Hirsch's Log
Some folk just want to keep up on ALL the news, so the TV is on again, watching the
news on all this tragedy. (Sigh ... I find the media over-exposure a bit
annoying.)
The current plan is that we’re back on track,
our morning meeting is about to occur (well, in 45 minutes or so). I know
those of us who went to workshops yesterday REALLY want to do them today, and
I am pretty sure most of the crew, if not all, will be coming into town for the
workshops as well.
(Later) About 8 of us went in to the first
workshop (Sara ...). This was another movement workshop, concentrating a bit on
specific characterizations, and so on. The second workshop everyone showed
up to, this was the second half of Gian Giacomo’s class. This also concentrated
on specific characters, and working with masks to do it. Gian Giacomo’s base of
study is a 20th century re-creation of Commedia, while our studies have concentrated
on other source material. This means that his information, while really good,
is a not always going to be exactly what we’re looking for. That’s okay, as
there’s a LOT of good stuff in his presentation and workshops.
The performances this evening were Tongue and Groove,
with a really interesting interpretation of a part of The Three Cuckolds
(a fairly well-known show); our own production; and I Megalomani, part of the
Austin Commedia Society, with a show we saw earlier in the week that was very
tight and well done.
Our show was much tighter than the Monday performance,
with better audience reaction and so on. There were some improvs added to the
show that threw some of the others off a bit, but overall a much better
performance than our first one.
While I was walking across the stage to check on
something, Gian Giacomo grabbed my arm and told me “Good show!”, which was quite a
compliment. I think from various discussions that he feels we did a good job with
the lazzi (the physical routines), but that the characters need to work on their
individual movements (specific stylized ways of walking and such for specific masks).
But overall he seemed to be impressed. I couldn’t see him while the show was
happening, so I didn’t get to watch his reaction, but the audience was definitely up,
which was great.
After the show, Gian Giacomo had some questions about
the fact that our female zanni characters wear masks, with Juan and Rose being
involved. When I left there was still some discussion going on for this topic.
The I Sebastiani troupe has been thrown for a loop
as their flight back to the Boston area that they are from was moved to Saturday
(due to the trouble earlier in the week), and some of them need to get back for
work and such. So some of them are driving out, and some may stay – those that
wish to stay were offered crash space at the condos with us. They’re fun people,
and we’ve enjoyed meeting and hanging out with them, as well as picking up some
ideas from their performances ...
Juan's Log
Went in to classes.
Did the Gian Giacomo Colli class. It was well worth
it. Learned some interesting things about timing and movement for the characters.
Especially in the idea of how to use the masks to emphasize the characters.
Our show went really well. The audience was very
responsive. Everyone was really wired from the classes and tried to put
more things into the show then was probably wise. Everyone wanted to riff and
we lucked out.
Tensions are pretty high back stage as well during
the show. Some of us can riff pretty well, others are totally thrown off by
it and don’t like being distracted. We know who we are in each category.
I’m sure that when we get back together for pick-up rehearsals for 12th Night
that we’ll discuss these things. I know that I’ll want to.
The reality is that improvising is the heart
of Commedia, but the way we have done things for so long has been keeping
that improvising to a minimum, and only in a structured way. Right now,
everyone is so high on adrenaline, that they want to ‘show boat’ a bit.
Understandable. I’m doing it as well, so I sure can’t point a finger.
We can do it. We have the talent to do it and
not be so locked into a script. This is probably the biggest realization happening
to all of us.
It’s interesting to see who is trying to come up
with new bits and who is trying to remain true to what we have written.
It’s also been enlightening to talk with the
Sebastiani’s, and find out from them how they manage to pull off the free
form style. The realization is that they are doing exactly what I have always
suspected and what Gian Giacomo confirmed.
They work in Macro’s. <G>
It makes perfect sense, but no book really says
much about it that I’ve read. The reality is that actors have half a
dozen bits for each basic situation and they draw on those and that’s it.
That’s how it works.
Are we ready to do it? Hell no. But it is
interesting to think about none the less, and I will be more then willing to
bet that we’ll start seeing this kind of cooperative improvisation in the Stags.
Had an interesting conversation with Gian Giacomo
after the performances. He wanted to know why we put our female Zanni
characters in masks. Rose and I actually got the opportunity to fill in a
gap in his knowledge about Commedia from early period. His area of expertise
is in much later forms of Commedia.
We’re gloating over that, but it’s a well
deserved gloat I think. <G>