Colombina
Better dressed than male servants since she is a
lady’s maid. Mob cap and apron, wearing a ‘folly’ dress underneath.
Skirts usually fell just below the knee. Neckline of bodice low and often
frilled. Several colors of material.
Physical Appearance, Initially strong and
attractive like a circus artist, later petite and pretty.
Stance, All the learned and worked ballet positions
with the focus being directed to the next speaking character. A variation
of the ballet positions with the body either erect or bent. In
Colombina’s case, a great display of cleavege should be incorporated into the
poses as often as possible. – Tatiana Marciel
1.) A cross between laying down and sitting,
usually with one knee up and one leg extended flat.
2.) Hip cocked outward, bust out,
and hands extended behind back.
3.) Leaning forward, hands
together with arms extended accenting cleavage with the upper part of the arms.
4.) Wrapping leg around a male
performer.
5.) Stand upright and
"perky" and arms at sides and palms parallel to the ground.
6.) Profile with weight shifted
back on hip with arms folded under cleavage.
Voice, Sharp, gossipy, with frequent variations of
pitch. Originally Tuscan, but could be any other dialect.
Capitano
Large,
whether physically or egotistically, he is a large presence on stage. Designed
to attract attention from women and intimidate men
Feet
planted apart in order to occupy maximum space, chest pushed forward, back
straight, hips wide.
Mountain
walk: the heels of his high boots come down first, then the foot rolls on
to the ball. Straight back, unlike zanni. Big strides. Step
off on ball of foot giving lift and bounce to step. Feet on ground, head
in clouds. (Rises up with each step so head comes above clouds in order
to see!) The actual steps are small (he is in no hurry to get to war, but
wants to do so with maximum effect).
Zanni
Bottom
of pecking order. Zanni is that regrettably eternal unfortuante, the
dispossessed immigrant worker.
Baggy, white, originally made of flour sacks.The Bergamase
peasant up from the country (Giovanni was the most common name in the mountains
of the Valle Orobia) seeking to earn a living portering and odd-jobbing in the
towns of Northern Italy.
1.) Little Zanni walk: this is a development of the basic stance, foot
changing but taking a small step forward on each shift. The shoulders down,
elbows forward, feet pointed. The knees come high off the ground and to the
side. Use a two-time rhythm in even beats with the head pecking like a chicken,
but still without bobbing up and down. Zanni uses this walk when going
somewhere, but with no great purpose.
2.) Big Zanni walk: a curved lumbar is first achieved by sticking chest
forward and the backside up (this is very demanding to sustain and should be
complemented by a forward spinal release when out of character). With the feet
in fourth extended, bend the support knee and lower the center of gravity.
Raise the front and back and make a scything foot. This walk is is purposeful:
for example slowly trying to cross the stage without being noticed or quickly
escaping the consequences of an action without drawing attention to it.
3.) Zanni running: a swift movement with legs kicked alternately to the
front with pointed toes. Arms move with opposite legs.
4.) Zanni jubilant: a skipping movement on the toes with center of
gravity shifting from side to side. Rest hands on belt, which is roughly at hip
level. Head able to move independently, as always.
5.) Vain Zanni: steps are smaller version of the big walk, hands again
resting on belt. When the leg lifts, the chest is thrust forward and the arms
brought back in the chicken strut. Used when he has a new button or a feather
in his cap.
6.) Soilder Zanni: hold a stick cupped in one hand and inclined over
shoulder like a rifle. In the march, shoulders move up and down in two-time but
the feed do three beats. 'Trampety-tramp, tramperty-tramp, tramp, tramp,
tramp...'
Pantalone
Top of
pecking order. Money. Controls
finance in the character world of Commedia is therefore his orders
are usually obeyed. Employer, Father, Godfather.
Can
mimic those of any other character, but only in a form diminished by age
Poses 1.)
Bent over as if spine just went out supporting upper body with cane.
2.) Leaning slightly forward with nose
in the air.
3.) One leg bent, with on foot resting
on heel.
4.) One hand behind back or holding
purse, other hand on cane, bending upper body at 45 degrees.
5.) Leaning back with pelvis thrust
forward and phallic cod piece standing out with the entire rest of the body
behind it.
6.) Nose targeted towards parts of female
anatomy.
7.) Hands out, legs together shoulders
together.
8.) Seated with head in hands.
9.) Cuddle position with women
10.) Lunge position with cane
Pedrolino
being the role given to the youngest son, is
therefore bottom of the pecking order, the one who has to sleep in the straw
with the animals.
Youthful and cute in an adorable childlike manner
Direct, in straight lines. Head moves like a
chicken, elbows up.
1.) Hands loose and arms hanging along
sides. Legs straight.
2.) Hands hidden in long sleeves
and arms up in the air as if a string puppet or marionette.
3.) As Peppe-Nappa,
double-jointed poses or movements.
4.) Imitating Capitano.
5.) Feet open and arms folded
with sleeves hanging down.
Comico
An
Individual that lives both in the world of the Commedia dell’arte and the
audience. The liason between the audience and the show. He is the
leader of the Commedia performers, in charge of holding and organizing
rehearsals, book gigs, etc.
Upright,
proud and confident; legs shoulder width apart. Showman or Carnival
Hawker.
Deliberate,
long straight strides. Walking with a purpose.
1.)Feet
together and hands clasped in fists on hips. “Captain Commedia”.
2.) Feet apart and presenting with one
hand, the other on the hip.
3.) Standing upright and making faces
in a “David Letterman” fashion.
4.) Standing on one foot and arms
corssed and front leg crossed with toe pointing into the ground.
5.) Flat feet, ballet first position,
knees slightly bent.
6.) Weight on bent leg with other leg
extended, straightforward but flexible. Elbows up, and shoulders relaxed
and hands and fingers slightly spread.
7.) Hunched over in an enthusiastic
position almost making a “C” toward the audience.
8.) Head in hands almost hiding
with embarassment afraid to see what will happen next.
Loud,
crisp, clean and enthusiastic, like a master of ceremonies or carnival hawker.
