Using Commedia dell'Arte as a Tool to Explore Contemporary Characters in Theatre
Liam here! I’m thrilled to be back onstage for the first time in over two years, in the US premiere of A HOLY SHOW by the Irish playwright and actor Janet Moran. It’s a fast-paced, two-person comedy about the real-life hijacking of Aer Lingus flight 164 in 1981 in which a former Trappist monk doused himself in holy water (claiming it was petrol) and attempted to force Pope John Paul II to reveal the Third Secret of Fatima. It’s one hell of a one-hour ride.
In the show, actor Rachel Brodeur and I jump back and forth between over 20 characters, including the pilot, air hostesses, passengers, hijacker, reporters, Portuguese shepherd children, and even the Virgin Mary herself. We knew each character had to be distinct and instantly identifiable for the audience to be able to follow along through each of our rapid-fire transitions. And I knew that as a performer with the daunting task of holding all these people in my head and body, I would need personal touchstones to help me immediately jump from person to person. Like in my Commedia dell’Arte work, I knew leading with my physicality would trigger my mind to follow suit.
In Tut’Zanni’s Commedia character-finding toolbelt, one of the exercises we regularly employ is The Ant Exercise, in which we imagine a providing a little spot for an ant to rest on various points on the body - the knees, the hips, the belly, the chest, and the nose. By focusing on creating a little landing spot at those points, we emphasize and naturally begin to lead with those selected body parts as we begin to move in space. What kind of character would walk knees-first? Who might enter a room by their belly? How does being led by your chest inform your thoughts and emotions? Using these leading points, along with several other tricks and tools provided by our movement coordinator Dan Higbee, was one way I was able to explore these characters and make manifest their unique personalities, hopes, and fears. Let me introduce you to some of them!
Belinda,
Air Hostess
Leads with: Chest
Touchstone: Hands clasped (right over left) professionally just below sternum
Other physical notes: Former beauty queen. Shows off her new hairdo. Head air hostess trying to stay calm amidst chaos.
Think: Colombina
Bun
Leads with: Knees
Touchstone: Constantly knitting
Other physical notes: Back is curved from old age. Tells stories with her hands. Everything aches. Body is declining, but mind is sharp.
Think: Magnifico
Cathal
Leads with: Nose
Touchstone: Arms crossed, hands in fists
Other physical notes: Closed off for self-protection. Trauma from living through The Troubles in Northern Ireland. First time flying.
Joe
Leads with: Chest
Touchstone: Nervously taps and rubs his thighs
Other physical notes: Nervous. Still getting to know his new wife. Excitement about potential for physical intimacy, but overcoming societal bodily shame.
Think: Innamorato
Jonathan
Leads with: Hips
Touchstone: Manspread
Other physical notes: Peacock. Takes up as much space as possible. Unprofessionally touches and objectifies his personal assistant, Clare.
Think: Capitano
Downey
Leads with: Nose
Touchstone: Gaze focused towards the Virgin Mary above
Other physical notes: Devoutly religious. On a very important mission. Doing his best to stay calm despite immense pressures. Just wants someone to listen.