- 1. Magnifico
- 'the master of masters'
- eagle like physicality
- when Magnifico dies, a new one appears immediately
- large presence, takes space as much as he can.
- 2&3. 1st Actor&Actress
- no mask
- take space
- mysterious, might have dead spouses in their past etc.
- connected to Macbeth and Lady Macbeth, as they are cunning royalty
- direct in their movements
- always planning and talking to themselves
- fox like physicality
- The Lovers
- Children of 1st Actor and Actress
- often connected with Romeo and Juliet
- their moves are light and airy
- move on the outbreath
- Do not wear masks, resemble birds
- 4. The Witch
- supernatural character
- free from class
- only one who can actually kill Magnifico
- moves in a figure of 8, pace varies from fast to slow
- always laughing to herself
- Hyena like physicality
- 5. Pantalone
- master
- first one of the 'old men'
- the old men were like Magnifico, but have then lost their teeth
- womanizer
- miser, needy
- fiddles a lot
- his hands are constantly on his money purse, to make sure no one steals it
- stork
- 6. Doctor
- master
- second 'old man'
- always fighting with Pantalone
- thinks he knows everything
- turkey-like physicality, resembles a pig as well
- moves in figures of 8
- 7. Columbina
- only female servant
- moves like Harlequino, but is clever
- doesn't wear a mask
- dove
- 8. Brighella
- highest ranking servant
- cunning
- charismatic
- carries a dagger, ready to kill
- combination of a rat, a cat and a snake
- 9. Harlequino
- non-moral, in the way that he doesn't understand the difference
- pig/monkey physicality
- over-reacting
- stupid
- bad posture, because he carries heavy bags all the time
- 10. The Captain
- pretends to be brave, when is really a coward
- soldier
- 11. Zanni
- lowest cast
- the servant who comes from the country
- everything is new and exciting
- tip toes around
- like a troll
During our class we did some exercises to explore these different characters and their physicalities- Each of these exercises pushed us to think on our feet, but also use our body to communicate the feelings of the characters, rather than the words. This really got us out of our heads and will help us in the future when creating characters and scene. It is important to us to trust our bodies and see what they can do, rather than keep in our heads and try to sound clever all the time.
Columbina and Harlequino exercise:
https://www.youtube.com/watch?v=I9UzlQ6fOZI
Brighella and Capitano exercise:
https://www.youtube.com/watch?v=IAZVeJp_Syg...
https://www.youtube.com/watch?v=B4YCK4acy6E
Harlequino exercise:
https://www.youtube.com/watch?v=79DEuMP3G-E
I love thee - I love thee not exercise;
https://www.youtube.com/watch?v=B4pSa7BUzGI
https://www.youtube.com/watch?v=zvG1NIdqQEs
https://www.youtube.com/watch?v=UE-ey1TQaj0
As Ui, I feel like I can have some of that Captain mentality and physicality in the beginning scenes, since he is still very uncertain about his actions. Later on I can channel the inner Magnifico when Ui gains more power. Even in the beginning it would be funny to play around with the contrast of Captain and Magnifico, Ui trying to seem all powerful, but failing at it miserably!
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