fixated on money and ego, and has the highest regards for his intelligence, but is actually somewhat stupid. He is fond of food and pretty women, gullible, hot tempered, and the butt of every conceivable kind of trick. (If you read last week's post on Arlecchino, you can guess who will be instigating most of these tricks....) Pantalone is usually the father to one of the lovers, and driven to arrange a suitable marriage for his offspring. In this play, it is the sweet and simpering Clarice.  Pantalone is presented either as a widower or bachelor, and despite his age, makes numerous passes at the women within the commedia world, though he is always rejected.  Despite his sinister and often inhumane treatment towards his fellows, Pantalone is perceived to be a pivotal part of commedia. His importance is represented in almost every commedia production; and following tradition, we place him at the beginning of our show to introduce the comedy.

• Pantalone's costume consists of tight red trousers or stockings, a long, loose black cloak with free-flowing sleeves, a brimless red hat and slippers.  He usually wears a giant codpiece to advertise his virility (which everyone knows to be long gone) and wears a pouch of money on his belt that usually hangs suggestively next to his cod piece
• Pantalone's mask has a long, hooked nose and small, beady eyes and a moustache, which is part of his mask
• This character moves very stiffly and walks hunched over to show how old he is and possibly to also better protect his money pouch.  His knees are bent and his feet shuffle quickly along the ground.  His hands and arms also move quickly, often gesturing wildly.  At bad news (usually that he has lost a coin), Pantalone is prone to heart attacks, falling onto his back with legs up like a beetle, stuck there until someone comes by to help him.

Here's more from the hilarious Lucero Less, who plays Pantalone in our production.



Opening night for Servant of Two Masters is quickly approaching, Friday, February 25!  (Which non-so-accidentally also happens to be World Commedia Day.)  We are READY to have you rolling in our aisles. Visit the Piccolo Theatre Website for information on how to get your tickets today.

And check back here for the next installment of Piccolo's Commedia Character Shorts, to get some thoughtful info one set of our Lovers.

Commedia Character Shorts are here! (Chapter 1)

Arlecchino!

Arlecchino is always a Commedia favorite.  Traditionally he is a servant (zanni) to Pantalone, Capitano, or Dottore, and is generally accepted as the most intelligent of the zanni characters.  He tries to trick his masters, but usually fails.   In Goldoni's Servant of Two Masters his name has been changed to Truffaldino (roughly, "Little Trickster") and much of the action exists because he tries to outwith everyone and serve two masters at the same time. Food holds amazing power over all of the zanni, but particularly this chap, so you can easily understand that two masters means twice the pay which means....twice the food!  He is also very much in love with Smeraldina, one of the other zanni in the play.  Will he win her over AND get permission to marry her AND serve two masters?  You'll have to see Truffaldino live and in action!

Arlecchino, PiccoloTeatro di Milano

• Arlecchino's costume is a rather tight jacket and pants, with bright multi-colored patches, usually in diamond shapes.  They can be in a symmetrical or asymmetrical pattern. 
• Arlecchino wears a belt and a slapstick.  (This is where "slapstick comedy," comes from).  A slapstick is made out of two thin strips of wood separated at the handle by a half an inch or so.  When the slapstick hits an object, the two strips of wood slap against each other  to make a loud sound, without hurting the person being hit. 
• Arlecchino's mask consists of a black half-mask and a black chin-piece. The mask's forehead is strongly lined with wrinkles, accentuating a slightly quizzical arch to the eye brows. The eye holes are arranged in such away as to convey and expression of astonishment, sensuality and craftiness. There is traditionally a tumor like growth billowing out under one eye along with a wart. The eyebrows and beard are bushy consisting of stiff bristles. This ensemble of characteristics portrays something savage and fiendish, with cat like qualities. The mask is such that it opens many possibilities to character and action.The nose is not very big, since he is very intelligent.
• Arlecchino is always moving, in acrobatic and agile ways.  Therefore, the actor who plays him should be very flexible.  His knees are always bent, as if he could spring up at any minute into a leap or acrobatic move.  Like Zanni, Arlecchino is led by his nose--his head follows an object, and then his body goes after it.

Here's more from the amazing Omen Sade, who plays Truffaldino in our production.

Check back here regularly over the next few weeks and we'll guide you through the basics of traditional Commedia characters and give you an insider's look at our production of Servant of Two Masters.  Want more information on Commedia?  Visit the Piccolo Theatre Website or email info@piccolotheatre.com with specific questions.

Giants of Commedia and Commedia Character Shorts

Did you see the video of our first rehearsal?  Looks like fun, doesn't it? We have so much more in store for you here- more sneak peaks into our rehearsal process, photos, fun historical facts, and our upcoming "Commedia Character Shorts" series.  Once a week, we'll post some info about the characters in Servant of Two Masters alongside a candid video interview with the actor who will be performing that role. Whether you are a Commedia dell'Arte junkie, or have never heard about it before reading this post, you're going to love these! Keep your eyes peeled for the first installment about Truffaldino!

In the meantime, we thought we'd pass along this great blog to you:  Clownlink 
A lot of the blog topics are right up Piccolo's alley, and the author is doing some special posts in honor of World Commedia Day (which happens to fall on opening night of Servant!). Check it out to find some info on Giorgio Strehler, Dario Fo, Flaminio Scala, Carlo Mazzone-Clamenti, and much more!

Carlo Goldoni and Commedia dell'Arte

Carlo Goldoni

Carlo Goldoni's famous Servant of Two Masters was written in 1743 near the end of Commedia's golden age. This masterpiece obviously owes its success to the multitude of traditional and beloved Commedia elements he utilized: characters, situations, masks, etc., but the manner in how Servant is performed is slightly different than what was considered "Commedia" at the time in 1743.

Goldoni had conceived a new type of theatre, a new way of acting, and a new way of perceiving the role of the playwright. Up until this point, Commedia actors were used to creating plays themselves using a great deal of improvisation. The subject was chosen (usually love intrigues, clever ways of getting money and outsmarting simpletons), the characters conceived and named, their relations to one another determined, and the situations clearly outlined, all beforehand. The material was then divided into scenes and lazzi, and the situations were made clear. When this general outline was deemed satisfactory, the actors were then given the freedom to heighten, vary, and embellish their parts as their genius might suggest. But with the Servant of Two Masters script, Goldoni took the reins and wrote everything down in a script. Earth shaking? It was in at the time in Italy.

So what does that mean for Piccolo's performance of the piece? Will this "scripted" play make us LAUGH??? What about the hilarious, creative brand of Piccolo-style improvisation and general goofiness? Aaaaaaahhhhhhhh!!!!

Have no fear! Artistic Director John Szostek has already thought this through.

"There is a trap in attempting to present The Servant of Two Masters and that is how to allow the comic instincts of skilled actors to overcome a tendency to be a servant to the text. It has been said that commedia is the riskiest form of comedy. True, but worth the risk. When the moment of inspired improvisation happens it is like a lightning strike and time seems to be in suspension while a wonder takes place. Fortunately Goldoni’s text is so perfectly balanced and adhering to pure form that it allows us to perform under, through, over and behind the text." -John Szostek

See the show yourself (opens February 25!) and the Piccolo Ensemble will treat you to a Commedia experience that will make you wonder why this conversation about Goldoni's script seemed like such a big deal.

For some more info on Goldoni, you may enjoy this video fro our namesake and inspiration, Piccolo Teatro di Milano (particularly the section right around the 4:00 mark). English speakers, don't fear, the narrator speaks your language. Plus there is also some great material on everyone's favorite character, Arlecchino. Enjoy!

Arlecchino servitore di due padroni | Giorgio Strehler e Ferruccio Soleri

Thanks to our dramaturg, Claudia Zanna for her research and Artistic Director John Szostek for his quote!

The Servant of Two Masters

"Most people are looking for a job...he has TWO!"

The cast of Piccolo Theatre's Servant of Two Masters has been in rehearsal for a little over a week now, and we thought you might like to meet the cast and crew of our upcoming Commedia production! Check out this great footage from our very first rehearsal last week.



Who is this "Federigo Rasponi of Turin", and why is everyone so interested in him, particularly since reports are that he was recently killed in a duel? Stay tuned....or better yet, buy a ticket to the show!

Servant of Two Masters

By Carlo Goldoni

Translated by Tom Simpson

Directed by John Szostek

Previews: Feb 18-20, 2011

Opening: Feb 25 – April 9, 2011

Days & Times: Fri at 8pm, Sat at 8pm, Sun at 3pm

Location: Evanston Arts Depot, 600 Main St., Evanston

Tickets: $25 for Adults, $20 for Seniors, $15 for Students, call for group rates.

Call for reservations 847-424-0089 or order online www.piccolotheatre.com

We have so much more to share about this show- about our brand new masks (made by our friend Antonio Fava), the music we've chosen, the crazy characters, the history of the show as it relates to the art of Commedia AND the role it plays in Piccolo's beginnings. You're going to love it! Stay tuned for more sneak peaks into the rehearsal process.

Oh, and did I mention that we have new ensemble members!! A belly laugh and hearty congratulations to costume designer Joshua D. Allard, lighting designer Eric Branson, and actors Nicole Keating, Jessica Puller, Vic May, Andrew Roberts, and Laura "Berner" Taylor.

Thanks to our good friend Rachel for the video! You'll be seeing a lot more work from her in upcoming blog posts.