Pantomime exercises by Commedia dell’ Arte :
- Improvisation and Scenarios = Performances were not fully scripted. Actors worked from a canovaccio ( a brief plot outline or scenario) and improvised their dialogue.
- Lazzi = To ensure laughs, actors used “Lazzi”, well rehearsed, often physical comic routines ( like tripping or mimicry) that could be interested into any story.
- Masks and Archetypes = Most characters were identifiable “types” who wore specific half- masks. Once an actor chose a mask, they often played that single role for their entire career.
- Physicality = The style relied heavily on acrobatics, slapstick humor, and exaggerated gestures to communicate across language barriers.
Characters are normally divided into three social classes.
- The Vecchi (Old Men/ Masters) : The antagonists, often greedy or pompous.
- Pantalone = A miserly, lecherous Venetian merchant.
- Il Dottore = A “know- it- all” scholar from Bologna who speaks in endless, nonsensical jargon.
2. The Zanni (Servants) : The engine of the comedy, often poor, hungry, and mischievous.
- Arlecchino (Harlequin) = A quick- witted but often poor, hungry and mischievous.
- Columbina = A clever, down to earth female servant who often solves the plots problems.
- Pulcinella = A cynical, hunchbacked servant who evolved into the English puppet Mr. Punch.
3. The Innamoorati (the lovers) = Young, high – status couples who do not wear masks. They are “in love with love” and rely on the servants to overcome the obstacle’s set by Vecchi.
Here are some key techniques of Harlequinade :
- Characters = The story focuses on the lovers Harlequin (a nimble, magical trickster) and Columbine (his love interest), pursued by her elderly father, Pantaloon, and his clumsy servant, Clown.
- “Transformation Scene” = A fairy traditionally transforms pantomime characters into the main harlequinade roles, allowing the story to transition from a fairy tale into the comedic chase.
- “Slapstick” humor = Harlequin uses a magic sword or “batte” (a precursor to the modern slapstick) to create magical, trick-filled scenes.
- Development = It became popular as the closing part of a longer evening of entertainment in 18th – century London.
Warm up for pantomime :
- The Stop/ Take = Practice reacting to an imaginary object with a full – body “stop” to signal importance to the audience.
- Passing the face = A circle exercise where students copy and then transform a facial expression to practice rapid emotional transitions.
- Exaggerated Resistance = Exercises like “Tug of war” using an invisible rope to practice showing weight and tension.
Slapstick technique :
- Safe “Accidents” = Introduction to safe physical comedy, focusing on precision in movements like tripping or “accidental” violence.
- Double and Triple Takes = Practice the “Double Take” (see look away, realize, look back bigger) and its comedic timing.
Illusionary props :
- Practice consistent handling of invisible objects (e.g. , opening a stuck door, pending a banana)
- Use a “Build a room” exercise where each student adds one imaginary piece of furniture that all subsequent students must respect.