{"id":2004,"date":"2026-01-29T12:10:25","date_gmt":"2026-01-29T12:10:25","guid":{"rendered":"https:\/\/digitalspace.bradfordcollege.ac.uk\/10681316\/?page_id=2004"},"modified":"2026-05-06T19:36:35","modified_gmt":"2026-05-06T18:36:35","slug":"performing-arts-project-2","status":"publish","type":"page","link":"https:\/\/digitalspace.bradfordcollege.ac.uk\/10681316\/performing-arts-project-2\/","title":{"rendered":"Performing arts – Project 2"},"content":{"rendered":"\n

Pantomime exercises by Commedia dell’ Arte : <\/p>\n\n\n\n

    \n
  1. Improvisation and Scenarios = Performances were not fully scripted. Actors worked from a canovaccio ( a brief plot outline or scenario) and improvised their dialogue. <\/li>\n\n\n\n
  2. Lazzi = To ensure laughs, actors used “Lazzi”, well rehearsed, often physical comic routines ( like tripping or mimicry) that could be interested into any story. <\/li>\n\n\n\n
  3. 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. <\/li>\n\n\n\n
  4. Physicality = The style relied heavily on acrobatics, slapstick humor, and exaggerated gestures to communicate across language barriers. <\/li>\n<\/ol>\n\n\n\n

    Characters are normally divided into three social classes. <\/p>\n\n\n\n

      \n
    1. The Vecchi (Old Men\/ Masters) : The antagonists, often greedy or pompous. <\/li>\n<\/ol>\n\n\n\n
        \n
      • Pantalone = A miserly, lecherous Venetian merchant. <\/li>\n\n\n\n
      • Il Dottore = A “know- it- all” scholar from Bologna who speaks in endless, nonsensical jargon. <\/li>\n<\/ul>\n\n\n\n

        2. The Zanni (Servants) : The engine of the comedy, often poor, hungry, and mischievous. <\/p>\n\n\n\n

          \n
        • Arlecchino (Harlequin) = A quick- witted but often poor, hungry and mischievous. <\/li>\n\n\n\n
        • Columbina = A clever, down to earth female servant who often solves the plots problems. <\/li>\n\n\n\n
        • Pulcinella = A cynical, hunchbacked servant who evolved into the English puppet Mr. Punch. <\/li>\n<\/ul>\n\n\n\n

          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. <\/p>\n\n\n\n

          Here are some key techniques of Harlequinade : <\/p>\n\n\n\n

            \n
          1. 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. <\/li>\n\n\n\n
          2. “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. <\/li>\n\n\n\n
          3. “Slapstick” humor = Harlequin uses a magic sword or “batte” (a precursor to the modern slapstick) to create magical, trick-filled scenes. <\/li>\n\n\n\n
          4. Development = It became popular as the closing part of a longer evening of entertainment in 18th – century London. <\/li>\n<\/ol>\n\n\n\n

            Warm up for pantomime : <\/p>\n\n\n\n

              \n
            1. The Stop\/ Take = Practice reacting to an imaginary object with a full – body “stop” to signal importance to the audience. <\/li>\n\n\n\n
            2. Passing the face = A circle exercise where students copy and then transform a facial expression to practice rapid emotional transitions. <\/li>\n\n\n\n
            3. Exaggerated Resistance = Exercises like “Tug of war” using an invisible rope to practice showing weight and tension. <\/li>\n<\/ol>\n\n\n\n

              Slapstick technique : <\/p>\n\n\n\n

                \n
              1. Safe “Accidents” = Introduction to safe physical comedy, focusing on precision in movements like tripping or “accidental” violence. <\/li>\n\n\n\n
              2. Double and Triple Takes = Practice the “Double Take” (see look away, realize, look back bigger) and its comedic timing. <\/li>\n<\/ol>\n\n\n\n

                Illusionary props : <\/p>\n\n\n\n

                  \n
                1. Practice consistent handling of invisible objects (e.g. , opening a stuck door, pending a banana) <\/li>\n\n\n\n
                2. Use a “Build a room” exercise where each student adds one imaginary piece of furniture that all subsequent students must respect. <\/li>\n<\/ol>\n\n\n\n

                  This is from our first acting technique lesson : <\/p>\n\n\n\n

                  Uta Hagen : <\/p>\n\n\n\n

                  Who is she ? <\/p>\n\n\n\n

                    \n
                  1. She was born in Gottingen. Germany, Hagen and her family moved to Madison, Wisconsin in 1924. <\/li>\n\n\n\n
                  2. Uta Hagen had her Broadway debut at the age of 18,she landed a major role as Nina in a Broadway production of Anton Chekhov’s The Seagull. <\/li>\n\n\n\n
                  3. Uta was known for her versatility, Highlights of her career including playing Desdemona in Othello. <\/li>\n<\/ol>\n\n\n\n

                    Facts about her : <\/p>\n\n\n\n

                      \n
                    1. Uta Hagen had a impact of Mc McCarthyism, during the ant – communist “Red Scare” of the 1950s. Hagen was blacklisted in Hollywood, this was partly due to her affair with Paul Robeson, her co – star in Othello, who was also blacklisted. <\/li>\n\n\n\n
                    2. In 1947, Hagen began teaching at the Herbert Berghof studio, which her second husband, Herbert Berghof, co – funded. She would later take over the school as its chairperson following his death in 1990. <\/li>\n\n\n\n
                    3. Hagen’s approach to acting is grounded in achieving authenticity by using an actors personal experiences to create truthful behavior. Her technique is characterized by her “object exercises”, which build on the work of Konstantin Stanislavski. <\/li>\n\n\n\n
                    4. She codified her methods in two influential books, “Respect for Acting” in 1973 and “A Challenge for the Actor” in 1991, which became standard texts in actor training. <\/li>\n\n\n\n
                    5. Throughout her decades of teaching, Hagen mentored and influenced generations of performers, including Jack Lemmon, Whoopi Goldberg and Al Pacino. <\/li>\n<\/ol>\n\n\n\n

                      Hagen’s Style: <\/p>\n\n\n\n

                      Uta Hagen’s acting technique is a practical, self – sufficient approach rooted in realism that teaches actors to live truthfully in imaginary circumstances. Building on Stanislavsky’s system, she developed tangible exercises and a character analysis framework for creating authentic and believable performances. <\/p>\n\n\n\n

                      Core principles : <\/p>\n\n\n\n

                        \n
                      1. Authenticity and truthfulness = Hagen believed that authentic behavior on stage comes from deep observation of human behavior and ones own life, not forced emotional displays. <\/li>\n\n\n\n
                      2. Action over emotion = Her method emphasizes that emotional expression is a result of a characters “doing”, or actively pursuing an objective. This prevents actors from focusing on “feeling” and instead drives their performance with purposeful action. <\/li>\n\n\n\n
                      3. Preparation= Through preparation is a cornerstone of Hagen’s technique. She taught that realistic performances require intense and disciplined rehearsal, including detail observation of ones own routine behavior. <\/li>\n\n\n\n
                      4. Substitution and transference= Unlike “The method” approach of emotional recall, Hagen’s “substitution” (later called transference) asks actors to connect their personal experiences to the characters given circumstances. This allows actors to find genuine emotional reactions without dredging up their own painful emotional past. <\/li>\n<\/ol>\n\n\n\n

                        Truth: <\/p>\n\n\n\n

                          \n
                        1. Personal truth refers to an actors ability to draw on their own authentic, lived experiences- their emotions, habits and sensory memories- to create a truthful, believable portrayal of a character. It is the foundation for her central acting principle: “living truthfully under imaginary circumstances”. <\/li>\n\n\n\n
                        2. Instead of manufacturing emotions or mimicking reality, Hagen taught that genuine acting comes from deep self – awareness. The actor’s own “truth” is used as a bridge to understand and inhabit the characters life and situation. <\/li>\n<\/ol>\n\n\n\n

                          Methods of Substitution: <\/p>\n\n\n\n

                          This is a technique for creating authentic emotional responses by linking a characters circumstances to an actors personal memories. It is a refinement of earlier “emotional recall” methods, emphasizing a focus on parallel experiences rather than reliving trauma. <\/p>\n\n\n\n

                          Personal Experience: <\/p>\n\n\n\n

                            \n
                          1. How might you connect to this character? <\/li>\n\n\n\n
                          2. Can you share with the person next to you <\/li>\n<\/ol>\n\n\n\n

                            The Three Entrances: <\/p>\n\n\n\n

                              \n
                            1. Where did I come from? (What were you doing immediately before entering the space?) <\/li>\n\n\n\n
                            2. What am I doing right now? (What is the specific action or activity you are engaged in as you enter?) <\/li>\n\n\n\n
                            3. What is my goal\/objective (What are you doing in this specific moment, with this immediate action?<\/li>\n<\/ol>\n\n\n\n

                              They mentally or physically create their “three entrances”, focusing on a specific, grounded action they are coming from and doing as they enter. <\/p>\n\n\n\n

                              Basic Object: <\/p>\n\n\n\n

                              Basic Object Exercise, sometimes called “two minutes of daily life”. This exercise requires the actor to replicate activities from their own daily routine in specific detail (thin making breakfast or getting ready to go out). The goal of this exercise is to increase the actors awareness of their un-observed behavior. <\/p>\n\n\n\n

                              Immediacy: <\/p>\n\n\n\n

                              Hagen asked actors to search for a small object that they need, you can perform the exercise on a set or in your home. As you search, you should observe the behavior and thoughts that arise as you authentically try to find something. The objective is to identify the thoughts, behavior and sensations you experience when you genuinely do not know the outcome, so you can use them on stage. <\/p>\n\n\n\n

                              Fourth side: <\/p>\n\n\n\n

                              This exercise starts with a phone call to a person you know. You should call them with a specific objective in mind. During the conversation, Hagen wants you to focus on your surroundings and the specific objects that your eyes rest on. The purpose is to help actors observe how they interact with all dimensions of an enclosed physical space so they can recreate the feeling of privacy on stage. <\/p>\n\n\n\n

                              Endowment: <\/p>\n\n\n\n

                              This exercise is a designed to help actors apply their observed behaviors to endow props with qualities that they cannot safely have on stage. Hot irons and sharp knives are typical examples. The Endowment exercise ask actors to believably treat objects on stage as though they have the qualities the actor needs in a scene. <\/p>\n\n\n\n

                              Stella Adler: <\/p>\n\n\n\n

                              Who is she? <\/p>\n\n\n\n

                              Stella Adler was a American actress and teacher whose influence on the craft of acting remains significant. <\/p>\n\n\n\n

                              Facts about Stella Adler: <\/p>\n\n\n\n

                                \n
                              1. Stella was a member of the Group theatre in the 1930s. <\/li>\n\n\n\n
                              2. She eventually distanced herself from its predominant adoption of Konstantin Stanislavski system, particularly as interpreted by Lee Strasberg. <\/li>\n\n\n\n
                              3. Strasberg’s focus on emotional memory and introspection did not resonate with Adler, who later studied directly under Stanislavski. <\/li>\n\n\n\n
                              4. This led her to formulate an acting technique that differed from her contemporaries, emphasizing external factors like script analysis, given circumstances and character objectives over internal emotional recall. <\/li>\n<\/ol>\n\n\n\n

                                Alder’s Techniques: <\/p>\n\n\n\n

                                  \n
                                1. Imagination over memory = The central pillar of her technique is the use of a trained and vivid imagination to create the characters reality, rather than relying on the actor’s personal history. <\/li>\n\n\n\n
                                2. Given circumstances and text analysis = Actors are taught to respect the playwright and meticulously analyze the script for all the factual and social details about the character’s life and world. <\/li>\n\n\n\n
                                3. Rich inner life = Using the text as a foundation, the actor builds a detailed, imaginative inner world for the character, which informs all external choices. <\/li>\n\n\n\n
                                4. The actor’s size and social responsibility = Adler demanded actors develop vocal and physical mastery, arguing that acting is a heroic , public art form with a social purpose. She famously told students “Do not be boring”. <\/li>\n<\/ol>\n\n\n\n

                                  Strasberg : <\/p>\n\n\n\n

                                  Who is he? <\/p>\n\n\n\n

                                  He studied acting with students of Konstatin Stanslavskis at the American Laboratory Theatre. <\/p>\n\n\n\n

                                  Facts about him : <\/p>\n\n\n\n

                                    \n
                                  1. Born in Israel Strasberg in Budzanow, Austria Hungary known now as Ukraine in 1901. His family emigrated to New York city’s Lower east side in 1909. <\/li>\n\n\n\n
                                  2. A personal tragedy in 1918, his brother death from influenzas led him to drop out of high school. <\/li>\n\n\n\n
                                  3. In 1931, Strasberg co funded the Group theatre. <\/li>\n\n\n\n
                                  4. After leaving the Group Theatre in 1937, Strasberg became the artistic director of the non – profit Actors Studio in 1951. <\/li>\n\n\n\n
                                  5. Lee Strasberg died in New York city on February 17th 1982, from a heart attack. <\/li>\n<\/ol>\n\n\n\n

                                    Strasberg Technique: <\/p>\n\n\n\n

                                      \n
                                    1. Relaxation = Strasberg believed that physical and mental tension was the actors greatest enemy. <\/li>\n\n\n\n
                                    2. Sense Memory (Affective memory) = Actors use their five senses like sight, sound, smell, taste and touch. To recall the physical sensations surrounding a past personal experience that had a significant emotional impact. <\/li>\n\n\n\n
                                    3. Emotional memory = A related principle where actors draw directly from their own life experiences and feelings to connect with the emotions their character is experiencing. <\/li>\n\n\n\n
                                    4. Given circumstances = Actors through analyze all the factual information provided in the script about their characters situation, background, relationships and environment (who, what where and why). <\/li>\n\n\n\n
                                    5. Magic if = Originating from Stanislavski’s system, this technique involves the actor asking themselves, “What would I do if I were in this situation>”<\/li>\n\n\n\n
                                    6. Concentration = Exercises help actors focus their attention on the immediate circumstances of the scene. <\/li>\n\n\n\n
                                    7. Improvisation = Used during rehearsals to explore a characters movtivations and behaviors in a scene. <\/li>\n\n\n\n
                                    8. Character Immersion = Actors are encouraged to fully immerse themselves in the characters life. Sometimes even off stage or a set for a period, to blur the lines between their real self and the role to achieve maximum authenticity. <\/li>\n<\/ol>\n\n\n\n

                                      Pantomime: <\/p>\n\n\n\n

                                      <\/p>\n\n\n\n

                                        <\/ol>\n\n\n\n

                                        Research Questions: <\/p>\n\n\n\n

                                        Q1. What is pantomime?<\/p>\n\n\n\n

                                        Pantomime is a type of comedic style of acting, that is mainly shown in Christmas time. This is because the kids like the Christmas types of performances, and pantomime style is great for kids. <\/p>\n\n\n\n

                                        Q2. What are some key elements and characters found in pantomime?<\/p>\n\n\n\n

                                        The first main one was audience engagement, this is where they shout out “oh no it isn’t!” this is to make the characters connect with the audience. Next is The Dame, where it is a male dressed as a female (like drag). Also the main characters are normally a boy and a girl, like a prince and a princess because that is mainly most of the plot of pantomime. Finally Slapstick is the most common thing in panto style, which is mainly physical style comedy almost like miming. <\/p>\n\n\n\n

                                        Q3.What is Commedia dell\u2019arte?<\/p>\n\n\n\n

                                        Commedia dell’arte is a type of theatre, that started in Italy. This was in the year of the 16th century, and went into Europe in the 18th century. The main things they use is Commedia dell’arte is improvisation and masks. <\/p>\n\n\n\n

                                        Q4. What are some key elements and characters found in Commedia dell\u2019arte?<\/p>\n\n\n\n

                                        The key elements in Commedia dell’arte is, Improvisation this is where actors do not work of a script and just act on the spot, the next one is masks characters most of the actors use a mask whilst doing this element this is so it is obvious what they are doing. Also the characters found in Commedia dell’arte is Innamoorati which is based on mainly lovers, who are young and normally male and female, these characters however do not where masks un like others. Finally another character there is Masters which is multiply characters called, Pantalone who is a greedy and miserly old man, Il Dottore a doctor or lawyer who is very smart and knows everything, Il Capitano he is arrogant and cowardly. <\/p>\n\n\n\n

                                        Q5. Can you describe one of the exercises we performed to explore the pantomime style of performance?<\/p>\n\n\n\n

                                        One of the exercises we performed in the performance is engaging with the audience, where we ask the children “boys and girls …” or “oh no they didn’t”. <\/p>\n\n\n\n

                                        Q6. How did you feel performing in this way? Was it easy? Difficult?<\/p>\n\n\n\n

                                        I find this easy because it is a way that can be easily adapted into the performance without actually, putting it into a scene for learning more lines which is great for me. <\/p>\n\n\n\n

                                        Q7. What is community theatre?<\/p>\n\n\n\n

                                        Community theatre is targeting at a audience who is mainly based for that age group like our performance. This includes with engaging with the audience like the panto style. <\/p>\n\n\n\n

                                        Q8.What are some of its key aims? <\/p>\n\n\n\n

                                        To make the audience feel happy and engaged with what they are watching. <\/p>\n\n\n\n

                                        Q9. Who was Augusto Boal?<\/p>\n\n\n\n

                                        Augusto Boal is a Brazilian practioner who was born on March 16th 1931. Before studying theatre he did engerning, and then decided he did not like it and wanted to become a actor instead, he did both of his degrees in Columba University in New York. Finally he started acting in a theatre called Arena Theatre in Sao Palou in 1956, through this time he made his most well know work called Theatre of the Oppressed which was in the political climate in Brazil.<\/p>\n\n\n\n

                                        Q10. What were some of his key principles?<\/p>\n\n\n\n

                                        The first one is participation which is encouraging the audience to be involved with the performance but not on stage. Next a key principle he had was Dialogue where there would be two actors talking to each other back and forth. Finally the last one he did was empowerment which made the actors use a tool for social experiment. <\/p>\n\n\n\n

                                        Q11. What are the benefits and drawbacks of forum theatre?<\/p>\n\n\n\n

                                        The two main benefits of forum theatre is Facilitated dialogue this is a person who is known as a “Joker” who lets the audience have a safe space. Next another benefit is interactive and engaging, this is lets the audience have their point of view on the show allowing them to join in as well. The two drawbacks of forum theatre is maybe having conflict in the show, this could lead to people have different opinions on “Oh no he dosen’t” or “Oh yes she does”, the second drawback is some audience members might not want to be engaged with the show and just watch it instead. <\/p>\n\n\n\n

                                        Q12. How did you feel performing forum theatre?<\/p>\n\n\n\n

                                        It was definitely a very different type of style I was used to, but being taught the different techniques I found it quite easy in the end. <\/p>\n","protected":false},"excerpt":{"rendered":"

                                        Pantomime exercises by Commedia dell’ Arte : Characters are normally divided into three social classes. 2. The Zanni (Servants) : The engine of the comedy, often poor, hungry, and mischievous. 3. The Innamoorati (the lovers) = Young, high – status couples who do not wear masks. They are “in love with love” and rely on … Continue reading “Performing arts – Project 2”<\/span><\/a><\/p>\n","protected":false},"author":693,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-2004","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/digitalspace.bradfordcollege.ac.uk\/10681316\/wp-json\/wp\/v2\/pages\/2004","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/digitalspace.bradfordcollege.ac.uk\/10681316\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/digitalspace.bradfordcollege.ac.uk\/10681316\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/digitalspace.bradfordcollege.ac.uk\/10681316\/wp-json\/wp\/v2\/users\/693"}],"replies":[{"embeddable":true,"href":"https:\/\/digitalspace.bradfordcollege.ac.uk\/10681316\/wp-json\/wp\/v2\/comments?post=2004"}],"version-history":[{"count":29,"href":"https:\/\/digitalspace.bradfordcollege.ac.uk\/10681316\/wp-json\/wp\/v2\/pages\/2004\/revisions"}],"predecessor-version":[{"id":2389,"href":"https:\/\/digitalspace.bradfordcollege.ac.uk\/10681316\/wp-json\/wp\/v2\/pages\/2004\/revisions\/2389"}],"wp:attachment":[{"href":"https:\/\/digitalspace.bradfordcollege.ac.uk\/10681316\/wp-json\/wp\/v2\/media?parent=2004"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}