Plot and Structure
As Commedia dell'Arte is primarily improvised theatre, it follows that the scripts are not so much in order of character dialogue but an overview of the action of each scene, or scenario. This layout is described as 'French', that is to say that instead of being numbered the scenes are separated by changes of personnel onstage. Below is an example of the script of 'The Red Hat: A Commedia dell'Arte Scenario'.
Staging & Props
With its roots deeply planted in marketplaces and fairs, it follows that Commedia dell'Arte is played largely outdoors. Thus the stages were raised to almost head-height to accommodate for the standing audience, provide overhead sightlines, and attract walk-past spectators. At the back of the stage hung a curtain from behind which actors could enter or spy on the action unfolding onstage. Props were made to be as authentic as possible, and were only mimed during fantasies. Props not to be used were 'the uncontrollables', such as animals and balls, which were likely to create their own chaos onstage.
Non-improvised Elements
Though much of Commedia dell'Arte is improvised, some elements have to be pre-rehearsed. This, of course, includes the extensive background to each stock character, expanded upon here. Entrances and exits are also fixed by the scenario, as are monologues, and slapstick gags called lazzi - lazzi could be described as a ribbon to the play, a superfluous but decorative addition.
Grummelot
Grummelot refers to 'a babel of sounds which, nonetheless, manage to convey the sense of a speech'. It's a technique used by actors of Commedia dell'Arte to express speech without utilising actual words, and was created so that actors with different dialects could understand each other onstage and the audience could understand the sense of the words. When companies toured countries such as France and Spain grummelot was employed so that the message of the play could still be conveyed, despite language barriers.
Acting Techniques
Some of the conventions specific to Commedia dell'Arte include:
· Very fast dialogue
· Physical comedy
· Comedic qualities such as singing, dancing, acrobatics, tumbling etc
· Slapstick, particularly for servant characters
· Exaggerated gestures, arm and leg movements
· Fast-paced action
· Exemplary comic timing
· Very fast dialogue
· Physical comedy
· Comedic qualities such as singing, dancing, acrobatics, tumbling etc
· Slapstick, particularly for servant characters
· Exaggerated gestures, arm and leg movements
· Fast-paced action
· Exemplary comic timing
Masks
The use of masks ties in strongly with stock characters, as the character's mask is their identity. This being said, the term 'Mask' does not solely refer to the physical manifestation. A mask is the persona of the character; their backstory, their mannerisms, their physicality.
In Commedia dell’Arte the basic concept behind the mask is that the mask plays the actor, as opposed to the actor playing the mask. As soon as an actor puts the mask on, the character must occupy and override their whole body, changing their stature, speech, agility and habits. There can be confusion when discussing "mask" and "character" in the context of the Commedia dell'arte. There are times when the two terms are used interchangeably. So infused is the mask with the character and the character with the mask that the terms for many practioners and theatre historians are synonymous.
As each character or mask only had one way of behaving, thinking and reacting to situations it meant that characters were one dimensional and lacked depth. This resulted in Commedia dell’Arte as a theatre style being unable to progress and grow.
Each masks embodies an archetypal character prevalent throughout every society, marginally ridiculing them by blowing their traits out of proportion. The use of the mask is explored further through the analysis of stock characters here.
In Commedia dell’Arte the basic concept behind the mask is that the mask plays the actor, as opposed to the actor playing the mask. As soon as an actor puts the mask on, the character must occupy and override their whole body, changing their stature, speech, agility and habits. There can be confusion when discussing "mask" and "character" in the context of the Commedia dell'arte. There are times when the two terms are used interchangeably. So infused is the mask with the character and the character with the mask that the terms for many practioners and theatre historians are synonymous.
As each character or mask only had one way of behaving, thinking and reacting to situations it meant that characters were one dimensional and lacked depth. This resulted in Commedia dell’Arte as a theatre style being unable to progress and grow.
Each masks embodies an archetypal character prevalent throughout every society, marginally ridiculing them by blowing their traits out of proportion. The use of the mask is explored further through the analysis of stock characters here.