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Hall of Mirrors - Play 2

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A one act play or act 2 of a full length play

SET: It is a combination picture gallery/coffee lounge. A small table with two chairs one side of the stage, which I refer to as the 'real' side. On the other side two six foot mirror/picture frames 'hung' at floor level with curtains over them. There will also be a corresponding, diametrically opposite, table and chair on the 'mirror' side. The set should be kept simple in line with my minimalist preferences. Stage properties can also be mimed, even the coffee perhaps.

CAST:

IN THE IMPROVISATIONS:

NOTES: 1) Number two in a series of one act plays with the same set and actors.
2) The shopping bag trick can be easily achieved.
3) The intention of the two improvisations is to demonstrate to Ginny and Vincent how foolish they have been by portraying people in love acting foolishly. I have set these playlets in the Commedia dell' Arte tradition and have attached some notes of explanation scavenged from the internet. In accordance with Commedia methods I have provided just a scenario and asked the actors to improvise the lines, however the scenario can also be improvised.
4) Franscisco has a 'light' Italian accent. Lucetta and Panchino have little or no accents. They speak well but as though English is their second language. There are pronounced Italian accents in the improvisations.

Commedia dell'Arte

"Commedia dell'Arte" was a type of theatre which came into being in Italy in the middle of the 16th century. The name translates to "The Art of Comedy". Plays were performed by troupes of professional actors who travelled from town to town and performed in market places. There were no scripts for the plays, just a rough framework (called a "scenario") jotted down on a piece of paper and destroyed after the performance. The action was completely improvised by stock characters who had standard costumes and masks. This type of theatre was also called "Maschere" (masks) because the actors performed in masks.

As far as Hall of Mirrors is concerned it is preferable if the actors are given new scenarios just before each performance in order to maintain freshness of presentation. These could be written by the director or stage manager, or a local playwright. (Or perhaps Francisco could just write a new scenario each time.)

Stock characters used in play:

Magnifico

The origins of Magnifico's character can be traced back to the Roman comedy dramatists of 200 BC, Plautus and Terence. Magnifico came to full force in the early 1500's alongside Arlecchino. Little is known of him, though it is certain that he came to develop the distinct characteristics of a magician and man of wisdom. As with most men of wisdom, Magnifico is shrouded in mysteries. It is thought that his brief appearances throughout the history of Commedia dell' Arte reflect his elusive appearances through history as Merlin, or the Tarot Magician, or possibly even Mandrake.

So it was that Magnifico came to possess the powers to traverse time, to construct worlds anew and to offer solace to those in need. Created to represent the symbolic nature of his influence, Magnifico's garments and setting were researched from the Tarot, scant etchings and artists' impressions of the 16th century. His inner purity and equilibrium, and the fire of his purposeful activity are reflected in the colours of his garments.

The staff represents his flaming will with which he controls the four elements symbolised by the sword (air), the cup (water), the wand (fire) and the coin (earth). Using these tools and his timeless wisdom, Magnifico can conjure powerful magic to transform fear and ignorance into laughter and compassion. This is Magnifico's eternal quest.

Arlecchino - (Harlequin)

Arlecchino was one of the first characters of the Commedia dell' Arte. His family history stretches back to the original devil masks, as shown by the shape of a carbuncle on his forehead. The French adopted Arlecchino and changed his name to the more familiar Harlequin. Arlecchino is the numbskull clown/slave who gave the world the comedy of slapstick. He is either completely stupid, or has the wit and cunning of a seven year old brat. He is a master of disguises, extremely agile and acrobatic. He always enjoys what he sees- for him everything is a game. He does not think of the future and quickly forgets what is out of sight. He acts first and then thinks, if he thinks at all. Flinching is idiosyncratic of Arlecchino, he is always on the look out for hits. His movements are jerky and defensive. He travels in a zig-zag skip, almost like a dance. Arlecchino's costume was originally breeches and a long jacket laced in front, covered with random patches of tatters in different colours to denote poverty. It wasn't until the 17th Century that the patches took the form of blue, red and green triangles arranged in a symmetrical pattern. At the end of the 17th Century, the French transformed the triangles into diamonds, and the jacket was shortened. In his belt was the slapstick that he proudly wore like a sword. His black half-mask has demoniac or feline features, often accompanied by bristling eyebrows, a mustache a snub nose. A large bump on his forehead provides the finishing touch. He speaks the archaic dialect of Bergamo with some other slang dialect expressions thrown in. Harlequin is acrobatic, particularly complex in his gestures and with a gait that is almost a dance.

Colombina (Columbine)

Originating as a pre-show dancer, Columbina became so popular that she was given a role among the renowned zanni of the commedia. She is a fiesty serving wench, who knows how to control men's desires (even if she isn't always in control of her own). Men swarm around her and she sets them against each other. She springs from the same kind of popular world as her faithful companion in adventure and, on occasion, her disconsolate lover, Harlequin.

On stage she is recognisable for her nimbleness, flirting and her typically feminine sharp-wittedness. Her costume is simple. Sometimes it has multicoloured patches like Harlequin's, and a white apron and cap and on other occasions it is exactly that of an eighteenth century maid. She is very rarely seen in a mask and various dialects are possible, the most common ones being Tuscan and Venetian.

Isabella

Isabella Andreini was the world's first female to be an international star. She was the wife of Francesco Andreini (the originator of the Capitano Spavento role) and she ran the Gelosi company with her husband. Isabella was recognized as the premiere lover in Europe. Her influence over the commedia was so great that she had a character created around her performance. Actresses took the name of Isabella for years after Signora Anredini departed the stage.

Isabella is the female lover of the commedia. The combination of her graceful charm and biting wit make her a wonderful foil to the bawdy humour of the masters and zanni. She shines like a beacon of grace in the barbarous surrounding of overambitious masters and stealthy zanni.

Pulcinella

Pulcinella is a selfish, schizoid rascal who combines empty-headed folly with cruelty. Without any morals or scruples, Pulcinella will concoct outrageous schemes to satisfy his animal-like lust and gluttony.

As Pulcinella is the direct descendant of two characters from the Roman theatre, Bucco and Maccus, he has a dual personality and constantly changes to suit one or the other of his fathers. On occasion, several Pulcinella's will perform on stage together, indicating the extent of his schizophrenia.

In spite of the confusion of identity, Pulcinella is self-sufficient, quick and witty, yet he is also coarse, vulgar, obscene, dishonest and debauched. Pulcinella is very easily recognisable. His physical appearance began with a broad hump on his shoulder and a pot-belly. As his character evolved so did the hump, until he was doubly humped, with an extended belly to balance his carriage. Pulcinella is well-known for his bizarrely-paced, bent, cock-like gait and hen-like voice.

Pulcinella's costume is typical of the Zanni set: loose-fitting white shirt and trousers with a conical hat. The only exception being that his sleeves cover his hands, symbolising his hatred of physical labour.

Another source:

This is the Napolitan Commedia dell'Arte costume par excellence. It originates, despite opinions to the contrary, in Campania, the region whose capital is Naples, and which has a long comic tradition. It was there, at Atella, in Roman times, that the farces with the earliest fixed character types were born, and it is from these, Maccus, Pappus, Bucco, and Dossenus, that Pulcinella derives his character. He is often hunch-backed like Dossenus, with a beaked nose like Maccus, a gigantic mouth like Bucco and insatiably hungry like Pappus. These physical traits combine to make him look rather like a rooster. Pulcinella was not only popular in his birth place of Naples, but also very much so in England, where they used his influence to create Punch, in Punch and Judy.

GINNY ENTERS AND SITS AT THE COFFEE TABLE. SHE HAS HER SHOPPING WITH HER. A FLANNELETTE NIGHTGOWN, A PACKET OF COCOA AND A BOTTLE OF VINEGAR. SHE TAKES THEM FROM HER SHOPPING BAG (HER BAG, NOT A PLASTIC SHOP BAG), PUTS THEM BACK, PUTS THE BAG DOWN ON THE FLOOR. THE AUDIENCE MUST GET A GOOD SIGHT OF THE ITEMS AND THE BAG SHOULD BE IN FULL VIEW THROUGHOUT THE PLAY. FRANCISCO ENTERS.

FRANCISCO: Coffee signorina?

GINNY: When my boyfriend comes.

FRANCISCO: Ah, a rendezvous. That is romantic signorina.

GINNY: Are you Italian?

FRANCISCO: I come from... somewhere. It could well be Italy.

GINNY: What's your name then?

FRANCISCO: My name is Francisco, signorina.

GINNY: Francisco. That's Italian.

FRANCISCO: I am from, Never-Never-Land signorina.

GINNY: Ah. That's where I come from. (PAUSE) The last time I was here they had an exhibition. Is it over?

FRANCISCO: Possibly. Exhibitions last a month. A new one opened yesterday.

GINNY: Oh, I don't see any paintings.

FRANCISCO: There are two works on the wall, there, behind curtains.

GINNY: Behind curtains? Why is that?

FRANCISCO: It is explained in the catalogue signorina. (HE GIVES HER ONE) When the viewer opens the curtain he or she will see a personal illusion which is unique to their own viewpoint and that of no-one else.

GINNY: A personal illusion? What sort of art is that?

FRANCISCO: The Art of the True Reality signorina.

GINNY: I never heard of that school. I'll have to have a look. (SHE GOES TO THE FIRST MIRROR AND DRAWS BACK THE CURTAIN. LUCETTA IS BEHIND MIMICKING HER MOVEMENTS IN A SLIGHTLY EXAGGERATED WAY.) I think I've lost a little weight. (OR '...GAINED A LITTLE WEIGHT'.) It's not a good mirror. Makes you look older and uglier. (LUCETTA REACTS)

FRANCISCO: But how can a work of art be a copy of reality? A mere photograph? You must distort the external ornamentation in order to see the source of truth more clearly.

GINNY: Yes there are some flaws in the glass. Who is the artist?

FRANCISCO: It is I signorina.