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Workshops:
The main goal of the workshop is to impart to students the fundamental building blocks for creating and performing Commedia. The recovery of the expressive body as a unique and fundamental scenic instrument, the importance of the art of the actor in scene creation, the respect of the dramatic functions of each character, and the collaboration between the performers on stage, all leading the story through to an organic solution of the conflicts presented.
Commedia dell’Arte has been entertaining audiences or five centuries, and it is my belief that it can go on for another five, if the essence of its indelible characters and the basic rules of this theatrical game are passed on and respected. |
| PORPOSALS DURATION
LESSON-SHOW 1h.30 –2 h WEEK END INTENSIVE WORKSHOP (1) week –end FRI to SUN 17 h COMMEDIA DELL’ARTE WORKSHOP (2) from 1 to 4 weeks (35 h. - week) Final demostration show COMMEDIA DELL’ARTE WORKSHOP From 3 to 4 weeks ADVANCED COURSE Dedicated to the building of a show based on ancient original italian canovacci. Only for experienced artists. MODERN COMIC AND VARIETY 1 to 4 weeks (9h- week) COURSE OF COMIC THEATRICAL ART 5 weeks (35h.-week)
PS: This is a standard format, other solutions in the organization can be discussed |
Commedia Dell’Arte Solo Lesson Show A Tradition of Playing Now.
An Interactive Workshop Commedia Dell’Arte is a form that lives in front of an audience. It must be experienced in order to be a valuable tool for actors today. The Interactive Workshop is comprised of performance, lecture and audience participation sessions to provide both a context for Commedia as well as a fresh approach to character, comedy and the art of improvisation. Beginning with a hilarious and historically informative lecture on the impact of the renaissance theater, we will address the following questions:
Traditionally, the art is passed from master to student over years of study! However, this spirited demonstration will provide a guide students to approach the mask, characters and situations of Commedia. We will explore these “how to” questions:
Next, it’s time for the masks to take center stage. Paladin brings the characters of Commedia Dell’Arte to life, performing in traditional Italian leather masks. The performance includes the following titles:
We invite you to a trip in time, from the 16th century to today. Together, we will explore the play of this adventurous art, which has been alive for almost five centuries. Enjoy the tradition, now! Duration: from 1hour and half The lessons are in english or italian The Inter-Active Workshop, A Commedia dell'Arte Solo Lesson Show was performed in Italy, Latvia (Malpils “International Univeristy Golbal Theatre”) and Ukraine (Kiev “Muincipal Theatre”, Donestk “Festival Art Alternativa”) Portugal (Lisbon “Escola Superior de Teatro e Cinema”) and in USA (Philadelphia “University of The Arts”, Brunswick “Bates College”, “Bowdoin College” , NEW YORK “Actors Movemement Studio” )
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COMMEDIA DELL'ARTE WORKSHOP
INTERNATIONAL COURSE OF COMIC THEATRICAL ART Conceived and directed by Fabrizio Paladin
Commedia Dell’arte (also known as Improvvisa, Commedia Zannesca or Italiana) began in Italy during the first half of the sixteenth century, and went on to become the primary form of theatre performed by professional actors. Unlike modern theatre, where set lines and cues are set down in a script, most Commedia performances follow what is known as a canovaccio – a kind of outline, or collection of sketches that provides the fundamental framework for the action: the themes, the entrances and exits, etc. Commedia actors improvise, following the structure of the canovaccio and the fixed characteristics of their own characters. The improvisation techniques of Commedia also differ from more modern styles of improvisation. Commedia improv is not based on quidquid in buccam venit (whatever comes to the mouth), but rather an almost extemporaneous assembly of a plurality of elements which make up the technical repertoire of the actor: the role, the character, the gestures, the monologues, the jests… Because of this, we can see that Commedia is a style of theatre that relies less on the craft of writers, and more on the skill, ability and professionalism of the actors. In learning to perform Commedia, the actor, like a jazz musician, must know perfectly his own instrument (in this case, the body and the mask) and he must also know and respect the rules of the game he’s involved in. When the actor can ‘give’ himself generously to his art and to his audience, his own peculiar sensitivities will fill the sketch provided in the canovaccio with color and shade – a process I call “strategic acting”. The following is a brief synopsis of the course, and the techniques I use with the students. OVERVIEW OF THE COURSE
The goal of this course is to methodically walk the students through all of the necessary techniques and understandings needed to effectively and authentically perform Commedia. We start out with the characters of Commedia. Students work physically to find each character’s essential shape and movement. Students are introduced to the masks, and we explore techniques of using them effectively. Students are also given a thorough understanding of the history of Commedia and the historical scenarios that feed the situations used in performance. Once the students have been brought to a comfortable familiarity with the characters and the technique of Commedia performing, we move on to simple improvisations, adding new theatrical techniques as we go, such as the use of props and music, and techniques of stage fighting. Finally, students begin to write their own canovaccio, and we study the actual technique of assembling a Commedia performance, step by step. At this stage of the course, each day ends with the students presenting their work in the form of a “show.” Following is a more detailed breakdown of each stage of the course. Character works begins with rigorous physical exercises designed to help the student find the “scenic presence” and “physical structure” of the character and ensure the effectiveness of the masks. Conscous Movement
Introduction to Acting with Masks
The Characters of Commedia dell’Arte The Servants The “Zanni,” or male servants, and “Servette,” or female servants. These include the more popular characters Arlecchino and Columbina. The Elders These include the Miser, Pantalone, as well as the Doctor, the Lady, and the Notary The Captain The glorious soldier – a braggart The Lovers The “Innamorati” - Isabella and Flavio (non-masked characters) Next, students move on to improvisations on simple themes, from basic entrances, introductions and exits, to character interactions, such as two servants meeting, the Captain and his servant training for war, and so on. Theatrical Techniques and Props of Commedia
The Canovaccio System and the Assembly of the Show After working with these simple improvisations, we will begin an analysis of historical canovacci (the Scala Scenarios, the Correr Scenarios, etc…). Then the students themselves will work on creating their own original canovacci. Roles will be assigned, and the students will begin the actual process of developing a performance:
and so on…
Everyday at 6pm commedia scenes by the students will be presented for the audience
ALL LESSONS ARE IN ENGLISH
LINK: http://www.youtube.com/watch?v=8T-OrLanzss&feature=related
The students will work with original Commedia leather masks made by Antonio Fava, Fabrizio Paladin and Carlo Setti. |
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ABOUT FABRIZIO PALADIN "Fabrizio is an energetic and charismatic performer. [His workshop is] an invaluable means of coveying the principles of this enduring art form" Gene Terruso - Director School of Theatre Arts, University of the Arts. Philadelphia
"Cromie also had with him the amazing Fabrizio Paladin, who got the presentation started with demonstrations of commedia characters, complete with authentic commedia masks".
http://phillyist.com/2006/09/10/jills_plaf_diar_4.php
“...Fabrizio is nothing less than a treasure of the Italian Theatre, and I highly recommend his talent, drive and spirit (…) His understanding of Commedia is exceeded only by his physical prowess, clever mask work, and improvisational mastery. He not only claims his birthright to perform Commedia Dell’Arte, he has made it his mission to spread its relevance, its artistry and its hilarity.
Aaron Cromie Mask/Movement Faculty Ira Brind School of Theatre Arts. The University of the Arts. Philadelphia.USA2009 “...Fabrizio Paladin's Commedia dell'Arte workshop and solo performance revealed himself to be a true master of the genre..... Fabrizio set a new standard in my mind that all Commedia artists must now live up to”
http://www.caterwaulquarterly.com/node/67
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