Commedia dell'Arte

Commedia dell'Arte, also known as "Italian comedy," was a humorous theatrical presentation performed by professional players who traveled in troupes throughout Italy in the 16th century. Performances took place on temporary stages, mostly on city streets, but occasionally even in court venues. The better troupes—notably Gelosi, Confidenti, and Fedeli—performed in palaces and became internationally famous once they traveled abroad. Music, dance, witty dialogue, and all kinds of chicanery contributed to the comic effects. Subsequently the art form pread throughout Europe, with many of its elements persisting into present-day theatre.

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.