The Commedia dell'Arte (also known as Commedia all’Improvviso) laboratory is intended as the discovery of a theatrical code which includes the use of expressive half-face masks, a particular acting style, vocality, rules and actor-audience relations. The laboratory is however not intended as a strict attempt at philological recovery of a genre which may seem otherwise outmoded. The strength of Commedia all’Improvviso is represented by its particular characters (Pantalone, Arlecchino, Zanni, Dottore, Brighella, innamorati, capitani etc.) who represent archetypes of human society which can be found in every culture and in any period.
LABORATORY:
The “maskwork” involved in the Commedia dell'Arte represents a milestone in an actor's work, as it holds all the tools and principles of the art of acting. This type of work requires a great deal of involvement on the part of the actor, who is also required to have good physical ability.
The Commedia dell’Arte, with his work on types, on the expressiveness of the body, on the use of the mask and with its canovaccio, represents a unique opportunity for an actor’s training. Such training teaches the actor to combine realism and artifice, ‘natural’ gestures with the expressiveness of the mask, and to transform this creative game into the audience’s comprehension and enjoyment.
The first phase will be devoted to physical and vocal training with a targeted use of body language, expressiveness, quality of movement, vocality and rhythm.
STRUCTURE:
- Historical Introduction: the birth and evolution of the Commedia dell'Arte , its masks and their function, iconographic and literary sources , the Commedia dell'Arte today (photographic and video material will be used).
- The mask: A series of exercises will explore the following: propulsion points, the mask as a tool and its use/functionality, the physicality of the mask, search for a mask’s own voice, the concepts of riporto and a parte.
- Traditional and modern characteristics: The unique characteristics of the Commedia dell’Arte will be studied together with the intentional/emotional world of the following masks: Dottore, Pantalone, Zanni, Arlecchino, Brighella, la Serva, Capitano, gli Innamorati, Strega. Their study will include an in-depth analysis of their posture and social relations. The next step is the allocation of the best-suited mask to each of the participants in order to develop individual characters.
- Canovaccio: through improvisation exercises on a theme, using the classic patterns of dramatic construction, an original canovaccio will be developed, which will be presented as a final project open to the public.
- Festival: performance
Matteo Spiazzi (IT)
Matteo Spiazzi is a theater director and pedagogue. After graduating from the Academy of Dramatic Art "Nico Pepe" in Udine, he specializes in commedia dell'arte, contemporary masks and physical theater. He is the author and director of several shows that have entered the repertoire of various international theaters, including the Russian National Academic Theater "Gorkij" in Minsk (BLS), the State Puppet Theater in Minsk (BLS), Kuressare Linnateater (EST), Slupsk Puppet theater (PL), Maribor Puppet Theater (SLO), Moscow Nations Theater (RU), Kyiv Academic Drama and Comedy Theater (UA), Kyiv National Academic Operetta Theater (UA). He collaborates as a pedagogue at various drama academies and universities, including the "Nico Pepe" Academy of Udine, the Viljandi Tartu University Dramatic Art Academy (EST), the Prague Dramatic Art Academy DAMU (CZ), the National Academy Dramatic Art of Minsk (BLS), Kyiv Academy of Dramatic Art (UA), Kyiv Academy of Art and Culture (UA), Karpenko Karpenko Kary Academy of Art of Kyiv (UA).