Learn How to be Like these Stock Characters
Columbina - This unmasked character's physical centre is her hips and breasts. This means that while walking an actor has to take on a seductive personality by keeping their hands on their swaying hips and pushing their chest out in a flirtatious manner, this is all done with nimble and fast movements. She embodies a somewhat grand zanni walk, with the addition of a little flick of the foot. At a stationary stance, Columbina should keep one knee bent and the other leg extended with a slight forward tilt from the hips to show best features. The emotion and facial expressions shown on her face is one of cheekiness, fearless and malicious wit. Her poses are all the learned and worked ballet positions with the focus being directed to the next speaking character. A variation of the ballet positions with the body either erect or bent. In Colombina’s case, a great display of cleavege should be incorporated into the poses as often as possible.
Il Capitano - Il Capitano tries to make himself seen at all times. His feet and legs are far apart in order to make himself appear more mighty and strong. His chest sticks out, puffed up with his shoulders broad. He walks in large strides, lifting his leg up as far as possible and then placing it down mere inches from where it started. His back is straight, and he prances with a bounce in his step. All of his walks are very showy and as a result, quite slow. Il Capitano's run is prompted by any loud sound, scary object or from being overwhelmed. When this happens, he drops everything, throws his head back, kicks his feet forward and howls is fear. Just like in his walk, he picks his legs up high, but puts them down close to where they started. His stationary stance includes his feet planted apart (in order to occupy maximum space and his chest pushed forward with back straight and hips wide. His facial expression should highlight the emotion of boasting and naughtiness.
Il Dottore - His physical centre is his forward, so, when stationary, an actor must be heavily weighted down with feet apart and toes forward. Dottore stands with his great weight on the back of his heels and his stomach slopped forward, hands gesturing with every word. This character always walks when he talks. Instead of in a straight line, he waddles in figure eights using tiny steps, while patting/tapping his large belly.. His weight makes it difficult for him to move fast. His most common pose is one of thinking. His facial expression should express how egocentric, proud and arrogant he is.
Arlecchino - Arlecchino is a very ethereal character. The actor who plays him should be very acrobatic and capable of a wide variety of movement. Arlecchino is always moving. His knees are bent giving him a low center of gravity. Despite his lowness, he should appear as though he could spring up into the air at a moments notice. The elbows are bent and his hands are placed on his belt. There is great lumbar curve and his chest is pushed out. This is different than the way Il Capitano thrusts his chest out. Arlecchino is not showy but sneaky. Arlecchino never walks in a straight line. He is too conniving to be that predictable. Instead, he walks in a zig-zag. To a steady beat of 3/4, he steps to the left, then center, then right, then center, then left, etc. When Arlecchino sees something, his mask tracks it first. After he has taken in what it is, his body follows the movement of the mask and he's off. Arleccino's speech is like a faucet: either it is on and flowing ceaselessly or it is off. Arlecchino is a paradox in that his agile, quick body doesn't match up with his slow mental processing. This character is child like, mischievous, kind and loving; this should be remembered when embodying his character.
Il Dottore - His physical centre is his forward, so, when stationary, an actor must be heavily weighted down with feet apart and toes forward. Dottore stands with his great weight on the back of his heels and his stomach slopped forward, hands gesturing with every word. This character always walks when he talks. Instead of in a straight line, he waddles in figure eights using tiny steps, while patting/tapping his large belly.. His weight makes it difficult for him to move fast. His most common pose is one of thinking. His facial expression should express how egocentric, proud and arrogant he is.
Arlecchino - Arlecchino is a very ethereal character. The actor who plays him should be very acrobatic and capable of a wide variety of movement. Arlecchino is always moving. His knees are bent giving him a low center of gravity. Despite his lowness, he should appear as though he could spring up into the air at a moments notice. The elbows are bent and his hands are placed on his belt. There is great lumbar curve and his chest is pushed out. This is different than the way Il Capitano thrusts his chest out. Arlecchino is not showy but sneaky. Arlecchino never walks in a straight line. He is too conniving to be that predictable. Instead, he walks in a zig-zag. To a steady beat of 3/4, he steps to the left, then center, then right, then center, then left, etc. When Arlecchino sees something, his mask tracks it first. After he has taken in what it is, his body follows the movement of the mask and he's off. Arleccino's speech is like a faucet: either it is on and flowing ceaselessly or it is off. Arlecchino is a paradox in that his agile, quick body doesn't match up with his slow mental processing. This character is child like, mischievous, kind and loving; this should be remembered when embodying his character.