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Canovaccio #2 - The Love Declaration

Group A
My comments:
  • In general: Good alternation between focus on one and then the other Lover. It’s very clear for the audience.
  • The language-based misunderstandings are really good! Bravo!!!
  • However, all could improve if we could see a reason why the Zanni don’t understand, apart from being the characters themselves: ex. Jeremy/Zanni bumps into an apple, but he doesn’t eat it... Zanni being always hungry, that strikes as strange. Could that be the reason for a longer, more impressive distraction?
  • And if you start a gag, you should use it to its extreme, not just abandon it immediately...
  • Andrew: you captured the mood and tone of the Lover. After the X-Box arrives, however, he seems glued to the chair and would need to start using the space and walk around. Once you have the sack on your head, why not use the opportunity for speaking from under it, instead of taking it away immediately?
  • Jeremy: why is the Zanni so quiet at the beginning? Zanni are not really quite so domesticated. Could he interrupt the poetic flow of his master with some funny business? As we have seen, the three-time step is a continuous flow, not a waltz... Interesting 12 poses... Snoopy Zanni is good, with the X-Box, but why don’t we see more? The Zanni in this canovaccio are way too shy!
  • Erin: good interpretation of the 12 Poses gag! More heavy sighs, serious and tragic, could have helped the double entendre even more... However, she would never send anything purposely “dirty”
  • Mike R: I am not sure that’s any of the Zanni steps. If the three-time step is not there yet, why not use one of the easier ones? If he forgot the message, why does he remember so quickly? That could have been a longer gag, trying to remember. Also, what’s exactly that standing pose? Interesting that he drops the phone in favor of the apple fruit.
Group B
  • In general: good canovaccio, simple but effective. Congrats!
  • Will: Good speech at the beginning. But, where’s the Lover standing pose? Basically, throughout the canovaccio, you need to change the leg that sustains you: not the back leg, but the forward one.
  • In Commedia, because of its origins in Counter-Reformation Italy, we don’t really hear Jesus Christ mentioned, rather Jupiter, Venus, or all the deities of classical origin.
  • Angelina Jolie is nothing compared to your Lover, Isabella! What’s with the ironic attitude? In this way the effect of Isabella loving Lou is diminished... Also, you might have a fit, and beat the Zanni? or do something even more desperate? Especially with your own Zanni. The Lover is not necessarily, or always, a cowboy
  • )
  • Tory: good speech at the beginning, right “emergency” energy. Your body posture is perfect from the hips up, but the legs shouldn’t cross, or you lack to much basis. Desperation for “I don’t like you”: could it be closer to the audience?
  • Great duet with Flavio and to the audience!
  • Ilana: finally a Zanni who moves like one!
  • Jane: you have the right energy for the Zanni, but you might definitely speak more. Careful not to touch your mask, ever. Hands and arms would be together for a reason, otherwise open.
  • Both Ilana and Jane: good reasons for steps, nice gag of message written in thin air.
Group C
  • In general: clear exposition of the situation at the beginning. Then, you overlap all the time, i.e. very confusing for the audience. You need to alternate: the change of focus from one pair to the other would have to be better rehearsed. However, this does not mean that there should not be any overlapping moments at all, or sparse chaotic moments, as long as the situation is crystal clear.
  • Ann: interesting, romantic Lover, very good work with body postures and attitudes! Funny sausage/vegetarian gag! Memorable: “Spoon myself to death!” with Shakespearean undertones later.
  • Adam: those Zanni feet should end up fully on the ground, whereas you tend to keep them pointing up
  • you don’t need to constantly jump from one leg to the other, give a reason to the movements. So, you should add more movements in the space, with appropriate steps rather than jumping on the spot. Good Zanni vain w/ reason, for example!
  • Samantha: you lose your Zanni postures often... Also, could play more with other Zanni in terms of misunderstandings and communication between servants? Good knife/spoon gag!
  • Mike MG: you have a speech, but why so far back? including during the whole canovaccio... Where’s the poetic side of the lover? Nice disappointed expression when your meeting is postponed to 8 pm.
Group D
  • In general: the entire beginning scene should work more with projection, audience, front space, rather than back and sides.
  • Some puns are funny, but why don’t Zanni understand the right words? We have no clue at all...
  • The Lovers are already jaded: a different character, really.
  • Alex: good Zanni vain movement, and that she also cleans herself. Careful not to confuse steps with one another: ex. grande zanni step with something else.
  • John: you made an effort for a Zanni vain step and to speak more: good. Do not touch your mask, ever. The standing posture should alternate arms/legs...
  • Interesting how you approach Alexis with the note: could we see the same work for the entire canovaccio?
  • Both Zanni seem without purpose once the Lovers speak: what could they be doing instead?
  • Jordan: Interesting Lover at the beginning, but you laugh already... what happened? Posture needs work: sustaining leg is the front one.
  • Alexis: Comic Lover, not what we were expecting... will become useful when we study the Signora character. Good work with body postures, expression, at the beginning. Then you lose it somewhat. Memorable: “I am becoming a virgin”
  • If she wants to kill herself, why would she be so detached?