| |
 |
Lazzi
|
Lazzi
is a broad topic that can be subdivided many ways.
We will break it down first into Rudlin's categories of
non-improvised elements.
We
can describe most of these as the sorts of things kept in
a gag-book or Zibaldone. Your Dote [or dowry] is your collection
of soliloquies, narratives, dissertations, and studied passages
of rhetoric which are not left to improvisation. These include
the Generici or common-place-things such as sententious
maxims, descriptions, outpourings of emotion, humorous and
fanciful diatribes, declaration of passion, love-laments,
ravings, reproaches, declamatory outbursts...
|
| |
Lazzi
- Sight Gags
Rudlin
quotes Luigi Riccoboni [1728] as saying these are bits
inspired by the action, but not furthering it. It may
be demonstrations of astonishment or fright, or humorous
extravagances alien to the matter at hand.
|
Arlecchino's
Food Fantasy Lazzi -
Many experienced Arlecchino players have this
bit they do in which Arlecchino is distracted
by his hunger, or dreams that he makes a huge
meal and eats it. During the lazzo, he mixes something
in a bowl the size of a small swimming pool, and
then guzzles it all down. There is another similar
lazzo in which he eats himself. This adventure
is not part of the plot, but is certainly part
of the show.
|
| |
|
|
|
| |
Burle
- By-play between Characters
Oxford
English dictionary describes by-play as "Action
carried on aside, and often in dumbshow, during the
main action." This was frequently either very sexual
or very mocking. I presume, but do not know, that the
Italian word 'burle' is the root for the English word
'burlesque'. In any case, this is multi-player practiced
bits that are physical, and not verbal.
|
Simboff
- this is a term we use [origin unknown] for
anytime people on stage simulate having sex. We
tend to make it look fairly realistic. By comparison,
most other troupes we have seen are more inclined
to do this almost as a dance or acrobatic tumbling.
|
| Stage
Combat - I am assuming that this would fit this
category. If you don't choreograph this stuff, you're
asking for an unexpectedly short run of your show. |
|
|
|
| |
Battute
- [literally 'fencing exercises'] Stock Repartees
These
are practiced witty dialogs.
|
In
our Dec 7 2002 show, Jimmy Rising and Abigail
Weiner did one of these concerning using games
of chance as an allegory for romantic and physical
love.
|
|
|
|
| |
Concetti
- Stock Rhetorical Passages
These
are standard bits that a single player will memorize.
Lovers and the Dottore need these especially.
Memorization
Lazzi require having clever speeches or
interesting lists memorized for appropriate
occasions. Here are some lists to work on:
Games
played by Gargantua in Paris
|
|
|
|
| |
Grummelot
- Babel with the Rhythm and Sound of Foreign Speech
|
Turkish
Slavegirls - There are a number of places
where grummelot comes in handy. For us, the translation
gags with the slavegirl and her would-be lover
are pretty good. Sometimes the Capitano can be
mostly grummelot. Once our Dottore played the
whole play speaking Italian or Latin, which for
our audience might as well have been grummelot.
|
| Kompani
Komedi - did a whole show as grummelot a few
years back on an international tour. I've seen a
tape. It's very physical. The grummelot doesn't
get in the way, but seldom is the humor itself. |
| American
- At the Austin Festival, an Italian Commedian showed
us 'American' grummelot. It sounded like 'Astro'
from 'the Jetsons' : "Rar roo rokay Rorge?,
rar rar rar rar!" |
|
|
|
| |
Meccanismi
- Structures in Dialog
Rudlin
mentions this in his book, but doesn't give any details.
I expect that he must be referring to the sorts of things
that happen in verbal improv exercises.
|
|
|
| |
Stock
Plot Bits - Actually part of the story line
|
|
|
| |
General
links to Lazzi descriptions and commentary
|
|
|
|
|
|
|
