So as you can see there are many different types of masked theatre. There are many links. With Commedia and Japanese Noh Theatre, there are strict rules and both have rules about how and when you put the mask on. With Commedia it must be you either facing the back of the stage or off stage completely, but with Noh theatre you MUST be offstage and looking in a mirror and becoming the character that the mask is and no longer yourself.
Also Commedia and Noh both didn't have female actresses in at first, but eventually did and became successful with it!
Most masks that are made, are made from leather masks in most masked theatre types. This is because they are more comfortable and generally last longer.
The ritual and theatrical definitions of mask usage frequently overlap and merge. This links the role of a mask as a ritual object and in theatre.
Tuesday, 8 March 2016
Evaluation of performance
We only did one performance in the evening this year so we didn't have to do a matinee. Quite frankly, I'm glad. This is because we still had to learn a song and it was no way going to be done in time for a matinee. Also we still needed to do full runs so that we could make sure the finishing touches were done and make sure the show actually makes sense.
Before the show we did a focusing game of counting to twenty with our eyes closed and if someone else says the number at the same time we have to start again and this was purely to just get our energy and focus ready for the show.
I personally think the show went really well. Sim improvised a lot in her character of the Doctor which worked for her but it was really hard not to laugh on stage which I resulted in doing only because some of the stuff she said, I was not expecting it at all. I think I really brought a lot of character into it even more in the show as I had an audience to bounce off. My dress made it difficult to jump around and walk around because it was so long so that restricted me slightly. Doing the quick costume changes was really hard but everyone managed to do it.
When the song came I was so nervous because it was such an odd tune and we hadn't gone through it since before the show. When it came to it, it was slightly forgotten tune wise but it ended up coming across quite comic instead of unprofessional. We pulled through and I personally think the show went really well in the end.
There was also things that could of been improved. Many rules were broken during the show which should not happen. Examples of this included mentioning 'God' a few times, and one of the rules of commedia is to not mention anything to do with religion. Also there was a few remarks that was said that could have been seen as 'racist' or just completely in appropriate. Many people forgot their stances and there walks and came out of character as they was focusing on their words too much and just purely forgetting. There was also a lot of talking backstage and noise which shouldn't happen in any show but it came out really loud from where the audience was which obviously isn't good. In the blackouts, people (including myself) took way too long to get on and off stage, this (in my opinion) was because I couldn't see anywhere I was going which lead to some of the scenery being knocked over by other people as well during the show. Also not being able to see backstage as much either it lead to people tripping over props or costumes/masks that had been left on the floor. We should have prepared the song a few days before the show instead of on the day, as this lead to a lot of stress particularly to Lily as she had to play the piano in the song. The scene with the banquet where McGeoff saw the ghost of Spankio, was just pure messy. Everyone talked over each other, I had been given instruction to say something to Michael with everyone else quiet but that was hard to do as some people kept talking or couldn't hear me trying to start the line. I think the scene lost meaning and just looked pointless due to the fact that so much was going on that you couldn't really tell what was going on with Michael's character. Sometimes in scenes, dialogue dragged on way to long and eventually just dried out and became very awkward for the audience to watch and the people on stage to be around. But I still think the show was a success and was really funny, we got good reactions from the audience which I think helped with everyone's confidence a lot. If something went wrong aka when Michael's wig fell off and when Eden dropped all of her coins, it was improvised really well as Michael pretended that his wig was a rat and stamped on it and Eden just commentated as she was picking up the coins and it went really well with her character.
There was also things that could of been improved. Many rules were broken during the show which should not happen. Examples of this included mentioning 'God' a few times, and one of the rules of commedia is to not mention anything to do with religion. Also there was a few remarks that was said that could have been seen as 'racist' or just completely in appropriate. Many people forgot their stances and there walks and came out of character as they was focusing on their words too much and just purely forgetting. There was also a lot of talking backstage and noise which shouldn't happen in any show but it came out really loud from where the audience was which obviously isn't good. In the blackouts, people (including myself) took way too long to get on and off stage, this (in my opinion) was because I couldn't see anywhere I was going which lead to some of the scenery being knocked over by other people as well during the show. Also not being able to see backstage as much either it lead to people tripping over props or costumes/masks that had been left on the floor. We should have prepared the song a few days before the show instead of on the day, as this lead to a lot of stress particularly to Lily as she had to play the piano in the song. The scene with the banquet where McGeoff saw the ghost of Spankio, was just pure messy. Everyone talked over each other, I had been given instruction to say something to Michael with everyone else quiet but that was hard to do as some people kept talking or couldn't hear me trying to start the line. I think the scene lost meaning and just looked pointless due to the fact that so much was going on that you couldn't really tell what was going on with Michael's character. Sometimes in scenes, dialogue dragged on way to long and eventually just dried out and became very awkward for the audience to watch and the people on stage to be around. But I still think the show was a success and was really funny, we got good reactions from the audience which I think helped with everyone's confidence a lot. If something went wrong aka when Michael's wig fell off and when Eden dropped all of her coins, it was improvised really well as Michael pretended that his wig was a rat and stamped on it and Eden just commentated as she was picking up the coins and it went really well with her character.
Other types of masked theatre, that was not included in my presentation:
African Masks: http://www.ehow.co.uk/facts_4856201_facts-african-masks.html
African masks are one of the most widely recognised African art forms. They have a great deal of symbolism, and are used in numerous ceremonies all across Africa. Every nation and tribe makes their masks a little differently, so they are all unique to the area where they are made. You can find African masks hanging in many museums and on sale in ethnic markets.
Masks and ritual
The Greek term for mask is persona and was a significant element in the worship of Dionysus at Athens, likely used in ceremonial rites and celebrations. Most of the evidence comes from only a few vase paintings of the 5th century BC, such as one showing a mask of the god suspended from a tree with decorated robe hanging below it and dancing and the Pronomos vas, which depicts actors preparing for a Satyr play. No physical evidence remains available to us, as the masks were made of organic materials and not considered permanent objects, ultimately being dedicated to the altar of Dionysus after performances. Nevertheless, the mask is known to have been used since the time of Aeschylus and considered to be one of the iconic conventions of classical Greek theatre.
Mask details
Illustrations of theatrical masks from 5th century display helmet-like mask, covering the entire face and head, with holes for the eyes and a small aperture for the mouth, as well as an integrated wig. It is interesting to note that these paintings never show actual masks on the actors in performance; they are most often shown being handled by the actors before or after a performance, that liminal space between the audience and the stage, between myth and reality. This demonstrates the way in which the mask was to ‘melt’ into the face and allow the actor to vanish into the role. Effectively, the mask transformed the actor as much as memorization of the text. Therefore, performance in ancient Greece did not distinguish the masked actor from the theatrical character.
Mask functions
In a large open-air theatre, like the Theatre of Dionysus in Athens, the classical masks were able to bring the characters’ face closer to the audience, especially since they had intensely over-exaggerated facial features and expressions.
The actor can reappear on stage at least several different types of characters. In commedia, you cannot do this as it can confuse the audience. You can only have one mask each and nobody else can use your mask in commedia as it confuses the audience, and does not make sense. Where as in Greek theatre you can come back on in several different roles.
https://en.wikipedia.org/wiki/Theatre_of_ancient_Greece
Greek tragedy as we know it was created in Athens around the time of 532 BC, when Thespis was the earliest recorded actor. The plays had a chorus from 12 to 15 people, who performed the plays in verse accompanied by music, beginning in the morning and lasting until the evening. The performance space was a simple circular space, the orchestra, where the chorus danced and sang. The orchestra, which had an average diameter of 78 feet, was situated on a flattened terrace at the foot of a hill, the slope of which produced a natural theatron, literally "watching place". Later, the term "theatre" came to be applied to the whole area of theatron, orchestra, and skené. The coryphaeus was the head chorus member who could enter the story as a character able to interact with the characters of a play. In 465 BC, the playwrights began using a backdrop or scenic wall, which hung or stood behind the orchestra, which also served as an area where actors could change their costumes.
The actors in these plays that had tragic roles wore boots called cothurni that elevated them above the other actors. The actors with comedic roles only wore a thin soled shoe called a sock. For this reason, dramatic art is sometimes alluded to as "Sock and Buskin".
Melpomene is the muse of tragedy and is often depicted holding the tragic mask and wearing cothurni. Thalia is the muse of comedy and is similarly associated with the mask of comedy and the comedic "socks".
https://en.wikipedia.org/wiki/Mask#Latin_America
Distinctive styles of masks began to emerge in pre-Hispanic America about 1200BC, although there is evidence of far older mask forms. In the Andes, masks were used to dress the faces of the dead. These were originally made of fabric, but later burial masks were sometimes made of beaten copper or gold, and occasionally of clay.
For the Aztecs, human skulls were prized as war trophies, and skull masks were not uncommon. Masks were also used as part of court entertainments, possibly combining political with religious significance.
In post-colonial Latin America, pre-Columbian traditions merged with Christian rituals, and syncretic masquerades and ceremonies, such as All Souls/Day of the Dead developed, despite efforts of the Church to stamp out the indigenous traditions. Masks remain an important feature of popular carnivals and religious dances, such as The Dance of the Moors and Christians. Mexico, in particular, retains a great deal of creativity in the production of masks, encouraged by collectors. Wrestling matches, where it is common for the participants to wear masks, are very popular, and many of the wrestlers can be considered folk heroes. For instance, the popular wrestler El Santo continued wearing his mask after retirement, revealed his face briefly only in old age, and was buried wearing his silver mask.
https://en.wikipedia.org/wiki/Mask#China
In China, masks are thought to have originated in ancient religious ceremonies. Images of people wearing masks have been found in rock paintings along the Yangtze River. Later mask forms brings together myths and symbols from Shamanism and Buddhism.[37]
Shigong dance masks were used in shamanic rituals to thank the gods, while nuo dance masks protected from bad spirits. Wedding masks were used to pray for good luck and a lasting marriage, and "Swallowing Animal" masks were associated with protecting the home and symbolised the "swallowing" of disaster. Opera masks were used in a basic 'Common' form of opera performed without a stage or backdrops. These led to colourful facial patterns that we see in today's Jingju (Beijing Opera).
African masks are one of the most widely recognised African art forms. They have a great deal of symbolism, and are used in numerous ceremonies all across Africa. Every nation and tribe makes their masks a little differently, so they are all unique to the area where they are made. You can find African masks hanging in many museums and on sale in ethnic markets.
Many African masks depict animals, because they are believed to link tribesmen with the land and nature around them. Some common animals that are carved into masks are the hawk, crocodile and buffalo.
African masks are used in a number of different ceremonies. Most of these are funerals, ceremonies celebrating agriculture and initiation ceremonies for boys who are transitioning into men.
Masks are usually made with the ancestry of a tribe in mind. They often have zigzagging lines carved into them, which represent the ups and downs of the tribe and tells a story of their past.
African masks can be made from a number of different materials. These include various types of wood, metal and other organic materials that are often found in Africa.
African masks are not only worn during ceremonies. Special masks that exhibit anger and aggressiveness are worn by tribes during times of war.
http://www.lotusmasks.com/category/History-African-Masks.html
In Africa, masks can be traced back to well past Paleolithic times. These art objects were, and are still made of various materials, included are leather, metal, fabric and various types of wood.
African masks are considered amongst the finest creations in the art world and are highly sought after by art collectors. Many of the pieces some replica's, can be viewed in museums and art galleries in many parts of the world. Masking ceremonies in Africa have great cultural and traditional significance. Latest developments and understanding of Aesthetic principles, religious and ceremonial values, have brought about a greater insight into the ideas and moral values that African artists express in their art.
During celebrations, initiations, crop harvesting, war preparation, peace and trouble times, African masks are worn by a chosen or initiated dancer. It can be worn in three different ways: vertically covering the face: as helmets, encasing the entire head, and as crest, resting upon the head, which was commonly covered by material as part of the disguise. African masks often represent a spirit and it is strongly believed that the spirit of the ancestors possesses the wearer.
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https://www.youtube.com/watch?v=HZwMX6T5Jhk
This is a song by Kayne West that involves dancers and African costumes and masks in it!
https://www.youtube.com/watch?v=YI4sDx6SGwA
This is a song called 'Oh Africa' and has loads of different masks, painted bodies and so on!
https://en.wikipedia.org/wiki/Mask#Ritual_masks
There are a wide variety of masks used in Africa. In West Africa, masks are used in masquerades that form part of religious ceremonies enacted to communicate with spirits and ancestors. Examples are the masquerades of the Yoruba, Igbo, and Edo cultures, including Egungun Masquerades and Northern Edo Masquerades. The masks are usually carved with an extraordinary skill and variety by artists who will usually have received their training as an apprentice to a master carver - frequently it is a tradition that has been passed down within a family through many generations. Such an artist holds a respected position in tribal society because of the work that he or she creates, embodying not only complex craft techniques but also spiritual/social and symbolic knowledge. African masks are also used in the Mas or Masquerade of the Caribbean Carnival.
GREEK THEATRE: https://greektheatre.wordpress.com/home/
The Greek term for mask is persona and was a significant element in the worship of Dionysus at Athens, likely used in ceremonial rites and celebrations. Most of the evidence comes from only a few vase paintings of the 5th century BC, such as one showing a mask of the god suspended from a tree with decorated robe hanging below it and dancing and the Pronomos vas, which depicts actors preparing for a Satyr play. No physical evidence remains available to us, as the masks were made of organic materials and not considered permanent objects, ultimately being dedicated to the altar of Dionysus after performances. Nevertheless, the mask is known to have been used since the time of Aeschylus and considered to be one of the iconic conventions of classical Greek theatre.
Mask details
Illustrations of theatrical masks from 5th century display helmet-like mask, covering the entire face and head, with holes for the eyes and a small aperture for the mouth, as well as an integrated wig. It is interesting to note that these paintings never show actual masks on the actors in performance; they are most often shown being handled by the actors before or after a performance, that liminal space between the audience and the stage, between myth and reality. This demonstrates the way in which the mask was to ‘melt’ into the face and allow the actor to vanish into the role. Effectively, the mask transformed the actor as much as memorization of the text. Therefore, performance in ancient Greece did not distinguish the masked actor from the theatrical character.
Mask functions
In a large open-air theatre, like the Theatre of Dionysus in Athens, the classical masks were able to bring the characters’ face closer to the audience, especially since they had intensely over-exaggerated facial features and expressions.
The actor can reappear on stage at least several different types of characters. In commedia, you cannot do this as it can confuse the audience. You can only have one mask each and nobody else can use your mask in commedia as it confuses the audience, and does not make sense. Where as in Greek theatre you can come back on in several different roles.
https://en.wikipedia.org/wiki/Theatre_of_ancient_Greece
Greek tragedy as we know it was created in Athens around the time of 532 BC, when Thespis was the earliest recorded actor. The plays had a chorus from 12 to 15 people, who performed the plays in verse accompanied by music, beginning in the morning and lasting until the evening. The performance space was a simple circular space, the orchestra, where the chorus danced and sang. The orchestra, which had an average diameter of 78 feet, was situated on a flattened terrace at the foot of a hill, the slope of which produced a natural theatron, literally "watching place". Later, the term "theatre" came to be applied to the whole area of theatron, orchestra, and skené. The coryphaeus was the head chorus member who could enter the story as a character able to interact with the characters of a play. In 465 BC, the playwrights began using a backdrop or scenic wall, which hung or stood behind the orchestra, which also served as an area where actors could change their costumes.
The actors in these plays that had tragic roles wore boots called cothurni that elevated them above the other actors. The actors with comedic roles only wore a thin soled shoe called a sock. For this reason, dramatic art is sometimes alluded to as "Sock and Buskin".
Melpomene is the muse of tragedy and is often depicted holding the tragic mask and wearing cothurni. Thalia is the muse of comedy and is similarly associated with the mask of comedy and the comedic "socks".
Distinctive styles of masks began to emerge in pre-Hispanic America about 1200BC, although there is evidence of far older mask forms. In the Andes, masks were used to dress the faces of the dead. These were originally made of fabric, but later burial masks were sometimes made of beaten copper or gold, and occasionally of clay.
For the Aztecs, human skulls were prized as war trophies, and skull masks were not uncommon. Masks were also used as part of court entertainments, possibly combining political with religious significance.
In post-colonial Latin America, pre-Columbian traditions merged with Christian rituals, and syncretic masquerades and ceremonies, such as All Souls/Day of the Dead developed, despite efforts of the Church to stamp out the indigenous traditions. Masks remain an important feature of popular carnivals and religious dances, such as The Dance of the Moors and Christians. Mexico, in particular, retains a great deal of creativity in the production of masks, encouraged by collectors. Wrestling matches, where it is common for the participants to wear masks, are very popular, and many of the wrestlers can be considered folk heroes. For instance, the popular wrestler El Santo continued wearing his mask after retirement, revealed his face briefly only in old age, and was buried wearing his silver mask.
https://en.wikipedia.org/wiki/Mask#China
In China, masks are thought to have originated in ancient religious ceremonies. Images of people wearing masks have been found in rock paintings along the Yangtze River. Later mask forms brings together myths and symbols from Shamanism and Buddhism.[37]
Shigong dance masks were used in shamanic rituals to thank the gods, while nuo dance masks protected from bad spirits. Wedding masks were used to pray for good luck and a lasting marriage, and "Swallowing Animal" masks were associated with protecting the home and symbolised the "swallowing" of disaster. Opera masks were used in a basic 'Common' form of opera performed without a stage or backdrops. These led to colourful facial patterns that we see in today's Jingju (Beijing Opera).
Rules for Commedia
- no swearing
- no religious points
- be vulgar but not obscene
- face the back of the stage when putting a mask on or do it back stage
- Do not touch the mask on stage
- When placing the mask on the floor, do not put it face down
- Do not throw the masks
- No backs to the audience
- Do not take your mask off on stage / if you do, face the back!
- If you lay on the floor, do not let the mask touch the floor
- Not meant to see your eyes (from an audience's view)
- no religious points
- be vulgar but not obscene
- face the back of the stage when putting a mask on or do it back stage
- Do not touch the mask on stage
- When placing the mask on the floor, do not put it face down
- Do not throw the masks
- No backs to the audience
- Do not take your mask off on stage / if you do, face the back!
- If you lay on the floor, do not let the mask touch the floor
- Not meant to see your eyes (from an audience's view)
Research for presentation:
Mummenschanz:
https://en.wikipedia.org/wiki/Mummenschanz
I used this link on Wikipedia to provide me information for this Swiss masked theatre group. This was very interesting for me! It is not actually a type of masked theatre, it is what a group does. This was so interesting for me as it is something I haven't seen before and it's not necessarily a mask for the face but the bodies make a face.
This is a photo of some of the work they have done.
Commedia dell'arte:
To be honest I used a lot of my knowledge based on the workshop we did this year and last year on the characters/masks, and when it started and where it started.
I also used this link:
https://en.wikipedia.org/wiki/Commedia_dell%27arte
This provided me with even more information than I already knew. I also searched the characters individually using these links:
https://en.wikipedia.org/wiki/Pantalone
https://en.wikipedia.org/wiki/Columbina
https://en.wikipedia.org/wiki/Il_Dottore
https://en.wikipedia.org/wiki/Zanni
https://en.wikipedia.org/wiki/Il_Capitano
https://en.wikipedia.org/wiki/Brighella
Japanese Noh theatre:
I did this in my presentation last year but I didn't focus on this one as much as KJ did this subject in our presentation. But I was interested about it and decided to include it in my presentation.
https://en.wikipedia.org/wiki/Noh
This is the link I used. It was so interesting. I also learnt some facts in other presentations such as they are very strict with the masks such as the fact that when you put on a mask you have to be off stage and in front of a mirror, when you put on that mask you have to be that character. You are no longer you, you are now that person with the mask on. I found this very interesting to be honest as commedia has a different rule about it!
https://en.wikipedia.org/wiki/Mummenschanz
I used this link on Wikipedia to provide me information for this Swiss masked theatre group. This was very interesting for me! It is not actually a type of masked theatre, it is what a group does. This was so interesting for me as it is something I haven't seen before and it's not necessarily a mask for the face but the bodies make a face.
Commedia dell'arte:
To be honest I used a lot of my knowledge based on the workshop we did this year and last year on the characters/masks, and when it started and where it started.
I also used this link:
https://en.wikipedia.org/wiki/Commedia_dell%27arte
This provided me with even more information than I already knew. I also searched the characters individually using these links:
https://en.wikipedia.org/wiki/Pantalone
https://en.wikipedia.org/wiki/Columbina
https://en.wikipedia.org/wiki/Il_Dottore
https://en.wikipedia.org/wiki/Zanni
https://en.wikipedia.org/wiki/Il_Capitano
https://en.wikipedia.org/wiki/Brighella
Japanese Noh theatre:
I did this in my presentation last year but I didn't focus on this one as much as KJ did this subject in our presentation. But I was interested about it and decided to include it in my presentation.
https://en.wikipedia.org/wiki/Noh
This is the link I used. It was so interesting. I also learnt some facts in other presentations such as they are very strict with the masks such as the fact that when you put on a mask you have to be off stage and in front of a mirror, when you put on that mask you have to be that character. You are no longer you, you are now that person with the mask on. I found this very interesting to be honest as commedia has a different rule about it!
Monday, 7 March 2016
Day 6 & 7
We started blocking the whole show, choosing costumes and making a song for the end of the show. It was a really stressful two days because we weren't sure if we was going to have the show ready in time.
It just meant a lot of hard work and listening to each other. We got as much work done as possible, we kept rehearsing scenes when Graham was busy with other people, we wrote down notes and scenes! We made fight scenes and had to work out who wore what mask! Eventually it came to show day and it was a very stressful day as we still needed to learn the song but we spent the day learning the song and eventually it was all done and Lily played the piano.
Before the show we did a few focusing games to focus and gain concentration.
It just meant a lot of hard work and listening to each other. We got as much work done as possible, we kept rehearsing scenes when Graham was busy with other people, we wrote down notes and scenes! We made fight scenes and had to work out who wore what mask! Eventually it came to show day and it was a very stressful day as we still needed to learn the song but we spent the day learning the song and eventually it was all done and Lily played the piano.
Before the show we did a few focusing games to focus and gain concentration.
Day 5:
I worked with Sim, Daisy, James and Georgia O, to make a scene when I played Lady McGeoff and James was King Duncan, Sim was doctor and Georgia and Daisy were Zanni's. I had to get them drunk so that I could get pass them to kill King Duncan. Sim's character had to eventually tell them that King Duncan was dead but they didn't know how! Daisy and Georgia's characters got killed because of their failure to protect the king.
I made another scene with Georgia A, Georgia O, Daisy, and Saskia when I had to get a letter from my husband McGeoff saying that he will be king of Scotland and my servant agrees that I can do something about it which is to obviously to kill King Duncan which she is not aware of. It involves King Duncan coming to visit.
We also made a scene for the Zanni banquet where we had to prepare the banquet and we end up eating all the food but before that, it's us cleaning the room up in a choreographed sequence for the banquet.
I made another scene with Georgia A, Georgia O, Daisy, and Saskia when I had to get a letter from my husband McGeoff saying that he will be king of Scotland and my servant agrees that I can do something about it which is to obviously to kill King Duncan which she is not aware of. It involves King Duncan coming to visit.
We also made a scene for the Zanni banquet where we had to prepare the banquet and we end up eating all the food but before that, it's us cleaning the room up in a choreographed sequence for the banquet.
Day 4:
We started making scenes for the show, I did a scene with Sim. I played Lady McGeoff and she played Doctor. I was a crazy / mental lover who thought I had blood on my hands, but I didn't and doctor wont listen to me and just lets me go crazy. We had to show it and the feedback that we got was for me to be even more mental and for Sim to be a little more quiet so they could hear what I was saying as well.
Day 3:
Today was stage combat day. We used swords, including different types called foils and others! We also learnt un-armed combat as well. I worked with Saskia, we did sword sequences. We got a chance to learn how to walk towards each other when doing sword sequences, such as passing step and fencing step.
I then went out with Jovan and Nathan to do promo shoots for the show of McGeoff! When we came back, everyone was doing sword sequences with their partners. And also made un-armed sequences together as well to show, but as I was doing the photo's I didn't take part. I sat out due to knee pain but got to watch everybody rehearsing and take notes. It was interesting seeing everyone doing sequences in so many different ways.
I then went out with Jovan and Nathan to do promo shoots for the show of McGeoff! When we came back, everyone was doing sword sequences with their partners. And also made un-armed sequences together as well to show, but as I was doing the photo's I didn't take part. I sat out due to knee pain but got to watch everybody rehearsing and take notes. It was interesting seeing everyone doing sequences in so many different ways.
Day 2:
Today we finished earlier for other reasons. But we learned Columbina, Brighella + Alechino. All three of them are Zanni's. Columbina + Brighella are first Zanni's. Columbina is more intelligent and doesn't wear a mask. She does her three step a lot more elegantly. She is perved on quite a lot by Pantalone.
We also learnt Pantalone, he is an old man and loves wine, money and women. He can be quite pervy, we learnt his stance which is a hunch-baked so you think he's an old man (which he is) , but it's actually to protect his money. He is actually quite slow walking wise and very dumb. If he falls over he cannot get back up unless somebody else helps him up.
We also started using slapsticks which are weapons for Zanni's.
We also learnt Pantalone, he is an old man and loves wine, money and women. He can be quite pervy, we learnt his stance which is a hunch-baked so you think he's an old man (which he is) , but it's actually to protect his money. He is actually quite slow walking wise and very dumb. If he falls over he cannot get back up unless somebody else helps him up.
We also started using slapsticks which are weapons for Zanni's.
Sunday, 6 March 2016
2016: Day 1
On day one of our commedia workshop this year we learnt the character of Zanni, Lovers and Captain!
The Zanni base stance is one knee bent outwards and the other leg straight. It is very uncomfortable which means you can 'skippy' jump to relieve the pain by just doing the same position with opposite legs. We also learnt some of the walks which was 'Big step' which is when it looks like you are going to take a massive step but you don't and that's the kind of humour to it.
Big step:
The Zanni base stance is one knee bent outwards and the other leg straight. It is very uncomfortable which means you can 'skippy' jump to relieve the pain by just doing the same position with opposite legs. We also learnt some of the walks which was 'Big step' which is when it looks like you are going to take a massive step but you don't and that's the kind of humour to it.
Big step:
We also learnt that with big step, you can vary the speeds. The slower you move, the bigger the step. The faster you move, the smaller the step.
We learnt another one called 'three step' which is my most difficult step. It's moving your feet in a three way sequence quite quickly and not like the counts of a waltz. And we learnt another one called the proud walk which is sort of like a chicken sort of walk but it's probably the least common walk we did as Zanni's tend to be quite stupid characters.
CAPTAINS!!!!! - HOOOOO
When you call for captains, they say back to you 'HOOOO' and straight after graham would ask us to do either mountain walk or muscle walk. Muscle walk is very easy, it's in the name which is basically trying to show off your muscles as you are walking around. Captains play pranks on each other and they are actually proper scared cats! Mountain walk is a bit more strange but as you walk, you bring one leg up (bent) and push it out to the side and do it again with the other leg as you walk.
'show run, trip, fall, and recover'
this is when the captains run and fail to impress so they fall but then carry on walking as if nothing happened and so they don't lose their cool!
We also learnt that SILENCE IS UGLY!
We had to get with a partner and I got with Janay and we had to sell ourselves and boast about how many people we have killed, how many people we have seduced and how strong we are and so on! it's all lies of course, but it's what captains do!
LOVERS:
Lovers leg wise is one bent and the other one completely straight! They have to keep this leg straight, even when they sit down and get back up again! They are always in love but they are more in love with the idea of loving someone or someone loving them. They do not wear masks because they are so beautiful! Classic names for lovers are like, Isabella, Romeo, & Julietta. They are so elegant and always talk in poetry. They can be quite dangerous when they have swords and weapons especially when they are heart broken! They have quite floaty arms too!
Later on, we did a improvisation scene of breaking into someone's house. 3 zanni's were told the same instructions but don't realise they are together in the same house. Last year we did this task but we got about 5 minutes to make the scene where as this year we had to improvise on the spot. It was proven difficult to do this but everyone had to have a go and I think everyone found it difficult to do.
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