ADA2OY

Commedia dellarte Project

LEARNING GOALS:
Acquire knowledge and understanding of Commedia DellArte performance style and how its
development and ideas have shaped theatre arts across time and cultures.
Apply knowledge of stock characters and masks to develop aesthetic and critical dramatic styles and
situations.
TASKS:
or this pro!ect" #s. $illie will esta%lish groups of si& '() and each group will %e responsi%le for
creating a Commedia troupe which will design and create several components of traditional Commedia
DellArte for performance. *he requirements are as follows+
,. Choose a contrasting range of Masks/Characters from within the company" playing to the
strengths of your group mem%ers. -nsure that there is at least one potential love interest" at least
one strong master to get the plot started" and at least two servants to act as go %etweens" plus one
outsider 'ie. Capitano) to complicate matters.
2. As a group you will have to write an argumento. A %rief synopsis of what your performance will
entail. *he argumento needs to %e presented to #s. $illie for approval and feed%ack. .n your
argumento you should include+
a. a general theme for yor scenar!o. *he com%ination of #asks that you have will very often
suggest one" ie. more than one Capitano leads inevita%ly to a war scenario" %ut which war/ 0e
guided %y your general knowledge of the #asks" rather than forcing them to a theme that does
not suit them.
%. a locat!on for the act!on" !n relat!on to the theme. 1hatever you choose" make sure that it
has enough entrances and e&its to ensure the potential for e&citing action. ie. outdoors is %etter
than indoors.
c. a mot!#at!on for each Mask" that relates to the other #asks or their relationship within the
scenarios dramatic location" and is consistent with the #asks known %ehaviour.
ie. what does the character want or need in the scenario 'money" food" power" love" etc.)
2. As a group" you will write a scenario3 a rough outline of your story. *here is a large element of
improvisation in Commedia so there is no need to write down dialogue and memori4e lines. You
simply have to provide a skeleton for the general direction of your scene with divided segments
for action" characters involved and %asic moves. 5efer %ack to our e&emplar on the we%page as
required.
6. As a group you are responsi%le for creating a minimum of 2 lazzi to incorporate into your scene
%ased on the characters you have. *he 7la44i can %e inspired %y original Commedia material or
moderni4ed.
8. Rehearsal for the scenes should focus on %ringing the #asks to 7life" making character clear"
improvising your storyline and la44i" plus lots of physicality.
E$AL%ATION: 9lease see reverse side for ru%ric.
Comme&!a 'ell(Arte )ro*ect R+r!c :ame: ,,,,,,,,,,,,,,,,,,,,,,,
CATEGOR- le#el . /012003 le#el 4 501563 le#el 7 801863 le#el 2 901963
R
KNO:LE'GE
Techn!;es an&
con#ent!ons of
Comme&!a A2.," A2.2
Comme&!a themes
A,.," A,.2
-&tremely thorough
understanding of stock
characters" masks" improv
and physical theatre
*horough understanding and
e&ploration of Commedia
themes3 e&tremely clear in
the performance.
;olid understanding of
stock characters" masks"
improvisation and
physical theatre
Commedia themes are
e&plored3 o%vious in the
performance.
;ome understanding of
stock characters" masks"
improvisation and physical
theatre
Commedia themes not fully
understood<e&plored"
somewhat evident in the
performance.
$imited understanding
of stock characters"
improvisation and
physical theatre
$imited themes are
limited in the
performance.
T<INKING
Rehearsal
A2.2
=lock!ng/se of
s>ace/Stag!ng
A2.,
*ons of improvisation"
e&perimentation and<or
group work skills shown in
rehearsal
-&cellent use of stage
space<%locking. Actions are
always directed to intended
audience<-ffective stage
planning3 minimalistic" with
ela%orate props
=ood improvising
<e&perimenting and<or
work effectively in a
group
=ood use of stage
space<%locking. Actions
are directed to intended
audience<=ood stage
planning3 minimal set and
lots of props
;ome improvising"
e&perimenting and<or
somewhat effective group
work
;atisfactory use of stage
space3 some work needed
on %locking< ;ome stage
planning3 more thought
needs to go into it" some
props used
$imited
.neffective use of space3
little evidence of
%locking3 limited stage
planning and props
COMM%NICATION
Scenar!o B2.4
La??! B2.4
R+r!c ;est!ons
B1.3,
02.2" 02.6" C,.,
02.2
*horough" detailed with each
move listed
*wo la44i completed" super
creative and unique
-&cellent critical analysis
and reflection<evaluation of
own and others drama
works > activities
*horough understanding of
nature and function of drama
past and present
*horoughly identifies and
e&plains skills used and role
in ensem%le
=ood outlines" most
moves listed3
*wo la44i completed3
creative la44i
=ood critical analysis and
reflection<evaluation of
own and others drama
works > activities
=ood understanding of
nature and function of
drama past and present
A%le to identify and
e&plain skills used and
role in ensem%le
;ome outlined points and
moves
Only one la44i completed"
and<or needs more
creativity
;ome critical analysis and
reflection<evaluation of
own and others drama
works > activities
;ome understanding of
nature and function of
drama past and present
;omewhat a%le to identify
> e&plain skills used and
role in ensem%le
$imited outline" >
details of moves3
:o la44i completed"
does not work
$imited analysis and
reflection of own and
others drama works >
activities
$imited understanding
of nature > function of
drama past and present
$imited e&planations of
skills used > role in
ensem%le
A))LICATION
Character!?at!on/
)hys!cal Character
:ork
A2.2
$ocal Character
:ork
A2.2" A2.2
Costmes/)ro&ct!on
Elements
A2.2
@ocs/comm!tment
C2.,
Theatre/a&!ence
et!;ette
C2.2
-&tremely evident and
%elieva%le set of attri%utes3
characteristic movement"
gestures" actions" use of
props" representative of
character<mask.
-&tremely well?developed
voice3 typical of character.
-&cellent volume throughout
the performance.
-&tremely recogni4a%le
costume" representative of
#ask<*ype actor was
representing3 *his could %e a
professional production@
9erformer is consistently
focused and commited
onstage
Thorough understanding of
theatre & audience etiquette,
in classroom and
performance contexts
Clear > %elieva%le set of
attri%utes3 characteristic
movement" gestures"
actions" use of props"
representative of
character<mask.
;trong voice3 typical of
character3 consistent
volume throughout the
performance.
Audience can identify
mask<character through
costume used3 9rod.
elements are useful and
connected to the story
9erformer demonstrates
focus and commitment
Good understanding of
theatre & audience
etiquette
;omewhat clear >
%elieva%le set of attri%utes3
hints of typical movement"
gestures" actions" use of
props" representative of
character<mask.
;omewhat developed voice3
typical of character. :eeds
more volume throughout.
Audience can identify
mask<character somewhat
through costume use3 9rod.
elements show some
thought
;ome focus and
commitment onstage
Some understanding of
theatre & audience etiquette
$imited set of
attri%utes3 non?
characteristic
movement" gestures"
actions" use of props"
for character< mask.
Atypical voice for
character3 volume
inconsistent throughout.
Audience cannot
identify mask< character
through costume3 9rod.
elements are limited
$imited focus and
commitment
Limited understanding
Additional feedback:
R+r!c Aest!ons+ '9lease answer all questions in full sentences. 9lease %e detailed" analytical and self?reflective
a%out your process)
1. What personal or social issue/story did your group decide to explore in this commedia scene !o" did your
la##i or argumento resem$le or differ from traditional commedia ones in the past
%. &n "hat "ay did your dramatic exploration contri$ute to your understanding of the commedia tradition
'. What role did you ta(e on in this commedia scene ie. )anni, *ecchio, &nnamorati, or other +!o" does it feel
to ta(e on the role of someone "ith a lo" or high status,
4. Explain how your brainstorming and negotiation skills supported the teamwork in this
particular dramatic presentation? How could you use the skills you have developed in a variety
of other areas or contexts in and outside of school?
5. In your opinion how could a comedic drama form like !ommedia be used to convey a
serious message? "o you think !ommedia dell#$rte could be used in a modern context %setting
and time period& to sharpen the focus on a moral dilemma? If so explain.