John Rudlin – författare

Commedia dell''Arte, its Structure and Tradition chronicles a series of discussions between two renowned experts in commedia dell''arte – master practitioners Antonio Fava and John Rudlin.

These discussions were recorded during three recent visits by Fava to Rudlin’s rural retreat in south west France. They take in all of commedia dell''arte''s most striking and enduring elements – its masks, its scripts and scenarios, and most outstandingly, its cast of characters. Fava explores the role of each stock Commedia character and their subsequent incarnations in popular culture, as well as their roots in prominent figures of their time. The lively and wide-ranging conversations also take in methods of staging commedia dell''arte for contemporary audiences, the evolution of its gestures, and the collective nature of its theatre-making.

This is an essential book for any student or practitioner of commedia dell''arte – provocative, expansive wisdom from the modern world''s foremost exponent of the craft.

Commedia dell''Arte, its Structure and Tradition chronicles a series of discussions between two renowned experts in commedia dell''arte – master practitioners Antonio Fava and John Rudlin.

These discussions were recorded during three recent visits by Fava to Rudlin’s rural retreat in south west France. They take in all of commedia dell''arte''s most striking and enduring elements – its masks, its scripts and scenarios, and most outstandingly, its cast of characters. Fava explores the role of each stock Commedia character and their subsequent incarnations in popular culture, as well as their roots in prominent figures of their time. The lively and wide-ranging conversations also take in methods of staging commedia dell''arte for contemporary audiences, the evolution of its gestures, and the collective nature of its theatre-making.

This is an essential book for any student or practitioner of commedia dell''arte – provocative, expansive wisdom from the modern world''s foremost exponent of the craft.

A companion to John Rudlin''s best-selling Commedia dell''Arte: A Handbook for Actors, this book covers both the history and professional practice of commedia dell''arte companies from 1568 to the present day. Indispensable for both the beginner and the professional, it contains historical and contemporary company case histories, details on company organisation, and tips on practical stagecraft. Essential for students and practitioners, this book enables the reader to understand how successful commedia dell''arte companies function, and how we can learn from past and current practice to create a lively and dynamic form of theatre. Includes tips on: * writing a scenario * mask-making * building a stage * designing a backdrop * costume * music. _

A companion to John Rudlin''s best-selling Commedia dell''Arte: A Handbook for Actors, this book covers both the history and professional practice of commedia dell''arte companies from 1568 to the present day. Indispensable for both the beginner and the professional, it contains historical and contemporary company case histories, details on company organisation, and tips on practical stagecraft. Essential for students and practitioners, this book enables the reader to understand how successful commedia dell''arte companies function, and how we can learn from past and current practice to create a lively and dynamic form of theatre. Includes tips on: * writing a scenario * mask-making * building a stage * designing a backdrop * costume * music. _

There has been an enormous revival of interest in Commedia dell''arte. And it remians a central part of many drama school courses. In Commedia dell''arte in the Twentieth Century John Rublin first examines the orgins of this vital theatrical form and charts its recent revival through the work of companies like Tag, Theatre de Complicite and the influential methods of Jacques Lecoq. The second part of the book provides a unique practical guide for would-be practitioners: demonstrating how to approach the roles of Zanni, Arlecchion, Brighella, Pantalone, Dottore, and the Lovers in terms of movement, mask-work and voice. As well as offering a range of lazzi or comic business, improvisation exercises, sample monologues,and dialogues. No other book so clearly outlines the specific culture of Commedia or provides such a practical guide to its techniques. This immensely timely and useful handbook will be an essential purchase for all actors, students, and teachers.

There has been an enormous revival of interest in Commedia dell''arte. And it remians a central part of many drama school courses. In Commedia dell''arte in the Twentieth Century John Rublin first examines the orgins of this vital theatrical form and charts its recent revival through the work of companies like Tag, Theatre de Complicite and the influential methods of Jacques Lecoq. The second part of the book provides a unique practical guide for would-be practitioners: demonstrating how to approach the roles of Zanni, Arlecchion, Brighella, Pantalone, Dottore, and the Lovers in terms of movement, mask-work and voice. As well as offering a range of lazzi or comic business, improvisation exercises, sample monologues,and dialogues. No other book so clearly outlines the specific culture of Commedia or provides such a practical guide to its techniques. This immensely timely and useful handbook will be an essential purchase for all actors, students, and teachers.

The Metamorphoses of Commedia dell’Arte traces the steps by which Commedia has been transformed by cultural contact outside Italy into popular forms which bear little resemblance to the original. The book follows the Masks of Arlecchino, Pedrolino and Pulcinella as they gradually migrate and mutate into Harlequin, Mr. Punch and seaside Pierrot troupes. What happened to Pantalone, Scaramouche, Colombina and the male Lover is also investigated, though they had no final forms of their own.  This study constitutes a history of what happened, notably in France and Great Britain, to a supremely popular theatrical genre as a result of changing fashions in entertainment brought on by societal developments, civil and industrial revolution and dynastic change.  It investigates how the genre was exploited by management, and even its own stars, lost its vitality and gradually ended up in ‘sunken’ forms.