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!