Reactions to Reactions: Traditional Masks and Modern Commedia

As some of you know, Tut'Zanni recently did a run of our most recent show, LOVE LETTER LOST in NYC. We had some great audience members attend, including "The Mask Lady" of New York, Shelley Wyant (www.shelleywyant.com). Having made a name for herself in the world of Mask, we were honored that she attended our show. It is also always exciting having someone who really understands the form watch us work, because we know they can see past the wacky world we've created and see what is at its roots.

She left immediately after show, which was not out-of-the ordinary, as it was a late-night show, and commuting home in the NYC cold is no fun task. She kindly shot us an email that night though, assuring us she definitely enjoyed the show and would like to find a time to talk to us about what we do, and share her thoughts on the piece.

So a few of us met with her, played with some masks, discussed projects, and she shared some of her thoughts on LLL. The primary one that stuck out to me was when she said to one of the Tut'Z (and I'm paraphrasing) "Your character was amazing- but in the wrong mask."

OF COURSE, as an artist, a first reaction is always defensive. But if there's one thing I have learned with this work, it's that no matter how good it feels to you on stage- if it doesn't translate to the audience, then it isn't working. And this was a person that knew mask work, and the archetypes we were working with.

So I let it ruminate for a second, and there were some past personal observations that clicked into place. I've been writing a lot about who are our modern commedia characters, and what are their masks? In fact, I've discussed our show as being a great in-between of our process. We had our first show, ART FOR SALE, which was us coming together as a company, and learning how we work together. Then comes LOVE LETTER LOST, where we really get back into the form, and start to do our own thing with it. We've taken traditional masks, and tweaked them into new characters. We've taken patriarchs and made them matriarchs. We've explored what a male actor in a female mask means. We've modernized these characters into martini-sipping, selfie-taking, pill-popping monsters of today that we can all relate to.

But what about the masks? I wrote a little while ago about how I was afraid we would be doing a disservice to the masks by not playing them how they truly were/are. Not only that, but we might be doing a disservice to our new characters by not allowing them to have and be their own masks. And I think this may be the point we have reached with this show. We used traditional masks and their archetypes as a foundation, but built out new characters from there.

How commedia of us! This is not a bad thing. Quite the opposite, actually- it's an exciting, intriguing opportunity. When commedia was first forming, this is exactly what happened! Yes, there are some main, well-known favorites, but there are literally hundreds of commedia characters, all birthed from actors taking a Zanni or Master and growing them into their own person. Arlecchino, later Harelquin, originally came from the character Zanni. He was given his own quirks and personality traits, and BAM! Everyone loved him and wanted to see more.

It is still valuable to use the traditional masks, and we will continue to do so. But, if we do that, then we must stay true to those masks, in body, form, voice, and personality.

If we make someone new, then we find what their mask is.

And a new commedia character is born.

Tut'Z Bubble Burst

I've been thinking the past few days about how I want to definitely blog about my last 2 weeks, but then I think back to everything that happened, and become completely overwhelmed. So, today, while I'm to exhausted to actually think about it all at once anyway, I am tricking myself into just starting to type and see what happens.

Every time Tut'Zanni comes together, it seems perfectly timed for each of our lives. There is something special about the work that we do, that brings a level of vulnerability and openness that has created a sort of pseudo-family. There really isn't a line between our personal lives and professional performance lives in relation to the Tut'Z, and it's amazing how much we're realizing we wouldn't have it any other way.

Not every company does or even should work the way we do. We have tapped into some kind of magic that has become somewhat of a lifeline for each of us. We come together usually at least every 6 months or so, and it seems we're always all in a completely different place! Having a baby, in a new job, just gone through a huge breakup, or are GETTING MARRIED IN THE MIDDLE OF THE TOUR.

Things we've learned this tour:
-Back to the basics! This was one of the first times we did not hold workshops before our actual performances (we had one after they started), and with less rehearsal time (1 day before!), we did not spend time working on our technique. With mask work, and the commedia work we do especially, technique is crucial. We held a workshop on Moday before our performance, and without even practicing in our show masks, simply revisiting the technique and the spirit of play brought new life to our performance.

-How close we are affects how we are on stage. Close, both emotionally, as well as physically. We bond and understand each other deeply on a personal level, which allows us to come together for these short periods of time and open ourselves up to a very vulnerable and open style of work. When one or more of us can't be there, or if we feel they are disconnected emotionally from us, we feel it on stage. We need each other!

-Flexibility is key. Just as we have a structure that we deviate from on stage, our work schedule has to be the same. We set a schedule, but check in each night before, or even the day of, to see what needs to wiggle around. Life happens, and we need to be gentle with ourselves. That being said, we also have to realize it's not a complete lack of accountability or structure, and we have to keep a sense of urgency driving us forward.

-Transparency. Aren't all relationships about communication? That is true for a company as well. Despite having obviously more tasks, the ones who actually are acting as the hosts (because they live in the city we're touring in) tend to be a little more relaxed throughout the chaos. This is because they know exactly where everything stands, the work that has been done behind all the administrative hubub, and financial goings-on. Those who are coming in from somewhere else have a sense of coming in blind, and that only incites a feeling of anxiety and fear, and nothing good comes of that. Also, financial transparency is very important, especially for a non-profit like a theatre company. Knowing exactly how much a space costs makes you far more likely to make the time there precious. And, you'll want to sell those tickets!

-Development, Festival, Self-Production. We didn't realize we were doing it, but we created a sort of system for our shows. First, we have a development period, with a work-in-progress show at the end. Our work requires an audience to progress, so we put ourselves somewhere with a safe audience to help us with feedback and to play with the material we have put together. Then, we take it to a festival. There, we have sort of built-in audiences, and it's a great place to get press reviews and a little bit of attention. Lastly, is the daunting self-produced show. This is by far the most difficult, but most educational of the 3 types. You are responsible for everything. The venues, the insurance, the marketing, outreach, rehearsals, transportation... But I have to say, I am so so happy we did this, because it is a skill set I'll be forever glad to have, and I know will only improve each time. P.S. One of the biggest things we learned was how important marketing is! I know it sounds gross, and can be very financially intimidating, but we definitely found out why that is frequently the largest part of the budget. At the end of the day, you've gotta get butts in those seats!

That's all I can really think of now. People are constantly asking how we do what we do, so I'm trying to put that out there.

This trip was amazing. My own personal development was massive, and I made some strides with my characters and my own personal process that are helping me build confidence and even more excitement moving forward.

Thank you to everyone who came to our show or workshop, those who tweeted about us or shared info, or even just liked our photos. We couldn't be more grateful. It's a tough biz, and it's all about getting the right people to pay attention- and by that I mean you. Yes, it is great to have big Broadway players and Universities look at us, but truly it's those who love and support us that help keep us putting ourselves out there and going at it every day. We love you, and are excited to bring you along on this wild ride!

Online and App Dating: A Brand New Way to be Awkward

Sometimes I don't really know what I should blog about. Then I think about what I've been spending too much time doing, and at the moment it seems to be swiping right/left on my phone, or clearing out the barrage of okcupid emails from my inbox.

Here are my ADD thoughts on the subject.

It's funny, because I've always encouraged others to try online dating (which now includes apps). I still think it's a great idea, in theory. I know a lot of people that have met their partner, spouse, soulmate, even best friend via the online world of bringing people together. Honestly, it seems no different than meeting someone in a bar or out in the world, only this way I guess you get to do a little screening and (the big bonus), know that they're at least somewhat interested in you.

So why do I cringe every time I get an alert on my phone?!

Well, I guess because I'm awkward and shy in my own way, and dating is scary. Sometimes I get way too overconfident and am like, "ALL THE DATES" and then the next day, in a strange sort of Tinder hangover, I have to go through and unmatch everyone I suddenly decided to message things that only I find funny.

Pros and Cons. Pros and Cons.

I suppose a big perk to online dating is that in the real world, you may see someone you like 1 out of 3 times you go out, and even if you go and talk to them, those numbers pale in comparison to the condensed 10+ people you could talk to any given day. But that also means all the creepers and weirdos and horribly uncomfortable situations are also condensed.

You kind of have to appreciate it all, though. Aren't humans weird? I had one dude send me a picture of his cat. Cute cat, but it was part of his opening line. I don't know if I can compete with that, seeing as his cat is what he considers his "best foot forward".

You get the ones that constantly message you even without encouragement.

Of course, there's the occasional "DTF?", which, though a generous offer, I politely decline.

Sometimes there are just way too many views or messages to really go through and think about, and I get completely overwhelmed. This sounds like one of those problems where people are like "oh no, too many people like you", but that's not actually it. I feel like a lot of people I talk to have the same thing, especially being in NYC since the population is just so dense, you're bound to have several people looking. Also, I don't mean I have 400 messages, I mea it's "likes" and "matches" and percentages, and messages and winks and views... it's a lot of different things that represent different possible levels of interest- that's a lot of things!

TANGENT: Speaking of winks, I did pass a cute guy in the subway station the other day and almost winked at him as I walked by. Does anyone wink like that anymore? I regret not doing it. At the least, maybe it would have made him feel good. Or be creeped out (have y'all seen me wink?) and have a good story to tell a less creepy girl later.

Back on track. Every once in a while I get the balls to write someone back, but they seem to get just as shy as I am, and don't really want to come out- to be fair usually I mean "I'm already out, come and say hi", which maybe is too short notice for them. But that's more the type of person I am, so I guess that helps whittle it down.

Oh well. I feel like there is a whole lot of putting your toes in, and pulling back as your comfort level grows. I start accounts but never activate them. Or activate them and then turn them off. Write people messages and then stop all communication.

Props to all those people trying out there. Dating is hard and weird. I'm awkward (SO AWKWARD) and strange, and not a lot of people get me. But I am who I am, and hopefully by just being that I'll meet some cool people that like to hang out with weirdos like me.

P.S. One of my highlights- A 0% match sent me a pic of his bicep and all he said was "ooh la la". Well done, sir. For someone who is apparently completely incompatible with me, you sure did make me laugh out loud.

Window Cardboard

Let's take a moment to discuss our front window at 95 Linden.

Since we moved in, one of our living room windows has never been able to close (or open more I suppose, it's just stuck). Our solution: Deluxe Decorative Window Cardboard. It even has a detachable smaller piece that covers the part that is open in the photo, to allow airflow when the apartment gets too hot, due to having little control over the radiators.

Could we have the window fixed? Sure. But after trying to get our building manager to come and fix it several times, we sort of stopped trying very hard, as we've grown sort of fond of it. I'm not sure it would be the same without it.

Just some of that ol' 95 Linden charm.

Modern Commedia Character Study: The Combat Female

As I've been exploring some new female characters, of course my inner feminist naturally gravitates to level-headed, down-to-earth powerful women, but having only those types of characters is not realistic. If commedia s a form where we must be able to laugh at ourselves, then that includes all of us. And none of us are perfect.

I've also found a strange point in finding new archetypes where I find both women who are in real life, but also the "idealistic" females found in our media. I think it's worth exploring those as well, as they are stereotypes we find all throughout TV, video games, and, truthfully, those who try to mimic these images.

Here is one I find pretty amusing:

Character: The Combat Female
Loves: Fighting
Drives: Sex, Violence
Physical Characteristics: Over accentuated female attributes- ridiculous breasts, large hips and butt
Walk: Chest point- Led by breasts. Classic Countermask
Traits:
-Extremely sexual without trying to be sexual- makes sexual noises when doing anything physical (ie: climging ladders, lifting objects)
-When actually being sexual, is very aggressive and non-sexy about it
-Military Class, not poor or oppressed
-Not very bright, tries to solve everything with violence and force
Professions: Hired muscle, spy, adventurer
Props: Usually a gun
Costume: Ridiculously unpractical, either to start with, or torn to be revealing. Huge boots, probably heels, difficult to walk in
Mask: Lots of round, bulging curves, smaller, almost squinting eyes to indicate less intelligence. Large lips, usually pouty (can be emphasized with makeup). Mask could either cut off above lips so they could be seen, or could include a large upper lip.

Character Examples:
Tomb Raider (old tomb raider), Xena, characters played by Angelina Jolie, Beth- Dog the Bounty Hunter's sidekick as done by South Park

Women in Commedia Today- Character Study: Wilhelmina Slater

In my quest to create new commedia characters based on modern-day archetypes, I look a lot into the media, and recurring character types. A big difference I find with characters now is that there are a lot more women. Strong women, with a presence and personality worthy of creating an entire mask for.

With Tut'Zanni, we have actually explored strong female characters a fair amount actually, coming out sort of not-on-purpose, occurring as female versions of the already existing male masks. A female Pantalone (Pantalona) or female Dottore. But although this has been and exciting exploration, and of course there are plenty of archetypes that could have a male and female version, is it 100% accurate? Because these masks were born as male characters, it seems like we're holding ourselves back.

So who are these characters? One that comes quite readily to mind is that of Wilhelmina Slater, from the popular series, Ugly Betty.

Mask Name: TBD
Loves: Money
Needs: Power
Walk: Sexy. Strong. Leads with flexible hip points.
Countermask: hip points tighten, lead with shoulders.
Traits:
-Uses sexuality to attain more power
-Incredibly clever (more clever than intelligent)
-Cutthroat
-Upper Class
Professions: High Fashion, Literary Career, Business Executive. Positions of power.
Location/Background: New York/East Coast
Costume: Think the Capital in Hunger Games. Hair probably tight away from face, but big otherwise. Strong, sleek lines, nothing frilly. Angular.
Mask: Cat-like. Powerful. Intense, upward angles, high cheekbones. Almond-shaped eyes, with large eyeholes, probably heavy eye makeup underneath. Dark lipstick to enhance teeth.

Although this character shares similar drives to say a Pantalone or Brighella, this is a completely different character, and intensely feminine.

Other examples: Claire Underwood, Jessica Rabbit, Cruella DeVille, Cleopatra

Violence on Stage

I was watching "The Imitation Game" the other day, which I highly recommend, and there was an interesting quote about violence. It was, "Do you know why people like violence? It is because it feels good." ...and of course it goes on, but this is the part that intrigued me, and that I want to talk about.

I've had a lot of thoughts about violence on stage and in media, but particularly (and for this post) commedia. And I like it. I know there is a lot of controversy about violence in media, and entertainment, etc. and I think there are good arguments on all sides, and I also think that different instances are different (der). For the purpose of this post, I am going to make clear that I am speaking of unrealistic violence, such as in Looney Tunes (for a classic example) and, of course, commedia.

Sorry if this is a little ADD, but that is my brain, so... you're welcome.

For those of you who don't know, I am a super-nerd. One of my nerd loves is anime and manga. So I've been watching my favourite series, and I've noticed that these cartoons have a lot of violence. I mean, a lot of violence. Not just the big battles, where obviously people are fighting, but the everyday interactions are just riddles with punches and kicks and quite the variety of bodily harms. And I love every second of it.

As I watch this, I just keep thinking: this is what we need in our shows.

Granted, I think in general in commedia we should be acting more like they do in anime. The thing about anime and other cartoons is that everything is enhanced, more extreme. Their actions and reactions are bigger than real life, and this also extends to physical reactions (usually violence). And something about it is so satisfying. It feels good. For a while I worried if I was a violent person, and because of that, if I was a little bit of a bad person. But, long-introspective-story-short: no. I'm not a violent person, I'm a physical person. I am human. I have a physical body, full of chemicals and emotions and all those other things that come along with being born into this world. It doesn't mean I go about punching everyone in the face for yelling my name and running at me down a hallway. But it does mean I can relate to violence, even crave it at times, and definitely enjoy watching it in cartoons and on stage, and that's ok.

I had an amazing voice teacher once tell me that people can go to the opera, and by the end of the show, their own vocal chords would be a little bit tired. This is because the body instinctively connects with the singer on stage, and the observer's own body and vocal chords are relating to what they are experiencing. They are connected to the performer. This blew my mind. It also changed my whole thinking about why commedia can be so powerful. Because commedia is not about words or plot or subtext. It's all physical. Everything is physicalized. And this gives us the opportunity to connect not with just our audience's minds, but their whole physical being.

Something happens when you are watching something that has been made heightened in a physical way. Your body connects to it, whether it is conscious or not. It's sort of an amazing backwards way of communication, where we make the audience feel something first, and then analyze it in their brains later. When we watch Wile E. Coyote running around getting smashed by an anvil, we feel the conflict before we even put any words to what is going on. Plus, I might add, as a child watching these things, I knew that if a piano fell on me, I would not be ok. This is not violence that is meant to be realistic, it is a physical representation of something else that is going on internally. Now, I know I was a smart kid, but I never would have said that was what I was experiencing. But I was not relating to the pain in these interactions, I was relating to the physical action and release of the those performing the actions. I couldn't have expressed this as a kid (and can't very well as an adult), because it isn't something expressed in words. You feel it. And that is precisely what I want for my audience. An experience that is more than just words, something that resonates with them in a way that leaves their brains trying to catch up.

Commedia Today

I am taking up a big new project, that will possibly turn into a book or something, but for now it's just an exploration of thoughts that have been swimming about in my head.

Frequently Tut'Zanni and I have the conversation of "What is modern commedia?". What does it look like today? Most of the time the way this comes up as, "how are we going to modernize our shows?". What does a modern-day Arlecchino look like? What would a Brighella in America be?

But recently, I realized, we may be going about it all wrong.

Sure, archetypes are pretty timeless, but sometimes they come and go, and classes emerge and/or disappear. The real question shouldn't be, "what is a modern American Arlecchino", bu instead, "what is a modern American commedia character?"

Back when commedia dell'arte was first being born and developed, new characters were created all the time. Actors would come up with not just their own versions of characters, but entirely new characters themselves, created out of the regions they came from, and the cultures and classes they were familiar with.

This hit me last week when I was thinking about a show I have been writing about a sort of modern princess- When I had my big shift and decided to think of everything in terms of commedia and focusing on that, I was excited about making the show a commedia show. So then, of course, I found myself thinking, "Well then, which character is my princess? A Colombina? A Pantalona?" And that was the moment I realized, she could be, and should be, a new character. She is her own person, full of strong female attributes pulled from modern day stereotypes and archetypal characters.

I now find myself asking, "If commedia dell'arte was invented today in America, what would that look like? Who would those characters be?" I love commedia, and treasure the characters. And I intend to stay true to the form, because it resonates so strongly with me. But the new and exciting venture I want to explore is who are the characters now? I am not from Italy, and although I understand where the traditional characters come from, if I am really going to be true to my own roots, I need to pull from what I grew up with, what I know, and where I am now, the world I live in. The truth is, as Patrick and I were having a great conversation about today, Tut'Zanni is a group of young, white Americans, each coming from pretty diverse backgrounds. Diverse, regional, stereotyped backgrounds in modern America. We can, and should be commenting on ourselves and the society that we live in.

This is a great opportunity to explore what commedia is today, in America, to us and to our world. I am very curious and excited.

Waking (Rough Cut)

Here is a (very...VERY) rough cut of a new song I have been working on.

It's essentially about falling in love with someone in dreams. WOW that sounds so cheesy. Oh well.

Right now, it's called "Waking".

I TOLD YOU IT WAS ROUGH. Whatever. I like it.

You're welcome.

Epiphany, Commedia, and 2015

I have been going through a sort of angsty artist phase lately (not that it's anything new...). I've felt unfocused, and like I want to do so many things, but can't seem to follow through with any of them. I already wrote a little bit on wanting attention. But it's not just attention. It's that I want attention doing things that are important to me.

I moved to New York and went to part-time so that I could pursue my artistic career. But, suddenly confronted with so much time, I've had to actually look at myself and think: What does that look like? Who am I as an artist? I have gone on Broadway auditions, been writing songs, starting writing shows, doodling, and learning Japanese, just to name a few of my strange tangents that I've sort of been trying out. But this just leaves me feeling spread out, and like I'm not really good at anything in particular, and like I'm not actually progressing in any direction. I'm also stubborn, and refuse to let go of any of those things, lest I feel like I'm giving up or feel like I'm saying "I can't."

Today is the holiday of "Epiphany", and although it's really a religious holiday, I am choosing to take it at its name, and allow it to be more of a significant insight into myself and my life. I had an exceptionally productive meeting with a good friend and colleague, and discovered some things about myself that I think are really important.

Yes, I want attention. But not just attention for the sake of it. I stopped going on auditions, and was trying to figure out why. It's because really, if I were successful in that way, I would be receiving attention for what I would see as someone else's work. For the Spectacle. Sure, maybe I would grow my career to where my interpretations and development of characters and really making them my own would show my skills as an artist, I am definitely not saying that Broadway actors are not talented, but it's just not what I want to do. At least, not right now. I want to be respected and recognized as a true creator and innovator, and I don't believe that is that path that will take me there.

As an actor, letting go of auditioning and pursuing that path is extremely difficult. I've also stopped going for film auditions or any other type of auditions. This can be terrifying. Gaps in time on a resume can be harmful to a career, not putting yourself out there can be harmful, and, of course, every year, I am a year older. These are all very real things to take into consideration. But I also have been feeling like I need to pick something that I can throw myself into 100% and really go balls-to-the-wall (or tits-to-the-wall in my case?), and take a risk. But at least I'll know I gave it my everything. People can ask me "What do you do?" and I want to be able to say "THIS." So what is THIS?

3 years ago I started my own theatre company, Tut'Zanni. I did it because it was a big dream of mine, and because I saw it as a vehicle for all of my creative endeavors. If others weren't going to give me opportunities to pursue my artsy dreams, then I'd do it myself. The company had a magnificent first year, and has only continued to get better. Then I had my Epiphany. I can pursue all of my ideas and dreams- branching out into new media, working with film, animation, visual arts, music, writing new shows, everything- but I can re-focus it into commedia dell'arte. That is exactly what I had started the company for in the first place, I just somehow let that slip away over the stress of arts administration and regular human life stress. Commedia is something I am passionate about. I love it. I'm good at it. I want to be better at it. I see it everywhere, in everything, and constantly think about how I can apply it to everything, and everything to it. 

For the first time ever, I have found something that, at least for 2015 (because thinking too far in the future has literally never worked out for me), this is the something I can throw myself into. My company has reached a point where I can either have it maintain how it has been going (which means eventually fizzle out, because that is the reality of the theatre world), or I can really make it something, and make it a big part of my life.

So here's to 2015, Tut'Zanni, and myself as an artist. Happy New year, everyone!

Artsy Staring Contest

See who blinks first, me or you.

Ready.... Go!