Commedia dell'arte

Zanni.

Character.

Zanni is the lowest class character. He is a slave who works for Pantalone or Magnifico in most stories and is incredibly stupid. He has a slap-stick type comedy style and his perpetual confusion at the world around him creates humour. Despite this and his lower-class status he is one of the most loved characters as his childlike innocence coupled with his poor treatment invoke sympathy from the audience.

There are different tiers of Zanni (which just generically means slave) within lots of plays. This leads to a chain of command through many ranks of slaves, The Zanni's tend to become stupider the lower ranked they are and this is symbolised in their masks – a long nose means a stupider Zanni.

Real life example - Baldrig (black adder)

Acting.

1. Wide feet (slightly turned out), walks with all his weight on one foot and then totally shifts to other foot on next step – pigeon walking.
2. Bottom out and back slightly arched with chest high and held head jutting forwards. Zanni often scans upwards with eyes.
3. Uneven rhythm, always walks in three beats (three steps, pause, three steps) and arms swing loosely inside knees.

Lazzi's

Zanni goes into a deep sleep after being exhausted and the other characters believe him to be dead. He then wakes up from his pleasant dreams and finds the other characters believe to be a spirit or a zombie. His innocent confusion juxtaposes their horror and comedy is created

Arlecchino.

Character.

Arlecchino is also a lower-class slave but he is higher in position than Zanni. In most plays he is a trickster and turn-coat. He acts as a loyal servant, fawning over Pantalone or Magnifico but the minute somebody else offers him more money/protection/power he shifts sides instantly.

He is a quick thinker and often comes out with outrageous plans to get himself money or power but these plans almost always go wrong and the tangled web of blame they leave creates comedy. Arlecchino often ends up doing something wrong and so he carries a slapstick which he uses to beat himself when he feels his current master is displeased. This ridiculous display of subservience is repeated for multiple masters showing Arlecchino's two-faced nature.

Real life example – Blackadder (black adder)

Acting.

1. Very fast and agile on feet, rocking on toes, weight shifted all the way forwards.
2. Leads with forehead, always scanning around at ground level, weaves in and out of other people in crowds with ease.
3. Arms and heads never still – always playing with something or each other.

Lazzi's.

Arlecchino does something wrong and is about to be punished for real. As Pantalone goes to strike him, Arlecchino grabs the nearest character and uses them as a human shield. The difference between his fake self-inflicted punishment and the real thing creates humour.

Il Capitano.

Character.

The eternal stranger, Il Capitano is a travelling hero returning from a far-flung land of his own creation. He tells embellished, extravagant stories of fighting monsters and deeds of strength. As a fake is he never quite convincing and although he doesn't realise it all the other characters laugh at him behind his back. Il Capitano's bravado dissolves immediately when confronted with a real danger.

Real life example – Captain Flasheart (black adder)

1. Acting.
2. · Hand is constantly by side, resting on the hilt of a sword.
3. · Head up, nose pointing up to sky, chest puffed out.
4. · Walking knees first with long, confident strides, Il Capitano never appears to hurry though.

Lazzi's.

Il Capitano finishes telling a fanciful story of his foreign exploits to an assembled crowd. Then a small mouse of spider scurries near him and he leaps away in fear, tripping over is sword and cape as he goes. Often a Zanni or Arlecchino shoos away the animal with ease much to the embarrassment of Il Capitano.

Il Dottore.

Character.

A supposedly wise and learned man, Il Dottore is actually an idiot. He makes long slurred speeches full of nonsense words, occasionally putting in a real word (it is usually very fancy vocabulary). Il Dottore is constantly trying to look clever so he will pretend he knew things before someone tells him.

Il Dottore is also incredibly fat and unhygienic. He often carries a small handkerchief with which he touches his face regularly and has long exaggerated nose blows. This handkerchief is often the source of comedy when he tries to give it to a Zanni, after just loudly blowing his nose, who takes it with disgust.

Acting.

1. Crouched in a half squat, waddle along with small steps, feet point forwards and knees bent.
2. Hands curved around huge stomach, he leads with his stomach and nose which are constantly pointed forward.
3. Il Dottore is forbidden from moving sideways or backwards, he turns slowly like a tank (often humorous) to ensure he is always facing the direction of travel.

Lazzi's.

Il Dottore makes a speech to another character on a 'scientific basis'. The other character, often a Zanni, comments on one of the nonsense words and asks its meaning. Il Dottore replies that it is Latin – a language he claims to speak. Later, a real man of science visits town and, upon hearing Il Dottore's supposed mastery of Latin, tries to engage him in Latin conversation which Il Dottore of course has no reply to.

The Lovers.

Characters.

Isabella and Flávio are the lovers in Comedia del arrte. They are usually the main characters of the stories and are the only unmasked characters. Isabella is the daughter of Pantalone, she has a very upper-class and rich (also very spoilt). Flávio on the other hand is very poor, he is usually portrayed as a musician, actor or poet.

This makes the two star-crossed lovers as Pantalone forbids Isabella from marrying Flávio and is instead perpetually trying to find her suitors in people like Il Capitano and Il Dottore. Despite this the lovers usually end up together at the end of the stories, but their tangled path together is often a source of comedy.

Acting.

1. Both lovers walk on tip toe with short light steps, they hold their hands out to the side, leading with the backs of their hands.
2. Isabella perpetually carries a mirror and a fan, she takes 3 steps and then either swoons at herself in mirror or delicately fans herself.
3. Flávio is forever on the brink of completely his epic love poem for Isabella, he carries a quill but never actually writes anything- he often stares up whilst contemplating lines.

Lazzi's..

Flávio attempts to speak to Pantalone about his love for his daughter Isabella. He compliments her and declares his love but Pantalone with his hard hearing misinterprets Flávio's words. "She has a gorgeous voice" becomes "She has orgies with boys" for example. This provides comedy as Flávio repeatedly tries to correct Pantalone with another compliment which in turn is misinterpreted. 

Pantalone.

Character.

Pantalone is a rich and powerful old man who is completely obsessed with money- especially his own. His greed and terrible treatment of his fellows make him the villain in lord of Comedia stories.

He is also a lech who lusts over Columbina (his maid servant). He constantly touches himself and follows around her, this disgusting behaviour towards not only her but all females he meets further vilifies him.

Acting.

1. Crouched over, walking on tips of feet, toe-heel walking, nose leading.
2. Hands constantly holding a pouch of money in crotch, shoulders hunched over to always protect the bag.
3. Head always craned forward, looking around quickly to check for potential danger to his precious money.

Lazzi's.

Pantalone flies into a rage at another character, usually over a money accusation. In an animal rage he throws many punches but they are so weak that the other character laughs, spurning Pantalone into further rage and more punches.