EXHIBITION STATEMENT

History & Distinction

Commedia dell’Arte is in Italian form of theater during the renaissance (1550-1750) that was performed by companies of 10 actors. It involves non-scripted scenarios, requiring improvisation and heavy physicality. Due to this, Commedia has influenced comedy theatre, such as Molière, and Shakespeare, and today’s sitcoms and cartoons. Additionally, it serves a purpose for comic relief. Dr. Chiara D'Anna on the COMMEDIA DELL'ARTE Actor Training YouTube channel has allowed actors to embody each character as she lectures on their philosophy ("Commedia Dell'Arte" Actor Training). This way, the actors are provided with a guide, but must later apply it themselves when given scenarios a specific character may encounter. 

Methods

The theory is well represented in An Actors Handbook by John Rudlin, providing historical background, improvisational exercises, and detailed descriptions for each Commedia character (Rudlin). Improvisational games were used to train the actors to make instinctual decisions, preventing overthinking. In addition, each character description was read out loud before using Dr. Chiara D'Anna's teachings. Then, the actors interpreted an action I provided, performing in a spotlight, and acting out the chain of events. On their given stage, students provided peers with creative ideas to add onto their renditions. Finally, a fun end of class activity was to address a modern television example that embodies the character learned, and discuss their key features related to Commedia (i.e. Joey from Friends).

Audience & Impact

The audience for this capstone workshop is the general UMD Community. While the community may not understand the roots, anyone is able to comprehend the story. Although the voice is a crucial component of emotions and individuality, physicality is a critical factor of expression. I hope the audience finds this technique informative, comedic and stress relieving. The actors have stepped out of their comfort zone and become confident in portraying each character. As a result, I am inspired to apply these goals throughout my performance based college experience whether that be opera, A cappella, theatre, etc., in order to identify my emotions and portray them within the context of any performance that I might have.

References

“Commedia Dell' Arte Actor Training.” YouTube, YouTube, 4 Nov. 2011, https://www.youtube.com/channel/UCY4XN95AovkClZo-poYlReA.

Rudlin, John. 1994. Commedia Dell’arte: An Actor's Handbook. London: Routledge.

Acknowledgements

Thank you to actors: Alejandro Flores-Chevere, Samuel Johnson, Isabella Landriscina, Zosia Nicholson, Jordyn Salow, Max Samuels, Frederik Wolfe, and Joseph Yang for being brave performers and informing others about the importance of the stage. Also, I am grateful for TA, Amy Zhong, as her engagement and helpful nature added to the creativity of the group. Thank you to Harold Burgess, Heather Bremenstuhl, and Gabrielle Robinson-Tillenburg for advocating my ideas and providing feedback to maximize my success each class. Finally, I thank my fellow teachers and actors from high school who worked hard to take on challenging theatrical techniques and appreciate the evolution of the theatre.