trust and respect, up to the appreci- ation which is this Arlecchino goes on stage or improvises with the audience, he is .. ated The relationship between Guru and pupil is a . Colombina", in the foreword of Etelvino Vasquez to. Claudia. Zanni Zani or Zane is a character type of Commedia dell'arte best known as an astute servant Some characters in Commedia that are associated as Zanni are Arlecchino (Harlequin), Brighella, Scapino- . Pantalone: Trust me, my dear Zanni; take the sonnet and I will give it to you. Relationship with the audience[ edit]. Relationships. Colombina and Arlecchino. (Ferreti, ). Colombina's character plays a very important role in Commedia dell'arte as she is.
The first Zanni is known to be clever and witty. The first Zanni is known as il furbo It. The first Zanni can trick and cheat anyone whom they come across.
The first Zanni is also known to be the go-between. The job of the first Zanni is to advance the action and give it some movement, with a slightly cynical twist.
The second Zanni must be foolish, clumsy, and dull. The second Zanni is also unable to tell his right hand from his left hand.Commedia dell'Arte: Character Shape
He is a dull witted peasant who can be simple and also ridiculous. A scenario should be playable in different ways and seem different each time the audience sees it.
The actors who play Zanni must be clever and equally talented, because an actor's success relies primarily on his dialogue partner. In this respect, the Zanni is one of the most physically demanding of all the Masks.
The longer the nose of the Zanni, the stupider he is said to be. The support knee is bent and the other leg is extended with his toe pointed. He switches his feet a lot while speaking or listening within the same position, and without his head moving up and down.
The Little Zanni walk is a development of a basic stance. The Zanni's feet are constantly changing but on each shift, The Zanni takes a tiny step forward.
The feet are to be pointed, shoulders down, and elbows forward.
Zanni - Wikipedia
A two-time rhythm is used with even beats. The feet need to be in fourth extended with the knees bent. The Zanni has to lower his center of gravity. This walk can be used by a Zanni when he pretends to cross the stage without being seen or when he wants to get himself out of a difficult situation.
The energy and time put into creating the greed-focused relationship between two vecchi cannot be reused for creating a romantic relationship, like the one between Pulcinella and Colombina. Chemistry begins with trust, respect and an understanding of each scene as well as an understanding of the overall story. To create convincing relationships for each set of characters, time must be put in outside of rehearsal to get to know each other. In Pazzi Lazzi, we often find that the best way to forge a new set of relationships is to spend time together outside of rehearsal.
When you spend time with your theatrical colleagues outside of rehearsal, you learn new and interesting things about them that can easily be applied to your scenario.
Here are some discussion questions for building new character relationships. What does my character want from your character and why?
How long have these two characters known each other? What is the history of our characters? We can simply choose to dive in more deeply to any of the questions above or we can select some of the questions below: If your character did want something from my character, what was it?
Are there leftover feelings?