Commedia dell' Arte

	Commedia dell' Arte is the most influential theatrical force shaping
the history of comedy. It originated in the market places of the
Italian streets in the early 1500's. Street performers began donning
masks with exaggerated comical features to draw attention to
themselves and to complement their acrobatic skills. Commedia dell'
Arte began as spontaneous improvisations and that tradition has
remained.
	With the mask concealing their identity, the performers could ridicule
any aspect of society and its' institutions. No-one was
safe. Ironically, the more trouble the troupes were in, the more
popular and successful they became.

 The History

	Commedia dell' Arte originated in the market places of the Italian
streets in the early 1500's. Street performers began donning masks
with exaggerated comical features to draw attention to themselves and
to complement their acrobatic skills. The characters they created
became affectionately known as Zanni.It wasn't until two Zanni
performers teamed up that Commedia dell' Arte really took root and by
1550 it had become a firmly established genre. These first two
characters, Arlecchino and Brighella were portrayed as belonging to
the serving class.
	The performing troupes were accessible to all social classes and
the subject matter was always contemporary. With the mask concealing
their identity, the performers could ridicule any aspect of society
and its' institutions. No-one was safe. Ironically, the more trouble
the troupes were in, the more popular and successful they became.
	Even though troupes travelled away from their homeland, language
was no barrier. Skilful mime and Zanni antics conveyed the story lines
to audiences throughout Europe. So strong was their influence , that
performers from other countries began to imitate the Zanni style. The
French, in particular, heartily adopted the Commedia dell' Arte. Its
popularity knew no limits, until the Gelosi troupe finally took their
insulting frivolity too far and all Commedia dell' Arte troupes were
banned for 30 years. However, this did not stop the writers in France
from scripting scenarios, which, in return, influenced the development
of Commedia dell' Arte in Italy.
	Commedia dell' Arte has continued to be a pervasive influence in
theatrical arts. The reliance on stereotyped characters, masks, broad
physical gestures, improvised dialogue and clowning represented the
very theatricality of the theatres. Without the ingenuity of these
crazy Italians, Shakespeare may not have been inspired to write "As
You Like It", "Twelfth Night, "The Tempest" and "Merchant of
Venice". This comic tradition continued through to Vaudeville, and its
influence can be seen in the likes of Charlie Chaplin, the Marx
Brothers, Buster Keaton and Harold Lloyd. Even today slapstick humour
is evident in the work of John Cleese, Rowan Atkinson, the Young Ones,
Doug Anthony All Stars, Mel Brookes, Gene Wilder; the list goes on and
without doubt will continue to do so.

 Scenarios

	Commedia dell' Arte began as spontaneous improvisations, and that
tradition has remained. The plot outline, few lines of set dialogue,
or specific stage instructions, are scribbled on paper and simply
pegged in the wings for the actors as an aid to memory, and guide to
improvisations.
	Today only a handful of the original scenarios exist. Those that
remain are unremarkable and would seem inane if produced on a modern
stage. They belong to the period in which they were written. Indeed
there was no intention of them lasting longer than the performance
night and were burnt. However, fifty scenarios of Flaminio Scala (from
the Gelosi troupe) were published in 1611 and have since been
translated into English. The principal value of this collection lies
in the fact that it represents the best of the repertoire of the most
famous of all Commedia dell' Arte troupes.

 The Labyrinth of Time

	Deep in the dungeons of a castle in Paris, an Italian troupe of
Commedia dell' Arte performers were locked away for their political
and vulgar obscenities. Their only escape from their dingy cell was to
use Capitano's nose as a battering ram. The inadvertant wrong turn
finds them trapped in a labyrinth, "The Labyrinth of Time". Blaming
each other, their voices echo into the abyss while they search for a
way out.
	Four hundred years have passed (a mere hiccup in time), and a
mystical wise man appears, worn and weary from a journey, laden with
an ancient book of magic design. He proceeds to unlock secret forces
that will create an opening in time that may allow the troupe to
escape. There is a trembling vibration that moves the building, and
the mystical wise man disappears in a flash of smoke. But has it
worked?
	Distant echoes of footsteps and bumbling voices gradually become
louder as they get closer to the curtained archway. For the troupe,
this curtain could easily reveal just another set of endless
stairways, another series of tiresome turns. The 20th century is
inconceivable.
	The Capitano is selected to lead them into the unknown. The drapes
are poked and prodded, his nose pokes through as he senses what could
be ahead. But his cowardice leads to frustrations and the curtains are
flung open.  Complete shock and horror. The audience are as startled as they
are, screaming at each other in fear.

 The "Lazzi"

	The "Lazzi" (meaning 'turn' or 'trick') was stock-in-trade to the
Zanni. Whenever a scene began to drag, or an actor lost his eloquence,
he will resort to Lazzis. They include time-honoured mock fights,
tumbles and falls, disguises and ventriloquism, mistaken identities
and an endless supply of vulgar obscenities.
 Types of Lazzis include:
  Acrobatic and mimic Lazzi
  Comic violence and Sadistic behaviour
  Food Lazzi
  Illogical Lazzi
  Sexual-Scatorical Lazzi
  Social-class Rebellion Lazzi
  Transformation Lazzi
  Staging

	As travelling performers, the Commedia dell' Arte actors had to
ensure their independence. They would travel with family and pets; and
all the necessary equipment, including curtains, backdrop, costumes
and stage properties, were transported by cart. These carts were
transformed into performance platforms complete with storage and
backstage areas. Actors entered through splits in the curtain. The
height of the cart was designed to allow the audience furthest away a
comfortable view. Scenes of public squares, meetings places and
streets in perspective view were commonplace in backdrop designs.
	During the Renaissance, Italians developed a taste for lavish and
phantasmagorical productions. This contributed to the birth of the
Opera, which employed all kinds of mechanical devices and bizarre
settings, as well as ballets, concerts and farces. The Commedia 'dell
Arte was often used within the performance or as an
interlude. Involvement in the Opera greatly influenced the colour and
fantasy of Commedia dell' Arte. Elaborate stage settings, mechanical
devices, fountains and fireworks became an integral part of
performances during the 17th Century.

 Mask-Maker

	The neutral mask is the perfect tool for the beginning actor to
reduce inhibitions and explore the expressiveness of body
movement. Experimenting with the full face neutral mask gives the
actor a good base before moving to a character mask. It is totally
expressionless and silences the actor's two most powerful means of
communication: voice and facial expression. This makes it essential
for the body to portray the emotions through mime, posture and
gesture. Through theatrical experimentation, it was discovered that no
one mask would work satisfactorily for both genders and that the
neutral mask should be formatted in two styles: male and female.
	Jennifer Stannards fascination for masks and their cultural and
spiritual significance began as a child. She spent her first five
years in Zambia, followed by four years in Papua New Guinea. The
impressions on a young child from these strong, visually stunning
cultural backgrounds, are inspirational enough to inspire a life time
of research and development.
	Jennifer first began to develop her skills as a mask maker while
working in the theatre industry as a wardrobe superviser, designer and
stage manager. Having access to different materials, she could
experiment with mediums that included paper mache, foam and latex, and
was able to recapture the inspiration and experiences of her childhood
by incorporating the colours and textures that nature provides.
	European art and drama became a signifacant influence on jennifers'
professional theatre career, and in 1991 she began her research in the
Commedia dell arte and the design of the characters. As leather was
the traditional material used for the commedia dell Arte masks,
Jennifer dedicated her time to mastering the art of moulding leather.
	1993 saw Jennifers' first exhibition supported by Commedia dell'
Arte performances. The success of this show has paved the way for
further development and more exhibitions.
	Jennifer is now teaching the techniques of moulding leather, as
this specialised art form is considered all but lost. Other workshops
include design and construction of mixed media masks.
	Jennifer can be contacted through her mailing address: P O Box 754
Byron Bay NSW Australia 2481, phone/fax: Australia 066 858 629.

 Characters

Arlecchino - Zanni
	Arlecchino was one of the first characters of the Commedia dell'
Arte. His family history stretches back to the original devil masks,
as shown by the shape of a carbuncle on his forehead. The French
adopted Arlecchino and changed his name to the more familiar
Harlequin.
	Arlecchino is the numbskull clown/slave who gave the world the
comedy of slapstick. He is either completely stupid, or has the wit
and cunning of a seven year old brat. He is a master of disguises,
extremely agile and acrobatic. He always enjoys what he sees- for him
everything is a game. He does not think of the future and quickly
forgets what is out of sight. He acts first and then thinks, if he
thinks at all. Flinching is idiosyncratic of Arlecchino, he is always
on the look out for hits. His movements are jerky and defensive. He
travels in a zig-zag skip, almost like a dance.
	Arlecchino's costume was originally breeches and a long jacket
laced in front, covered with random patches of tatters in different
colours to denote poverty. It wasn't until the 17th Century that the
patches took the form of blue, red and green triangles arranged in a
symmetrical pattern. At the end of the 17th Century, the French
transformed the triangles into diamonds, and the jacket was
shortened. In his belt was the slapstick that he proudly wore like a
sword.

Brighella
	Brighella is the most disturbing character of the Commedia dell'
Arte. Murder and theft is second nature to him, the dagger being a
substitute for the slapstick. His audience accepts his evil and comic
rascality because it is broad and aimed at his favourite enemy- the
aristocracy. Brighella is a man of great charisma but no
conscience. He is always on hand if there is intrigue afoot. He will
attempt anything, no matter how unscrupulous, with ingenuity and wit.
	On the prowl, he has the grace of a tiger; when cornered, the
cunning of a rat; and he possesses the skill and agility of a
monkey. He sings, plays the guitar and knows how to dance. In the 18th
Century Brighella lost his lust for adventure and tended to keep his
knife in its sheath.
	Brighella's costume, at first, consisted of a cap, loose-fitting
white shirt and baggy trousers, common to all comics. As the character
matured though, his jacket and trousers were tailored to become a
servants' livery, and were decorated with green braids.

il Capitano - Old Man
	Spain dominated Italy under the rule of Charles V from 1520 to
1559. Commedia dell' Arte performers found a perfect way to ridicule
their oppressors by portraying the Captain as Spanish.
	This bombastic fellow is extravagant in his outward appearance,
only to hide his poverty and insecurities. He is full of fanciful
boasting- the men that he has cut and carved, and the fair hearts he
has slain. He is vain about his supposed good looks and is convinced
he can conquer any lady he chooses; but his pathetic cowardice was
limitless. Even the slightest glance of Arlecchino with his slapstick
would send the Captain into a frenzy of fear.
	The captain will strut in confidence, chest out and head high,
eager to show off his long legs and handsome figure. But when
frightened, a run on the spot with arms and legs flapping is a common
sight.
	The Captain's costume consists of tight red and yellow trousers, a
loose yellow shirt- often made of silk, a short flowing red cape and a
plumed hat. The Captain is never without his long sword, an ironic
symbol of his supposed valour and courage.

il Dottore - Old Man
	The Doctor is a pompous, Latin-spouting academic from Bologna. In
the mistaken belief that wisdom commands respect, the Doctor has
dedicated his life to learning everything, but he understands
nothing. The Doctor takes himself very seriously, meddling in
everyone's business, forever prescribing and explaining. He is
constantly given to mis-quotations and is fluent in his native tongue-
either an obscure foreign language, or gibberish. With his "gift of
the gab", the Doctor can talk his way out of any situation; much like
a politician. This superficial character sways as he walks with short
steps, symbolically affecting a daintiness that is not his. He shares
some qualities with his good friend, Pantelone: he is old, easily
falls victim to the pranks of his servants and wages countless,
unsuccessful amorous adventures with the young ladies. Originally
portrayed as a physician, this character was later played as a lawyer,
astronomer, mathematician or logician. In keeping with the dress of
the real professors of the Bologna University in the 16th Century, the
costume of il Dottore is black with white collar and cuffs, covered
with a large black cape. A black skull cap fits over the mask covering
the actor's hair. Eventually a very wide brimmed hat was introduced
and became part of this characters' tradition.

The Male Lover
	Like the women, the male Lovers do not wear masks as they have no
particular character. Their sole purpose is to be in love. These
youthful, sentimental, scheming and handsome gentlemen are experts in
the art of courtship and are prolific writers of sonnets. They love
and despair, are suspicious and jealous. There are usually two sets of
Lovers to keep the romantic interest alive. The Lovers always wear the
latest fashions of the day. Popular Lovers were: Flavio, Lelio and
Ottavio. A well recognised Lover in the 20th century is Casanova.

Pantelone - Old Man
	Pantelone is the retired Venetian merchant. He is portrayed either
as a bachelor, constantly making a fool of himself with the young
girls; or as a married man with a grown family, trying to marry his
daughter to a man of wealth, yet without providing her with a
dowry. Pantelone is cheap, ridiculous and gullible. So sensitive to
the value of money, he is an abject slave to it. But no matter how
careful he is with his purse, he can easily be duped, particularly by
his servant who, more often than not, is Arlecchino. Despite his anger
and frustrations, Pantelone is a peace loving man with a gentle heart
who could never bring himself to kill anyone. This may be due to his
descendency from Magnifico. Although Pantelone is arthritic and his
body is pinched with age, he can still display baffling outbreaks of
agility which rise from his fury. A ridiculous back fall is his
reaction to bad news. He takes his pratfalls with all the vigour of
youth and then immediately returns to the posture of old age with
asthmatic panting. From the early 1500's, Pantelone's costume has been
tight-fitting red trousers, a loose white shirt and a tight-fitting ,
short, red jacket. He often wears a black cape lined in red, with wide
elbow length sleeves and a black skull cap. Pantelone's belt always
supports a money pouch and dagger- improperly worn between his legs
for its comic effect.

Pulcinella - Zanni
	Pulcinella is a selfish, schizoid rascal who combines empty-headed
folly with cruelty. Without any morals or scruples, Pulcinella will
concoct outrageous schemes to satisfy his animal-like lust and
gluttony. As Pulcinella is the direct descendant of two characters
from the Roman theatre, Bucco and Maccus, has a dual personality and
constantly changes to suit one or the other of his fathers. On
occasion, several Pulcinella's will perform on stage together,
indicating the extent of his schizophrenia.
	In spite of the confusion of identity, Pulcinella is
self-sufficient, quick and witty, yet he is also coarse, vulgar,
obscene, dishonest and debauched" ALIGN=LEFT> Pulcinella was not only
popular in his birth place of Naples, but also very much so in
England, where they used Pulcinella's influence to create Punch, in
Punch and Judy.
	Pulcinella is very easily recognisable. His physical appearance
began with a broad hump on his shoulder and a pot-belly. As his
character evolved so did the hump, until he was doubly humped, with an
extended belly to balance his carriage. Pulcinella is well-known for
his bizarrely-paced, bent, cock-like gait and hen-like voice.
	Pulcinella's costume is typical of the Zanni set: loose-fitting
white shirt and trousers with a conical hat. The only exception being
that his sleeves cover his hands, symbolising his hatred of physical
labour.

Tartaglia - Old man
	Tartaglia is a utility figure such as a minor official, lawyer,
public servant or policeman. He will only appear on stage when his
services are in need. As il Dottore's close friend, he is often taken
advantage of and sent on rediculous missions, delivering numerous
messages.
	One cannot help feeling sorry for Tartaglia, for not only does he
have the most frustrating stutter, but he has also been inflicted with
a rather serious hearing impairment. Often portrayed wearing very
thick glasses, the poor man is an obvious victim. He is constantly
ridiculed for his inadequacies, and bears the brunt of il Dottore's
anger for befuddling the messages. Tartaglia is the only Commedia
dell' Arte character completely without hair on his head or face. He
is pot-bellied which influences his waddled walk. His garments consist
of a black or grey cloth hat, white shirt with an ample calico collar,
cloak with green and white stripes and white stockings.

The Women
	Whether they be servants, daughters, wenches or inamoratas (lover),
the women never wear masks. This is mainly due to the fact that as
women were absent from the stage for so long, female roles were not
developed to any great extent. However, some of the women that were
eventually developed in the Commedia dell' Arte became characters in
their own right. These included Columbina and Isabella.
	Columbina is often portrayed as Pantelone's serving wench who has
frequent affairs with Arlecchino, sometimes becoming his
bride. Isabella, on the other hand, is often seen as Pantelone's
daughter. She enjoys courting male Lovers, but Pantelone is determined
to marry her off to the highest bidder, always against her will.
	Until the Renaissance when no expense was spared on magnificent and
intricate dresses, the women's costumes, especially those of the
servants, were simple and inexpensive.