Talking Justice: Evaluation

Key Characters :

-       The ‘Whitescarf’ (the character who is different from everyone else)

-       The Bystander (The most ‘voiced’ bystander on the bus)

-       The Attacker

-       The ‘helper’ (the character who agrees with the attacker and often voices their own opinions towards the whitescarf)

-       The Interceptor (This character pipes in at times when they feel the attacker is taking things too far, and tries to stop the attacker from using physical violence)

-       The ‘Filmer’ (This character is completely silent throughout scenario 1, only holding up their phone to film the entire encounter)

Plot/theme: The ‘Talking Justice’ performance has two ‘scenarios’

Scenario 1 takes place on public transport, a girl with a white scarf sits herself down, the odd one out. Each other passenger has a different reaction to her, some look away, some look disgusted, some see her as just another passenger and one even begins to snicker and make snide remarks (attacker). These remarks soon grow louder after one of the other passengers (bystander) sits herself down next to the ‘outsider’ as a way of showing support. The bystander soon begins to grow annoyed, another passenger tries to make the attacker quiet down as he feels the attackers words are insulting. After this passengers failed attempt to stop the hateful words, the bystander begins to argue with the attacker resulting in the attacker punching the bystander.

Scenario 2 takes place in a lounge room, a group of friends are waiting for the footy to come on. They are chatting and laughing until one points out a ‘viral video’ that’s just come up in breaking news, another friend identifies it as the video that he saw on Facebook of a bystander getting punched (Scenario 1). This video soon causes a heated discussion between the friends, all with their own views on how this event should have/could have been handled. The views differ from the need for more laws, to letting the public decide instead. All of this argument is quickly stopped by one friend who really ‘couldn’t care less’ about the issue and would rather watch the footy.

Evaluation:

This performance was very effective. Although everyone was wearing the same clothing, the way each actor presented emotion allowed the audience to clearly determine what sort of character they were without any confusion. The message in the play was put across well, and by having many characters with different views meant that all views were explored, allowing the audience to make their own conclusions.

Commedia Dell' Arte: Characters

Stock characters were created to represent fixed social types, characters began as satires on Italian “types” and became the ground blocks for mnay of the famous characters of 17^th and 18^th century European theatre. Some characters were even named after particular regions of Italy (for example: Meneghino is named after Milan).

In Commedia, the characters can be placed into three categories:

-       Masters

-       Lovers (Innamorati)

-       Servants

Each category has a selection of characters who’s actions and features makes each one unique. For example; if you were to be a ‘master’ you could be the character Pantalone or Il Capitano , for a ‘lover’ you could be Isabella or Lelio  and for a ‘servant’ you could be Zanni or Colombina . These are only a few of the many characters found in Commedia Dell’ Arte.

Character Profile

Name: Il Capitano

Description: Il Capitano is somewhat of a coward, he speaks his mind and often talks about himself as though he is richer and stronger than anyone else but when something comes his way (for example; some one tries to duel with him) Il Capitano is quick to run away. He is ‘a peacock who has moulted all but one of his tail feathers, but he does not know it.’ - Rudlin

Costume: As Il Capitano is of military status, he is usually wearing uniform of some kind. This could include a feathered hat or helmet, huge boots and exaggerated garters.

Mask: Il Capitano’s mask can be seen as a ‘long nosed crocodile mask’. It is often flesh coloured with a long nose (his signature feature) and was accompanied by a fierce, bristling moustache. This mask was created to represent a contrast between a brave appearance and a craven nature.

Actions/Pose: Il Capitano often has his right hand on his unused sword and uses his left hand to create exaggerated gestures. He is often ‘strutting’ his way around but when frightened, he drops everything to just run on the spot.

Commedia Dell' Arte: Introduction

Commedia Dell' Arte 

(Comedy of the Professional)

Commedia Dell’ Arte was created in the streets and market places of Renaissance Italy (1500). The performers would wear masks that would make them more noticeable and would help draw additional attention to themselves (as well as their physical and acrobatic skills). It soon became a popular art form and was firmly established as a genre in it’s own right by the mid 1500’s due to the high demand inside theatre’s as well as in the street.

This era of theatre was open to all social classes and because of their mime like movements and hilarious acrobatics, language was no barrier. Later on the idea of Commedia began to influence other styles, it spread all over Europe and adopted a major French influence. Artists, writers and actors such as Picasso and Charlie Chaplin can be seen to have a slight essence of Commedia in their work, it can even be seen in some TV shows such as Sienfeld!

To be an actor/performer in Commedia Dell’ Arte plays would require you to have many skills. You would not only need to be fit, but also flexible and acrobatic as some of the movements allocated to a character can be quite difficult to master. You would need to be able to improvise at a moments notice, as most of Commedia is unscripted.

The era, in which Commedia was created, was a time of rebirth. Italy was just coming out of the Middle Ages or, as some would call it, the ‘Dark Ages’. They began to look back at Ancient Rome and Greece, trying to bring the past to the present. Commedia can be seen to have some essence of Ancient Greek theatre, showing the incredible ways in which Italy was able to incorporate the Ancient times with their brand new life.

The makeup of Commedia was quite similar to ordinary makeup, especially for younger characters, although at times (due to the distance between the audience and the actors) heavier makeup was necessary. The hair ranged from wild/messy to clean cut and shaped, it all depended on the character and their status in society.

 

A lazzi is common term found in the world of Commedia Dell’ Arte. They are basically ‘gags’ or stock jokes that can be added into a Commedia performance or play as a way of ensuring the comic action keeps it’s pace. This is the only ‘scripted’ part of the play as the writer/director would often make sure the actor has lazzi’s memorized before the play/performance.

Rather than ‘Acts’ (which can be seen in Elizabethan plays), Commedia Dell’ Arte had scenarios. These scenarios were shorter than acts and often meant that plays went for much shorter times (compared to the 3 hour Shakespeare plays).

Script Analysis

The Play 'As You Like It' was recently reimagined and performed by the Australian Shakespeare Company. Whilst mainly keeping to the script of the original Shakespearean play (Only making some cuts to shorten the play, and created an upbeat tune to the song placed at the start), the costuming, acting and hair and makeup was quite different.

The hair and makeup department was quite different to that of the Elizabethan era. Rather than giving the females a white pale face, overly done lips and rosy red cheeks. The Australian Shakespeare company decided to go for a more 'no makeup' makeup look, giving a laid back and more welcoming to the times feel. The hairstyles were much the same, for the women it was simply curled or straightened, always down and then mens hairstyles were just as laid back, styled to the way the actors wished rather then a set style. The only time they really looked back on the old Elizabethan style was when they decided to dress Touchstones future 'wife' (A man dressed as a woman), they applied excessive amounts of powder to her face, added a red lip to plump the lips and rosy'd up the cheeks. They also added a wonderfully made wig (ha ha) that stuck every which way



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As You Like It

Due to Queen Elizabeth's influence in the hair scene, a lot of the 'upper class' hairstyles in plays were eccentric and difficult. This meant that they were able to gain the necessary attention at court. Mens hairstyles were almost always perfectly cut, either flattened, brushed up and held by gum, or even curled back. Through the length of the Elizabethan era, mens hair length slowly grew longer. It was also very common for the men to support beards, although they would sometimes have to shave them off if they needed to present themselves as a female.

 Wigs were also a very common practice in Elizabethan plays. When men became bald, they would often wear wigs in the colour of white or yellow. The wigs also showed a sense of wealth and were used for a lot of characters, although the comedic characters would often have weirdly shaped and over exaggerated hairstyles.

Makeup wise, pale skin was key. It showed wealth, and for 'women' it showed delicacy. Their were many ways in which this white skin was often achieved, most were poisonous. The most common way was through mixing lead and vinegar together to create 'Ceruse'. Once the paleness was achieved, a rich red colour was applied to the cheeks and lips, kohl was also often applied to the eyelashes to make them darker.

If a comedic character was the ending result, makeup was often painted on. A way of 'disfiguring' the face to make it funnier and recognisable. Some actors also wore masks to help put their character of choice across.




Most versions of this play during and slightly after the Elizabethan era, stuck to the original looks and visuals (the setting and props). But as time went on, play's began to either create more eccentric backgrounds, or begin to change the costumes to accompany the look of the times. In the Australian Shakespeare Company's version of As You Like It, their costuming was very different to that of the Elizabethan era. Giving it a modern take and aspect that younger audience members could easily be intrigued by. They also shortened the play, and made the songs included more of a lively dance style.

Makeup and hair wise, it was much simpler than that of Elizabethan times. They often had what we would call the 'no makeup' look. The only time they really paid a nod towards the older style was when they dress one of the men up as Touchstones future wife, who they had pressed a major amount of powder onto his face and added a very dark lipstick with a wig which stuck out every which way.

As You Like It: Character chart