L'ARTE DELLA COMMEDIA The Theatre School
Friday, May 16 2008, ore 20.30 - Sala InterAction Liceo Scientifico "Leonardo da Vinci" - CASALE (BO) IPSAR "BARTHOLOMEW run" - CASTEL SAN PIETRO TERME (BO) THE ART OF COMEDY by Carlo Goldoni costumes
Monica Conti adapted and directed by Dario
and
Roberto Turrini Garagnani Tell us your eperienza an actor / actress ...
Use this post as a real diary of evidence ...
Leave your comments here and show the path you followed along with your theater group ...
with
Alice Benini, Bassini Greta, Greta Aristide, Francesca de Gioia, Antonio Bonavena, Alexa Sganzerla, Sara Nannuzzi, Barbara Sandrolini, Cristina Zini, Alessandro Soggiu, Alina Guidi, Francesca Coccolini, Francesca Zaghini, Andrea Giuliano, Valentina Vetrone Danilo Di Natale, Eleonora Rossi, Maria Julia Siddi, Martina Rigney, Katherine Abruzzese, Sofia Contino, Silvia Scuncio, Lorenzo Sorce, Francesca Fiorini Francesca Venturi, Alice Biagi, Daniele Ballardini, Giacomo Franceschini, Valentina Masetti, Federica Pollara, Pierfrancesco Twins, Miriam Iavarone, Marika Bovina, Roberto Goratti
PRESENTATION
Goldoni and the Commedia dell'Arte are closely related: one has made a decisive impact on reform second just as it was extinguished almost as slow euthanasia. The show that we represent want to associate and compare the two proposals poetry: that of Goldoni, in fact, one of the comedians and comedy masks. In "comedy" (which we also integrated with the 'Introduction to the comedy) Goldoni is a company of comic professionals, while are trying to play the show in the evening, receive a visit from two wacky characters: a poet and a singer who, in the bill hard, ask for a writing to the Manager. This subject is really thin excuse to make public the basic principles of "reform" Goldoni: The text written for all the characters (the actors, with great difficulty, must learn by heart), a finer characterization of the characters themselves, so that the public might actually recognize common types on the stage of everyday life, the return of comedy to a healthy and fresh to the temptations of giving up comedy to pathos French and fillers of empty flourishes of Italian bel canto of the virtuous. But the scope of this revolution can not be well understood if it is not measured by the practical stage of his comic art. Here, then, that instead of the scene (all written by Goldoni) prove that the comedians of the company for the evening performance, we replaced the original canvases of the Comedy of Masks that our guys really improvise on stage. Very often we think that the peculiarity of the Commedia dell'Arte is solely to the improvisation of the actors acting, in fact, the explosive force of this kind came into being, among other things, a well defined code of gesture. In fact all the characters: servants (Zanni, Harlequin, Pulcinella etc), padroni (Pantalone, il Dottore, il Capitano etc) e nobili (gli innamorati) hanno elaborato e affinato, nei due secoli di vita del genere, ben definite “regole di movimento” che innervando il corpo scenico dell’attore di forti tensioni rendono l’azione del personaggio estremamente efficace. La distanza dei due generi, apparentemente opposti, diventa quindi funambolico innesco di un contrasto, o di un duetto, che nelle pieghe dei rispettivi controcanti anima lo spettacolo di una straordinaria energia comica e di una immediata forza comunicativa.
