GENRE

Commeda dell’arte

Commedia dell'arte "Comedy of Art" or "Comedy of the profession", means unwritten or improvised drama, and implies rather to the manner of performance than to the subject matter of the play. This peculiar species had a long life in Italy, probably of about four hundred years (from the fourteenth to the eighteenth century) but it flourished especially in the sixteenth and seventeenth centuries. Of course in actual practice the play was not, in any sense, the result of the moment's inspiration. The subject was chosen, the characters conceived and named, their relations to one another determined, and the situations clearly outlined, all beforehand. The material was divided into acts and scenes, with a prologue. The situations were made clear, together with the turn of action and the outcome of each scene. When this general outline (called also scenario or canvas) was satisfactorily filled out there was left an opportunity for actors to heighten, vary, and embellish their parts as their genius might suggest. The necessity for smoothness, constant surprise, clearness, and wit called forth histrionic abilities which had been unknown to the medieval stage. "The actors had to find the proper words to make the tears flow or the laughter ring; they had to catch the sallies of their fellow-actors on the wing, and return them with prompt repartee. The dialogue must go like a merry game of ball or spirited sword-play, with ease and without a pause."  Such parts required actors able to make a serious study of their parts actors who took pride in their achievements, and were willing to accept the discipline which all professional art demands. These comedians changed forever the standards of acting. The best of them stamped their parts with individuality, freshness and brilliance, and gave value to pieces which, often enough, were otherwise worthless. The Commedia dell'arte introduced the professional actor into Europe.

Subject of  The Commedia Dell’Arte

                                                                                                                 

Like the court comedies of Ariosto and Machiavelli, the Commedia dell'arte was concerned mostly with disgraceful love intrigues, clever tricks to get money or outwit some simpleton. There were the same long-lost children stolen by the Turks, the same plotting maids, bragging captains, aged fathers and wily widows. Each gentleman had his parasite, each woman her confidante. There was considerable diversity of incident, such as night scenes, in which the hero was mistaken for the villain; cases where father and son fall in love with the same girl and risqué situations the representation of fire, shipwreck, and the like which served as a pretext for allowing actresses to appear naked on the stage.

Comic Relief

An important part of every play, given always to the most expert and popular actors, were the humorous interruptions, called lazzi, which often had nothing to do with the play itself. It might be clever pantomimic acting, acrobatic feats, juggling, or wrestling. For example, three characters meet at a cook shop, where they hear of an accident which has befallen the wife of one of them. While they express their dismay at the affliction, they fall to eating greedily from a huge dish of macaroni; and as they eat, tears stream down their faces. Or again, a servant, disgusted at an order his master has given him, delays carrying it out until he has turned a complete somersault. One famous actor could execute this trick having a full glass of wine in his hand, without spilling a drop. Another was able, in his eighty-third year, to box the ear of a fellow servant with his foot. Elaborate imitations of women taking off their stays, false hair, and crinolines were always acceptable, together with many pantomimic diversions of a less innocent character. These are examples of the lazzi of the Commedia dell'arte.

GENRE

Poor Theatre

The concept of Poor Theatre started with the Polish director Jerzy Grotowski (1933 - 1999). Theatre in general became very elaborate and relied heavily on theatrical devices such as light, sound, costume and decor sets to add spectacle to the performance. The skills of the actors were overshadowed and became of less importance.

Motion pictures added sound and colour to their repertoire and it was impossible for theatre to compete with this new genre. Grotowski argued that there was no point in trying to compete with film but that theatre should rather convert back to its roots. In his own words, "If it [the stage] cannot be richer than the cinema, then let it be poor." The actor's voice and body skills should be the primary spectacle on stage. In his quest Grotowski did away with everything that could distract the audience from the actor. No more elaborate sets, lights and sound. The relationship between the audience and the actor became, once more, the emphasis of the production.

In his actor's workshops, which he called a laboratory, the focus was on the actor. It was, however, very different from his predecessor Stanislavski, who aimed to teach his actors method acting. Grotowski appreciated Stanislavski's work but he (Grotowski) was not attempting to supply his actor with a "bag of tricks" as he called it. He focused on stripping down the actor into his essential self. It is, therefore not a collection of skills but an eradication of blocks. The techniques and exercises used in Grotowski's laboratory required serious concentration and commitment. The actor needed to find the strength of his natural voice and body. The perfection of the techniques was not as important as the awareness of the process.

During a performance the actor would awe the audience with his portrayal of the character without the help of any theatrical devices. The spectacle came from the actor and the actor alone.

South African playwrights, Athol Fugard, Mbongeni Ngema and Percy Mtwa were all fascinated by the concept of Poor Theatre, after reading Grotowski's book, Towards a Poor Theatre. In Fugard's Boesman and Lena the Poor Theatre setting emphasizes the desolate and futile circumstances of the characters. Ngema and Mtwa's production of Woza Albert was performed as Poor Theatre with the minimum theatrical devices. The actors were dressed in tracksuit pants alone while decor consisted of two tea chests. A few functional props were used like a piece of cloth and clown noses. The cloth had multiple uses as a shawl, table cloth or blanket. The noses were used to depict the white people.

In South Africa Poor Theatre productions had an advantage during the Apartheid years. Theatre companies producing Protest Theatre were not popular with the government of the time and therefore got no funding and had to stage their production in informal places. There was no money for costumes, light and decor sets and not always enough space either. In this sense it was poor theatre and Poor Theatre.

GENRE

Phsical Theatre

definition

Physical theatre is a growing art form worldwide.  In Europe, especially, physical theatre is a known and recognized form, seen most prominently at festivals such as the London International Mime Festival and the Edinburgh Fringe Festival.  Companies such as Complicite, Theatre du Soleil, and La Fura del Baus have been creating exciting and innovative productions of physical theatre for decades, winning awards, and traveling the globe. 

The term "Physical theatre" has been applied to performances consisting mainly of:
Mime 
Contemporary dance 
Theatrical Clowning and other physical comedy 
Some forms of puppetry 
Theatrical Acrobatics

While performances based around all of the above could equally claim to be "Physical Theatre", the key distinguising factor is a focus on narrative, character and storytelling. However, it is often difficult to draw a distinct boundary between what is and what is not physical theatre, and distinctions are often made quite arbitrarily by critics and performing companies.

Modern Physical Theatre has grown from a variety of origins. Mime and theatrical clowning schools such as L'Ecole Jaques Lecoq in Paris have had a big influence on many modern expressions of physical theatre, and practitioners such as Steven Berkoff and John Wright received their initial training at such institutions. Eastern European practitioners have also had a strong influence on modern physical theatre, and both Vsevolod Meyerhold and Jerzy Grotowski are regarded by many as "fathers" of modern physical theatre. Contemporary Dance has also had a strong influence on what we regard as physical theatre, partly because most physical theatre requires actors to have a level of physical control and flexibility rarely found in those who do not have some sort of dance background. Modern physical theatre also has strong roots in more ancient traditions such as Commedia dell'arte and some suggest links to the ancient Greek theatre - particularly the theatre of Aristophanes

GENRE

PANTOMIME

definisi

Pantomime may refer to two different types of performing arts. In the UK the word pantomime applies almost exclusively to a form of non-silent comic theater traditionally performed at Christmas  for a mixed audience of adults and children, and the word mime applies almost exclusively to silent performance. Outside of the UK pantomime generally refers to the latter meaning, though it is still commonly abbreviated to mime.

Mime

The Roman Pantomimus was a spectacular kind of play in which the actor was confined to gesticulating and dancing, sometimes with a behind the scenes chorus providing music and song.

Various forms of dumb show evolved in Europe, most notably the Commedia dell'arte in Italy (with some, often ribald, dialogue).

Modern mime is a branch of theatre in which the performer uses no voice but acts out the performance using only motion, body language and gesture. It is usually, but not always, done in white face and the movements are exaggerated for greater effect.

Pantomime is also used in the game of charades.

Famous mimes include:

• Jean-Gaspard Debureau
• Marcel Marceau
• Samy Molcho
• Carlos Martinez
• Jean-Louis Barrault
• Ladislav Fialka
• Oleg Popow
• Pan Tau
• Mummenschanz

The History of Pantomime

In the United Kingdom, the word "Pantomime" means a form of entertainment, generally performed  during the Christmas season. Most cities and towns throughout the UK have a form of Pantomime at this time of year. The origins of British Pantomime or "Panto" as it is known date back to  the  middle ages, taking on  board the traditions of the Italian "Commedia dell’ Arte, the Italian night  scenes and British Music hall to produce an intrinsic art form that constantly adapted to survive up to the present day.

Pantomime has been attempted abroad, usually with a small amount of success. Not surprisingly it has proved popular in countries such as Canada, Australia and South Africa- recently a production of "Babes in the wood" ran at the Rainbow Seven Arts Theatre in Harare, Zimbabwe. In America  this very British art form has fared less favourably, although in 1868 a production of "Humpty  Dumpty" ran for over 1,200 performances at the Olympic Theatre, New York, making it the most successful Pantomime in American history.

The Subjects

Pantomime, as we know it today is a show predominantly aimed at children, based on a popular fairy tale or folk legend. The most popular subjects being "Cinderella", followed by "Aladdin", "Dick Whittington" and "Snow White". Other popular titles are "Jack & the Beanstalk",  "Babes in the Wood",( usually combining the legend of Robin Hood) and "Sleeping Beauty". Rising in popularity  is "Peter Pan", although purists would argue that this is not strictly a pantomime, but a children’s story, based on J.M Barrie’s play. "Peter Pan" first performed at the Duke of York’s Theatre, London in 1904 transferred successfully to America shortly afterwards. Today the story has had  elements of Pantomime introduced, and is one of the highly popular Christmas shows around the British Isles.

Pantomime has become a thriving business in this country. Large theatres vie with each other for  the subjects and "star" names that will attract full houses, and the pantomime can often run for six  to eight weeks, providing much needed revenue to box offices up and down the country. Twenty  years ago the average run of a pantomime could be from the week before Christmas up until the end of February, but today few theatres can sustain such a length of run. The exceptions recently  being the Hippodrome Theatre, Birmingham,  Mayflower  Theatre, Southampton, and the Grand  Theatre, Wolverhampton.

The Impresarios

Pantomime  giants, such as E&B productions,  present as many as thirty pantomimes in Great

Britain, and several others abroad. During its long existence Pantomime has witnessed other panto impresarios, such as Augustus Harris, "Father of modern Pantomime" at the Drury Lane Theatre in the 1870’s. Harris, the manager of Drury Lane  introduced the first stars of the popular Music Hall  into his productions, and created the lavish productions that popularised the genre, forcing managements not just in London, but around the country to ensure that every town had at least one, if not two Pantomimes running every Christmas season. Francis Laidler took on  the mantle "King of Pantomimes" in the 1930’s, producing shows at the Alhambra Theatre, Bradford, which were then presented all over the country. The subjects on offer  in the 1930’s and 1940’s included those now fallen from popularity. Titles like "Goody Two Shoes","Humpty Dumpty" and "Red Riding Hood" have almost completely vanished today., while in recent  times Pantomime has seen the gradual disappearance of titles like "Puss in boots", "Mother  Goose" and "Robinson Crusoe".  In the 1950’s and 1960’s the Pantomime crown rested upon the head of Derek Salberg, who  created pantomimes from the Alexandra Theatre, Birmingham in the style and tradition that madethem justifiably famous, along with producing managements such as Howard and Wyndham, and  Emile Littler. In recent times companies such as Triumph and the impresario Paul Elliott have been the guiding force behind provincial pantomimes. The cost of presenting a modern pantomime could be estimated at anything between £150,000 and over half a million pounds. These productions will be expected to tour for a number of years, and recoup their costs. This however is not an innovation. In 1827 the pantomimes staged at Covent Garden and Drury Lane cost up to £1,000 each.

Tradition

Pantomime has combined many elements of theatre throughout its existence, and by adapting it has survived. The element of "novelty" has always been to the forefront, as has its ability to encompass modern trends and topicality, within its structured framework. People talk about "traditional" pantomime, but to remain popular this form of theatre has had to keep its eye firmly on modern trends, and by weaving these into its format, remains one of the most popular forms of entertainment in this country.

Elements that a pantomime should have, to be described as "Traditional" begin with a strong story line. The fable or fairy tale has to be well told, incorporating the all important elements of good battling against evil, and emerging triumphant. In this respect, the concept varies little from the medieval morality plays, performed on village greens. To this day "tradition" says that the Pantomime villain should be the first to enter, from the "dark side", stage left, followed by his adversary the good fairy from stage right. This echoes the tradition in medieval times when the entrances to heaven and hell were placed on these sides.

Commedia Dell'Arte 

The element if song and dance in Pantomime are very importan. The influences of the Italian “Commedia Dell’Arte” can be seen here. This form of entertaiment traveled through Italy to Frane, where it became very popular.It consisted of a number of stock characters performing comic situations, with a highly visual content. The actors generally improvised their way through a plot involving characters such as Arlecchino, or Harlequin and his true love, Columbina or Columbine. Other stock characters were the over protective father, Pantaloon, who refused to allow the heroic Harlequin to seek his daughter’s affections. In various versions Pantaloon has a servant, Pulchinello, later to be known as Clown, and a soldier, an unsuitable suitor who seeks the hand of Columbine. Comic chases and tricks were employed to full effect. Although the character of "Pulchinello" has vanished from the Pantomime today, he still exists in this country as "Mr. Punch", the anti-heroic puppet, who along with his wife Judy can still be seen in seaside towns and parks entertaining children today.

Italian Night Scenes

The difficulty with Commedia dell’Arte transferring from France to Great Britain was that, in the main, the actors did not speak English. The scenes from their continental shows had now to be mimed, and more emphasis was put on to singing and dancing. These shows evolved into what were known as "Italian Night Scenes", and became highly popular in this country, particularly at Drury Lane. The comic chases and "business" that emerged from these productions eventually became known as "Slapstick", still a very important element in modern Pantomimes.

Slapstick

"Slapstick" takes its name from a device used in these early entertainments, and most especially from "Harlequinades", scenes that were later to develop from the "Night Scenes". Harlequin was considered to be a magical creation. He carried with him a sword, made of wood which alternated between being a weapon and a magic wand. This sword or bat had a hinged flap, which created a very loud "slapping" noise when used, generally to give a more theatrical effect when used to slap fellow actors. To this day a pantomime comic will insist on using the talents of a drummer in the orchestra pit to "point" his comic stage business of slaps, falls or trips. The slapstick may also have had a secondary purpose. Harlequin, in these semi improvised scenes would be in control of the situation. He would know when the scenery should be changed, and it is believed he would "Clap" his slapstick to indicate that this should happen, in the form of an audible cue. This may well be the basis of the theatrical superstition that one should never clap backstage, for fear of bad luck, Since bringing heavy scenery down upon your head could be bad.

Harlequinade

By the early eighteenth century, the first use of the word "Pantomime" emerges. A "balletpantomime" was created, "The loves of Mars and Venus" in 1717, followed by "Harlequin Sorcerer", produced by John Rich, who under his stage name "Lun" played Harlequin. Rich was responsible for creating the first "Harlequinade. Harlequinades were produced all year round at his Lincoln Inn Fields Theatre, and these became so popular that David Garrick at Drury Lane felt obliged to mount his own pantomime, the difference being that his Harlequin spoke the lines, with less emphasis on mime. By 1773 the Theatre Royal in Drury Lane presented the first pantomime story that has a direct descendant today, "Jack the Giant Killer". The Harlequinades continued to be played as short pieces put on after the main drama of the evening was concluded, as a sort of antidote to the tragedy. With time these Harlequinades grew longer, and by 1781 with the creation of "Robinson Crusoe", the characters of Clown, Harlequin and Pantaloon were firmly established in their desert Island environment. "Aladdin and his wonderful Lamp" followed in 1788, followed by "Babes in the wood" and finally in 1804 "Cinderella" was created on stage.

Enter Grimaldi

The most famous of the pantomime clowns was Joseph Grimaldi, who made his first appearance in 1800, and such was his eminence that to this day clowns are called "Joeys" in his memory. His influence on these early pantomimes was immense. The public clamoured to see his performances at Sadlers Wells and Drury Lane, and left the Theatre singing the comic choruses of the songs he introduced. Pantomime had its first real star, and by  this time the elements of comedy songs and slapstick were firmly rooted, as they have remained to this present day. Grimaldi also pioneered the next important element that a "Traditional" pantomime should have, the art of cross dressing- the Pantomime Dame. Amongst his roles were Queen Rondabellyana in "Harlequin and the red dwarf", and Dame Cecily Suet in "Harlequin Whittington". The Theatrical tradition of men playing women can be traced back to the early days of theatre, when it was deemed not appropriate for women to enter the theatrical profession. Boys played all the female roles in Shakespeare’s plays, and even during the Restoration, when actresses were established on the stage, often middle aged actors played the roles of older or comedic ladies, since the new breed of actress either did not possess the years, or the inclination to play such unglamorous roles.

Enter The Dame

The Pantomime Dame, usually the hero’s mother, such as Widow Twankey in "Aladdin" or "Dame Trott" in Jack and the Beanstalk was a creation that emerged from the early Music Halls of the Victorian era. The public warmed to seeing their favourite comedian playing the role of Jack’s mother, or the King’s cook and bottlewasher. Often the Dame’s costumes would be used to good comic effect by parodying the fashions of the day, in much the same way as the modern Dame or Ugly Sister does at the moment. The Ugly Sisters were first seen played by women in Rossini’s opera, "La Cenerentola" in London, but were swiftly transformed into men playing the roles in 1860, at the Royal Strand Theatre, London. The Ugly Sisters differ from the Dame in that they have to tread the thin tightrope between being hugely comic characters, and yet still remain the villains of the piece. This author, having trod that tightrope for twenty years is all too aware of having to keep the balance between comedy, which to achieve needs a degree of warmth and sympathy from the audience, and then being able to turn on the villainy when bullying the unfortunate Cinderella. The Panto Dame, on the other hand should exude warmth and comedy, even pathos, but is never required to do any "dirty Deeds". The exception to this being the Dame role of "Mother Goose".

Dan Leno

Mother Goose was created again at the Theatre Royal, Drury Lane in 1902. The role was created for Dan Leno, one of the most popular comedians of the day. He had already achieved fame through playing Dame roles in Pantomime, into which he injected the stage business and comic songs that had made him the idol of the Music Halls. The Role of "Mother Goose" gave Leno the opportunity to play the comic old lady who, through friendship with the goose "Priscilla" achieves wealth. However, money cannot buy beauty, and tempted by the Demon King, the Dame is persuaded to sell Priscilla to the Demon in exchange for Youth and beauty. The scene where the Dame rejects the goose is what makes it unique. The Dame, having been warm and loveable, is now seen to be cruel and selfish. The task for the actor concerned is to regain not just Priscilla, but the forgiveness of the audience by the end of the pantomime. Dan Leno became the biggest star in an era that was to draw many stars from Music Hall in Great Britain, and establish the trend that remains today of using well known personalities to "Top the Bill" in Pantomimes. Garrick in the Eighteenth century had contributed to the lavish and spectacular elements that can be found in modern day pantomime, and Augustus Harris continued to build on this concept during the 16 years he produced the Drury Lane spectacular pantomimes. He teamed up Dan Leno with Herbert Campbell in 1888, and created a comic partnership that hadno rival.

The Principal Boy

The other element of "Traditional" pantomime is on the decline today, namely the "Principal boy" role, played by a girl. Women had for a long time played the "breeches role" in theatre, as far back as the early 1800’s. By the middle of the nineteenth century the vogue for ladies to take on the heroic roles of "Jack" or "Dick Whittington" or "Aladdin" was beginning, and with the rise of Music Hall it became the rule. Quite simply, the Victorian male, living in a society where even the legs of the parlour piano were covered for modesty’s sake , craved the vision of a well turned calf, or shapely ankle. Whilst ladies were corseted, crinolined or bustled on the street, artistic license allowed ladies upon the stage to wear costumes that revealed shapely legs in tights on condition that they were playing a male role.

The "Principal Boy" held sway in Pantomime through the first and second world wars, creating stars like Dorothy Ward, one of the stalwarts of British Pantomime, and Evelyn Laye, Hy Hazel, Noel Gorden, and Pat Kirkwood. By the 1950’s the emergence of men playing the role began with Norman Wisdom, and the influx of "pop" stars such as (Sir) Cliff Richard and Marty Wilde , a trend that has waned as ladies once again returned to the role, such notables as Barbara Windsor, Cilla Black and Anita Harris taking the reins4. Today the trend seems to be reversing in favour of men playing the parts, but, as has been mentioned, Pantomime constantly adapts in favour of "The flavour of the day", and we may well see the Pantomime Hero return to the safe keeping of those glamorous ladies yet again.

The Chorus & Juveniles

Seldom featured, and yet indispensable, Pantomime could not survive without its chorus of dancers, and indeed its troupes of juveniles or “Babes” as they are known. Today, for reasons of economy, the average chorus in a provincial pantomime can number anything between six or eight dancers. Some productions can boast as many as ten or twelve, but that is the exception. Some have as few as  two or four professional dancers, supplemented by more adult juveniles.

Famous troupes include The Tiller Girls and The Sunbeams.

GENRE

NATYA

Natya Dance Theatre (NDT), under the artistic leadership of a Hema Rajagopalan, is amongst the most critically acclaimed and culturally treasured Indian dance companies in the United States. The professional dance company was founded in 1994 and is based in Chicago, IL. The highly innovative work of NDT offers profound and subtle expressions of humanity’s deepest questions and values in the context of our present-day lives. Rooted in Bharata Natyam, one of the great classical dance forms of India, NDT preserves and perpetuates Bharata Natyam in all its classical rigor, and moves the art form in innovative directions to foster cultural exchange through dance. NDT’s contemporary interpretations incorporate dynamic body movement, rhythmic footwork, hand gestures and facial expressions to convey meaning and emotion that create rasa , aesthetic experiences that spiritually transform audiences worldwide.

Audiences and critics worldwide have recognized the artistic excellence of the NDT Company, which The New York Timeshailed as, “Triumphant…an enticing mixture of restraint and abundance” Recent celebrated performance highlights include: performances with cellist Yo-Yo Ma and the Silk Road Ensemble before an audience of 13,000 in Chicago’s Millennium Park; NDT was the first US company ever to appear at the prestigious World Music Institute in New York City; and serving as the only dance company selected to create an original work for performance at the 2002 Olympic Games in Salt Lake City, Utah.

At the core of its mission, NDT believes that dance is a powerful means of cultural exchange. This is accomplished through:

·         Multi-faceted programming, including a professional touring company that performs throughout the country and internationally

·         The 35-year-old Natya Dance School

·         A full-faceted outreach program

·         Natya Presents, a series of presentations featuring the finest Indian performing artists of various genres

NDT is a six-time recipient of the Chicago Reader “Critic’s Choice.” In 2003, NDT was the first Indian dance company to receive the prestigious Chicago Dance Award, and is a 2004 recipient of the Paul Berger Arts Entrepreneurship Award from Columbia College Chicago. NDT was featured in 2005 in The Chicago Dance Project, a 13-part series produced by PBS, and in 2006 in Arts Across Illinois CenterStage on WTTW Channel 11, and in a 1994 PBS production, World Stage Chicago, for which Hema Rajagopalan received an Emmy award.

NDT has been presented regularly at some of the Chicago area’s finest venues including the Ravinia Festival, the Museum of Contemporary Art, The Dance Center of Columbia College Chicago, and McAninch Arts Center at College of DuPage. National and international presentations include performances at Lincoln Center for the Performing Arts, the Kennedy Center for the Performing Arts, the Smithsonian in Washington, DC, the Avignon Festival in France, and the Music and Dance Festival in Madras, India, among other major venues. Furthering the belief that cultural exchange and artistic collaboration are vital to expanding expression and understanding, NDT has created works with numerous partners, including the Chicago Symphony Orchestra, Lookingglass Theater Company, and the City of Chicago Department of Cultural Affairs.