Commedia dell'arte Workshops for the curious
The study and continual practice of the Commedia is regarded by practitioners and scholars as one of the most significant phenomena in the history of European theatre. In most scenarios there are a set of staple characters, with minor variations, that remain constant and echo, by varied degree, to the theatre of today. These masks, with informed scenarios and lazzi are combined to form the art, not as a mechanical combination of parts, but as a dialectical principle of the collision of opposites.
Who's it for?
Anyone who wishes to explore traditional forms of theatre making through masked and unmasked physical comedy and characters. Commedia requires strong physical theatre disciplines which are vital for modern performers.
Commedia ruled the world for over 3 centuries and has influenced practitioners from Chaplin to Picasso, companies like complicite to the National Theatre and continues to form a basis for all sorts of artists globally.
Students will learn and develop logic and physical interpretation of traditional Commedia characters, plots and lazzi. They will perform and practise with authentic masks and batoccios. As each character is built and established in mind and body, students will increase the physical vocabulary for the characters. Each new addition to the commedia cannon offers new investigation when coupled with characters previously explored. Through simulation, rehearsal and live performance amongst fellow students, the development of the form emerges. Commedia, along with all other live arts, needs its audience to truly live and for performers to understand the finer details of its workings.
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Workshops cover physical gestus and behaviour of character through classical teaching methods. These are then reinforced with improvisation and scenario building which will lead to performance. Students will learn how to use mask effectively for the designated roles and how mask can still be used today in current theatrical processes. Elements of clown are incorporated.
All Commedia students will gain a knowledge of one of the oldest and most vital forms of theatre the world has ever experienced. An understanding and ability to feel confident in mask work and knowledge of mask process. A bank of characters that you can call on in the future for role development (especially helpful in auditions). A grounding in improvisation that can fuel future working practices. Physical awareness of stock roles that still read clearly today. A network of actors who you will work with and will most likely again. A deeper understanding of plot forms and why basic ingredients are always necessary. And most importantly - fun, real fun.
As a practitioner and director of Commedia, Didi has directed seasonal troupes for the National Theatre’s summer season, Tate Modern, Tate Britain, Roundhouse, Glastonbury, other festivals and public
spaces across London, and teaches Commedia for the
London International Mime Festival, Theatre Schools E15,
Central and RHUL, Middlesex. She also runs workshops in Europe, India, the USA, Iceland for actors and teachers. Her partnership with mask-maker Ninian Kinnier Wilson helped put commedia on the map in the UK.
​‘One Man Two Guvnors’ - National Theatre
Didi was Commedia Consultant to writer Richard Bean who transferred the action and story of Goldoni’s ‘Servant of Two Masters’ to 1960’s Brighton – putting Commedia on the map for British audiences.
Lee is a professional actor, director, mask maker and
puppeteer. He has supplied masks to companies and
creatives all around the globe and was the architect
behind the Travelling Masks Project that saw the
emergence of grass roots commedia practice. A unique, first of its kind theatre experiment. He continues to
teach and perform internationally and can regularly be found practising clown and commedia in northern italy with his associate Carlo Rossi. Lee is the founder of the award winning Stickyback Theatre Company.
For all enquiries, bookings and availability please email Didi or Lee by clicking the relevant link.
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