craft-of-comedy

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S.C. - Pantalone

I hope you’re all excited and ready to learn about another Commedia stock character! This one tends to creep up a lot, and I can see why. Pantalone is a fun character to play. Pantalone is miserly old man, and he LOVE money. Like, I dare you to try and take away his money. It won’t work out very well.

He is highly suspicious of everyone, but can you blame him? With people like Brighella around, I don’t blame him at all for being worried about people trying to take his money. Pantalone is typically played by a younger man (for comedic values and because of the next point). Pantalone falls down a lot, and is very acrobatic. As such, a younger actor is needed so the moves can be performed how they are supposed to.

Pantalone likes to pursue the younger ladies (who like to tease him about his money). The girls deal with it because they know that they might get some money out of it (bribing, stealing, flirting to steal, etc). Occasionally Pantalone can be the father of a younger girl, like Columbina. 

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The Final Project (Part 2)

For my final project, I decided to do two monologues - one comedic and one dramatic. The comedic monologue was from “My William Shatner Man-Crush” and the dramatic from Henry the VIII by Shakespeare. Here is the dramatic monologue (with some pictures of my face!)

I come no more to make you laugh: things now, That bear a weighty and a serious brow, Sad, high, and working, full of state and woe, Such noble scenes as draw the eye to flow, We now present. Those that can pity, here May, if they think it well, let fall a tear; The subject will deserve it. Such as give Their money out of hope they may believe, May here find truth too. Those that come to see Only a show or two, and so agree The play may pass, if they be still and willing, I'll undertake may see away their shilling Richly in two short hours. Only they That come to hear a merry bawdy play, A noise of targets, or to see a fellow In a long motley coat guarded with yellow, Will be deceived; for, gentle hearers, know, To rank our chosen truth with such a show As fool and fight is, beside forfeiting Our own brains, and the opinion that we bring, To make that only true we now intend, Will leave us never an understanding friend. Therefore, for goodness' sake, and as you are known The first and happiest hearers of the town, Be sad, as we would make ye: think ye see The very persons of our noble story As they were living; think you see them great, And follow'd with the general throng and sweat Of thousand friends; then in a moment, see How soon this mightiness meets misery: And, if you can be merry then, I'll say A man may weep upon his wedding-day.

[craft-of-comedy]

The Final Project

For my final project, I decided to do two monologues - one comedic and one dramatic. The comedic monologue was from “My William Shatner Man-Crush” and the dramatic from Henry the VIII by Shakespeare. Here is the comedic monologue (with some pictures of my face!)

"A THING FOR NERDS" by D. M. Larson

JENNY

I've always had a thing for nerds. All kinds ... Geeky, Weirdo, Freak, Techie, Trekkie or Dork... you name it... I want to catch them all.. Sorry for the Pokemon reference... I am a bit of a nerd myself. Girl nerds are rare but we do exist.

I hung out with nerd-lings as a kid. We played Dungeons and Dragons and I loved being dungeon master ...holding their fates in my hands. It doesn't matter how pretty you are, just the fact you're female and like something nerdy makes you very attractive to them. Other kinds of guys could care less about me... But to nerds... I was hot.

The more I hung out with boy nerds, the more I realized the power girls have over them... There's nothing they want more than First Contact with the female of their species.

But with great power comes great responsibility and I tried not to take advantage... Much.

And the best thing about nerds is that they give you their full attention. Pretty boys are too worried about their looks and compete for fairest of them all... With pretty boys there is always a fight for the mirror. With tough guys and jocks... They always want praise or worship. It's all about them and they turn romance in to a competition ... (Does body builder impression) Who is the lucky girl who gets me today?

Nerds are the kindest kind of guy. They have the best hearts... If you get past the over drawn comic book heroines and the overly aggressive Sci Fi babes... They really care about you and who you are.

You get a nerdy guy's full attention. The rest of the world slips away and you're his entire universe, because no Death Star, Tardis or warp drive is more exciting than a girl who gives him the time of day. That's why I like these guys... I feel special... important... and not alone anymore.

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Hopes, baby. That’s what you got. A bad case of the hopes. They sneaked up on you when you weren’t looking. You think: maybe it’s not gonna happen. You think: maybe you’ll find some way out. Some word that’s still alive, some word that will make it all different: maybe, maybe, maybe…

Beverly, The Shadow Box (via thrillbandit)

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The Shadow Box

So.... Guess who’s a mess? Didja guess me? Cause you would be absolutely correct!

So not only do I not have pictures for my performance of Maggie in The Shadow Box, I’ve somehow managed to lose my script so I can’t even transcribe the portion that I did.

^that’s really me right now. (The rabbit, not the smirking fox)

I am able to get a summary of The Shadow Box to share with you all, but I know that is nothing compared to what I could give you if I had my script. DX

The setting for "The Shadow Box" is three cottages on the grounds of a large hospital. Here, three tales unfold, at first serially, and then towards the end of each of the play’s two acts, simultaneously. Each tale features a person who is dying. Each person is surrounded by loved ones. All are trying to face and make sense of death.

The first family we meet is the most conventional. Joe, a working class husband and father, is joined at the cottage by his wife Maggie, who, in denial of Joe’s impending death is afraid to enter the cottage. Their son, Stephen, age 14, has not yet been told of his father’s terminal condition. The second family consists of Brian, who is brutally forthright about his demise; Mark, his doting lover; and Beverly, Brian’s wild ex-wife who comes to visit them. The third family is a feisty, blind, and wheelchair-bound mother, Felicity, and her dutiful daughter, Agnes. An off-stage character, "the interviewer," pops in and out of the scenes, offering insight into the various characters through questioning. ("The Shadow Box." The Shadow Box. Web. 10 May 2016.)

The scene that my partner and I did is the big fight between Maggie (me) and Joe (My partner). Maggie refuses to go into the cabin because she does not want to accept the fact that Joe is dying. It’s kinda a “If I don’t see it, it isn’t happening” mentality. Joe has accepted the fact that he is dying, and he just wants some happy times with his family before he dies. Personally, I think the saddest part about the scene that we did is the fact that Maggie wants so desperately for Joe to come home. She has a whole monologue about how much Joe would annoy her when he was home, but she didn’t care because he was home. Joe knows that he can’t go home, which only makes the scene that much more heartbreaking.

If I can find my script between now and noon tomorrow, I’ll put the dialogue up. But I have the feeling that it will be unlikely (I’m in the process of packing and EVERYTHING is in upheaval). I highly recommend this play. It’s heartbreaking and thought inducing. An overall great play. :)

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Did you know that silent films are basically a modern version of Commedia? Cause I didn’t before this class! Like I said in my intro post, the main features of commedia (big, slow motions, expressive faces, and tumbling) are also commonly used in silent films.

I apologize in advance for the blurriness of the photos!

Scene Opens

The two flappers enter from the back of the room. One is clearly more excited then the other. Abby is pulling Lizzette in and Lizzette is trying to get abby to leave.

Abby- Come on! Come on!

Lizzette- No Abby, your mom is going to kill me! I can’t believe I let you convince me to bring you here.

Abby- Lizzy don’t be such a downer. This is going to be fun.

(Abby runs up to the stage and the turns to the audience and takes in the room. She then turns around and decides what she wants to try first. She heads towards the champagne and daintily takes a sip.)

Lizzette- Abby stop. You are too young to try that.

She grabs the glass out of abby’s hand and slams it on the table.

Abby- Lizzette, we talked about you ruining all my fun.

(She skips away to a nearby ashtray and takes a long drag off the cigarette.)

Lizzette- No!

(Lizzette takes the cigarette out of Abby’s hand and slams it back into the tray. She then drags her cousin to a nearby table the argue but in the end Abby sits and Lizzette starts to give her a stern talking to.)

Jay the sleazy guy enters from the back with a pipe in his mouth. He tips his hat at the Piano Player. He starts to strut up the aisle. Saying hello to some audience members. It is clear the despite that he is a total sleeze bag, he is charismatic.

Lizzette looks up in the middle of scolding her cousin and see Jay coming up to them. She knows Jay’s reputation and wants to get her cousin out of there as soon as possible.

Lizzette- Abby come on! We have to leave right now I see trouble coming.

Abby still does not want to leave. Lizzette starts to pull Abby again but they struggle. Jay gets to them before they get off the stage. Abby breaks free of her cousins grip and stumbles into Jay. He twirls her around and offers her a flute of champagne. She finally gets her first sip and then sets the glass down. Jay then leads Abby towards the dance floor and the two start to swing dance. This goes on for an expanded moment. Meanwhile Lizzette is trying to get Abby away from Jay. She is trying to get her attention but that is not working. She then walks over and pulls Abby into dancing with her. They dance for a while. It is clear that the Speakeasy is all that Abby had hopped it was going to be. Jay pulls Abby back into their dance for several moments, Lizzette pulls her back, each pull gets shorter and shorter and that devolves into Jay and Lizzette basically playing tug of war with Abby. Lizzette gets fed up and Jay and Abby dance a little longer. Lizz gets an idea.

Lizzette- Abby if you don’t leave with me right now I am going to call your parents and tell them where you are. We both know you dad is not going to be pleased.

Upon hearing this, Abby pulls away from Jay and looks at her cousin in horror.

Abby- You wouldn't!!!  

Lizzette- I would.

Abby- Do your worst Lizzy i'm not leaving!!

While the two cousins were fighting, Jay moves over to where the ashtray was and has been dragging on a cigar and watching the fight. After she tells her cousin off she goes over to join him and is offered a cigarette, she takes it and they stand together smoking for a while. Lizzette at this point has given up and decided keeping Abby out of trouble is a hopeless cause. She despondently goes over to the table with the drinks on and starts to sip one. Her failure is clear on her face. At this point all three of the people at party are holding some form of alcohol.

Then the cop enters. Jay notices him first and he grabs the young flapper by the wrist and pulls her down the other set of stairs.

Lizzette only looks up from her drink when she hears a commotion. It takes her a moment to figure out what is going on. She figures it out and then follows after the escaping people. The cop see the runners and when they are all off the stage he takes center stage and tries his best to control the situation.

Cop- Stop! Everybody! Stop where you are!

His orders are promptly ignored and he decides to give chase to the the three people who are running around aimlessly yet chaotically. Each of the people at the party will snake up and down different aisles and the cop will have to spend some time trying to figure out who he is going to she. He can not decide, but still joins the chaos.This goes on for about 30-45 seconds, the people that are doing all the running around are bumping into things and into each other, being amusing. Eventually they all end up around the piano. The piano man stands up and gives the audience a knowing look. He then clotheslines the cop who has somehow made it to the front of the line. The cop stumbles and falls to the ground. Jay has not noticed this and he still thinks he is being chased, he then trips over the cop that is laying on the ground. Abby follows suite and falls to the ground. Lizz also falls when she gets there. The piano player looks very amused at what she has just witnessed. The party goers manage to right themselves with some effort but the cop is down for the count.

Lizzette pulls Abby to center.

Lizzette- See what I mean Abby! This is not a safe place to be!! You almost us arrested, you can’t go to jail Abby you wouldn’t last, and you mom would never speak to me again!

Abby- At least it was exciting Lizzette. When was the last time you danced the night away and felt your heart pounding in your chest. You’re too young to be boring Lizzy, live a little why don’t you?

Lizzette is slightly put out that her cousin seems to have made a reasonably good point.

Lizz- You may be right Abby, but I’m 23, maybe wait a year before you embrace the jazz lifestyle. Jail at 17 really would not be good for you.

Abby and Lizzette hug and start leave the stage arm in arm happily swaying back and forth.

Once they reach the edge of the stage Abby pulls away from her cousin and coyly runs back to the bar, she takes a champagne flute and takes one last sip with a flourish, she winks at Jay and blow him a kiss.

Lizzette get fed up and starts to tap her toe. Abby then goes back to her cousin. They leave happity. Jay takes center stage looking exasperated but amused. He is joined by the piano player. The two know each other and are friendly.

Jay- Well, it been another fun night, I don’t think this place has ever been boring.

Piano man- No you are right, I have the best job in the world. Free booze and tips, what more can you ask for?

The cop that has been laying knocked out on stage all this time stirs scaring the Piano Player and Jay, they decide that it is time that they take their leave and follow the two flappers off stage right. The cops sits up and rubs his eyes, he then stands up and looks around, this is when he notices that everyone has gotten away. His anger is apparent but he know it is no use to look further and he leaves the stage in the opposite direction of the party goers.

[craft-of-comedy]

I had to start learning the other hand on how to fight. What happens is you slowly learn these fights in stages, stage by stage and you build up and then they get so fast and so fluid that they just look like a dance where you are clocking steps and that is when you have to put the intention back in. You say to yourself, “I go for the strike here and now I see the opening there, and now I’m going to go for a thrust there.”  It is a dance but it is also a dialogue. I find you can lose yourself in an acting sense in a fight far more easily than you can in a dialogue scene and I love that about it. - Kit Harington

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Stage Fighting... For realsies this time (Part two)

This is the dramatic fight that my partner and I did! It’s set during a war (not a current/recent one.. maybe ww1? We didn’t really specify a time). I think everything else is pretty self explanatory... (I’m playing a male btw. It was interesting XD I’m in the red shirt)

Scene starts with Alana/Allen in their room. Enter Dick.

Dick: So I heard an interesting rumor the other day.

Allen (disgusted by his presence and doesn’t really care): Did you now?

Dick: I heard that there was a dame in the barracks… And I think I know who it is.

Allen turns, looking guilty but trying not to look that way. Dick grabs Allen’s shirt (2 beats) and Allen sweeps his hands away (1 beat).

She now look REALLY pissed, and while her hands are in the air, she goes into a punch (5 beats)

Allen: Don’t TOUCH me. (After/during the punch)

Dick: I can touch you all I want. That’s all women are good for! *Goes into a punch, which is blocked by Alana* (3 beats)

Alana isn’t having any of it though. She put him into the arm-twisted-behind-the-back hold (Hammer lock) and kicks him to the ground. (3 beats including the kick)

Allen/Alana: Don’t push it Major. I’ll make you regret it.

Dick: You can’t make me do anything. Or you could come down and join me and we could have some funnnn….

Allen/Alana goes and kick him in the stomach. “You. Are. Disgusting.” (4 beats) Dick is groaning and swearing.

Allen/Alana is done with this Dick. She steps over him to be the better person and leave it as it is when Dick grabs her ankle and says,

Dick: I’m not done with you yet. (Groany)

Allen/Alana is DONE. She goes down and punches him in the face while saying, “Don’t breathe a word to anyone!” (5 punches/beats)

Dick is KO’d (Or nearly there). Allen/Alana walks away, pausing just to say, “If I hear about this again, I’ll kill you.”

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Today I learnt....

How to stage fight, I’ve been killed numerous times, I’ve been shot, stabbed,strangled, had my hair pulled, been punched and slapped and it didn’t hurt me at all… The secrets of acting ;)

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Set Maquette appreciation post!

“Endgame” - Set design by SHAWN KETCHUM JOHNSON

“Peter Grimes” - Set design by Barry Kay

“Archicad” - Set design by Steven Butler

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staircase by Dan Curran Architecture http://www.houzz.com/photos/2416638/Home-Theater-Brentwood-CA-eclectic-staircase-los-angeles

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Stage Fighting... For realsies this time

As part of my Commedia class, my partner and I had to come up with two fight plans, one dramatic and one comedic. I’m going to share these with you! :D Once again, PLEASE DO NOT DO THIS WITHOUT SUPERVISION. LOTS OF PRACTICE IS REQUIRED TO DO THESE MOVES AND THE LIKELIHOOD OF GETTING HURT IS HIGH.

I’m sorry for the blurriness of the photos, but it’s hard to take a good photo when there’s a fight going on. 

Brighella starts on stage DRUNK.

Margot enters, looking for Brighella

Margot: There you are! Drinking again!

Brighella: What else would I be doing? This bottle right here and I are bessst friends. (Pats the bottle)

Margot: Well, put your “best friend” down and come with me.

Brighella: No. (Looks directly into Margot’s eyes and takes a long drink)

Margot: Really?! I ask you politely and this is how you respond?

Brighella laughs

Brighella: Margot! You need to lighten up! Sit and have a drink with me!

Margot: No. I’m here to bring you to an AA meeting. Everyone is worried about you…. *Goes to take the flask*

Wrestling ensues (5 beats, pulled towards Margot first)

Margot emerges the winner and puts the flask across the stage while Brighella is stumbling around a bit.

Brighella yells, “GIVE THAT BACK!” while running at Margot. About 6 steps away (Brighella). Runs towards Margot, hands up 5 step. Brighella runs into her on step 6. Beat 7 is Margot pushing Brighella away.

Margot basically says, “That hurt!” after pushing Brighella off. Brighella moves right around 3 steps back from the push. Margot advances and backhands Brighella out of rage. (6ish beats)

Brighella is surprised and quickly turns pissed. Takes 2 to 3 steps and stomps on Margot’s foot, and while Margot is hopping around (3 hops), she tries (and fails) to punch her. Momentum makes Brighella hop/fall forward (3 steps, on second Margot starts to approach).

Margot is DONE. She grabs Brighella by the hair and drags her off stage, saying something to the effect that Brighella can’t get out of it, and she may kill her if she tries.

[craft-of-comedy]

Wonder Hat

Now, there is a wonderful little-known play called “The Wonder Hat.” It is written for Commedia, and the characters are Harlequin, Pierrot, Punchinello (or Pantalone), Columbine, and Margot. The play is basically about Columbine being desperately in love with Harlequin, and being “dreadfully uncomfortable about it.”

She wants Harlequin to come to her, but Harlequin doesn’t want to. He is sick of all the ladies chasing after him, and as such, steals a wonderful hat away from Punchinello. This wonder hat has the ability to turn the wearer invisible.

Poor Punchinello... Getting cheated out of his expensive hat...

He can’t seem to find Harlequin!

 Columbine also “purchased” a magical item from Punchinello (Purchased is in quotations because she tried to pay but Punchinello refused all money). The magical item was a very old slipper which caused all men around her to fall in love with her.

The slipper in question (which is actually mine lol)

Punchinello refusing to accept any money

Pierrot also fell victim to the slipper... And Harlequin is jealous!

Through a series of misadventures, Harlequin realizes his love towards Columbine and Columbine becomes more comfortable in her love towards Harlequin. But just as the play is about to finish, Margot steps in and basically says that the play is only going to end in a way that everyone will regret, so it’s best to leave off where they are and let the audience decide how it ends. When Pierrot points out that they are getting paid to finish the play, Harlequin says something very Commedia like, “Paid? We’re not working for money. We’re working for love.”  

And thus ends “The Wonder Hat.”

[craft-of-comedy]

S.C. - Brighella

It’s stock character time!! :D It’s time to introduce Brighella, the resident commedia drunk.

Unlike most commedia characters, Brighella can be male or female. For the sake of consistency, Brighella will be referred to as female in this post. Brighella, like Arlechino, is a servant. She is often used as a foil to Arlecchino - with her uptight and cynical characterization, it works pretty well.

Brighella likes to drink, as illustrated by above. She also likes to steal, especially after a few drinks. She is cynical and nine times out of ten, tired.

Brighella’s physically is fun to explore. She is most of the time drunk, so the actor/ess can stumble around on stage, and possibly do some tumbling. She is personally one of my favorite characters. 

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Stage Fighting part 2

PLEASE DO NOT DO THIS WITHOUT SUPERVISION. LOTS OF PRACTICE IS REQUIRED TO DO THESE MOVES AND THE LIKELIHOOD OF GETTING HURT IS HIGH.

Welcome back to stage fighting! The next move that I am going to tell you about is the foot stomp. The foot stomp is a fairly easy move with little risk involved.

With the foot stomp, everything is on the person getting stomped on. The person who is doing the stomping makes eye contact, and then stomps. You aim between their feet and try to make as much noise as possible.

The person who is getting stomped is the person who makes the stomp look real. When the stomper stomps, you are supposed to pull up the foot being stomped and react. Grab your foot, jump around, swear a little. This move is reliant on your reactions.

[craft-of-comedy]

Stage Fighting

PLEASE DO NOT DO THIS WITHOUT SUPERVISION. LOTS OF PRACTICE IS REQUIRED TO DO THESE MOVES AND THE LIKELIHOOD OF GETTING HURT IS HIGH. 

Today we’re going to be talking about stage fighting! Stage fighting is important in Commedia because of how physical and active everything is. You have to have good control over your body and trust in your partner to have a successful fight. There are many different moves that somebody can do - basically if you can do it in a fight you can do it in stage fighting. One of the easiest fight moves to do is the slap.

The first thing you do is measure the distance between the two actors. YOU DO NOT WANT TO HIT THE OTHER PERSON. THAT IS A NO-NO. That is why you have to do this step. Once you have been working with a person for a while, the distance can be guessed, but at the beginning, the measuring is really important. It’s also important because you want the person who is getting hit to feel comfortable. Too close and they might be worried about getting hit, which could possibly cause injuries.

(My teacher and a fellow student. Posted with permission)

Stage fighting is like a dance - every move is beated out and done multiple times before speeding up. The first beat to any stage fight is eye contact. Eye contact allows the fighters to assess when to do the move. If someone isn’t making eye contact, odds are they aren’t ready to do a fight (they might still be in the last moment, you could be early in looking to fight, etc). Once eye contact is made, the person attacking goes in for the wind-up. For a normal slap, the slapping hand goes up, palm facing the person about to be hit. 

There is another beat (a shorter one) to telegraph to the audience that a slap is about to occur. There are multiple ways to make the slap noise. I’m going to describe the one that the above teacher taught me. On a different post I might explain how I originally learned it, but not right now.

The actual action of the slap isn’t just one beat. It’s typically 3-5 beats long, depending on how precise you and your partner want to be. On either the last or second to last beat (There is a possibility for another beat that I’ll explain later), the noise is made. As the person is swinging down, just around the slappie’s face area, the slapper brings up the non-slapping hand and basically claps. The slapping hand continues downwards and the clapping hand goes back to your side. The swing-through could be considered another beat. For the person getting slapped, it is important to react! It’s the reaction that makes the move look good. Grab the “slapped” cheek, make some noise, swear a little if it was a hard hit.

Also remember, when you get “hit,” turn your face away from the person’s hand. This will help you avoid getting hit.