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Canovaccio #4 - Night Appointment

Group A
  • In general, the group works well together, and this is perhaps the best quality of this canovaccio.
  • On the other hand, not much happens and the rhythm tends to be very uniform, with fewer than expected mishaps on the way. For example, the sleep machine is interesting, and well done. However, after a while, it becomes boring: either someone else enters, or the sleep machine should show a different, more complex mechanism.
  • Also, you could dare more for each character: ex. Lovers could be much more desperate and tragic, the Capitani could beat more... around the bush, with more boastful words and more fearful deeds.
  • especially the Zanni, in theory the glue of everything happening in this canovaccio, instead sleep most of the time... One of the reasons of the darkness convention is so that the Zanni can move around and somehow connect all the other characters, who are otherwise condemned to walking around alone. It gets better 2 minutes to the end and nice similar image (circular finale) at the end.
  • Andrew: I’m not sure why you’re still wearing slippers... please use full shoes or barefoot. Careful, most of the time you have no basic stance.
  • Tori: see general observations on Zanni
  • Erin: Zagna’s feet touch the ground fully, no upward toes
  • Jeremy: nice front speech, clear and informative. You can work more on the posture and urgency of the Lover. The agreed upon signal is very funny and would be even more if your Lover were dead serious and tragic. For some reason, eloping to Canada is funny in itself LOL.
  • Ilana: you struck the perfect balance between seriousness of your situation and comic of the frame. Good physical work. Tripping for real could have been funny...
  • Again, for the two Lovers, where is the convention of darkness at the end? Could we for example look for (= create with words) a moonlit spot so as to justify why they look at each other and recognize themselves?
  • Jane: also clear exposition. The Capitano needs some more energy though... Nice long name.
  • Samantha: Good attitude for the Capitano, with corresponding voice.
  • The Capitani, as everyone else, meet in the dark, but it looks almost as if they are in plain sight. Where’s the convention? Also, your gait and physical stance can aim for a larger, bigger, more muscular “appearance” (it’s all in the posture, not in your body size). Why fight at the very back of the stage?
  • Will: At the beginning it’s not clear why you carry the stick. Is looks like a temporary cast... This also happens because Pantalone’s step is a little too similar to the Capitano. It is funny that you act as if you were back in the war, it would be even more so if the change from old man to younger soldier for a moment were more contrasting. Interesting contemporary references throughout.
Group B
  • In general: the couples work well together, but the group overall seems disconnected. In particular, the point of there being dark is that the couples may think they’re interacting with their counterpart but in reality they are not. So for example, Pantalone might get beaten by a Capitano, a Lover might unknowingly make love to Pantalone, etc. so that the entire group could mix more.
  • Ann, Alexis, Mike R. (and Mike M.). Interesting beginning: the Zanni are so tired and hungry that they have hallucinations
  • ). Creative sleep machines all along: bravi! But the Zanni should also be more active during the canovaccio, interact with the other characters, move things around and from one character to the other: see above. The pat on the back gag is funny. How could it trigger a more complex mechanism in the machine? Not sure why they sing at some point?
  • Jordan and Mike M: the cookie idea is great! You both need more “big” posture and alternate legs/arm, but the energy of the Capitano is good. Memorable: “What’s a rhetorical question?” Remember that the Capitano does not really want to fight. He wants to appear willing and ready, but would rather not go through, he’ll get scared by the tiniest occurence, etc. Also, the blows with the sticks are all in the preparation... you can definitely “prepare” longer. It’s the same concept of the lazzo: as soon as you complete the action, the lazzo ends.
  • Ann: Good energy for the cookie.
  • Mike R: why the kid voice? Is the zanni a kid? Please use your own, adult, non falsetto voice. Even funnier if he sees a unicorn, no?
  • Adam: Memorable “Almost as dark as the hole that is my heart without her”. Why would you pick a flower behind you? Could it be in front of you and visible for the audience? Same concept for speaking to yourself: you can definitely do it toward the audience.
  • Alex: the Lover’s hands are really a little bit more independent, not in regular alternation with the legs. What about working on moments in which the Lover is a bit more distressed, or clumsy? (but she needs to stay elegant nonetheless)
  • John: Pantalone’s step works, but the creepy hands and the voice are a bit cartoonish... use your own voice and free those hands/arms or we see a ghost wandering in the woods
  • )