Launcelot Gobbo, Old Gobbo and Les Gobbi

In a recent conversation with my friend Cherie Konyha Greene about her trip through Italy to research a historical novel, we found ourselves asking "where did Shakespeare get the name for Launcelot Gobbo?" Cherie had found references to "Il Gobbo di Rialto" a statue of a hunched figure in front of the Church of San Giacomo di Rialto: The statue served as a podium for official proclamations and also had a role in the punishment of misdemeanours in that the guilty party would run naked through a gauntlet in the Rialto until kissing the statue. The wikipedia article makes some note that the statue may have inspired Launcelot Gobbo and Old Gobbo from the Merchant of Venice but does not suggest a rationale for drawing the connection, beyond the name "Gobbo" and the city of Venice.

When I did my own looking about I discovered that "Gobbo" is both a surname as well as a vernacular term for "hunchback." This was more promising as there is a long association with physical deformities and comedy. The Gobbi are, after all, the clown characters in the play.

Then came my most promising discovery: Jacques Callot (c. 1592–1635) was a print-maker from Nancy, who worked in the Medici court in Florence. He is of special interest to commedia dell'arte artists, scholars, and enthusiasts, because he created a dynamic series of prints of commedia actors that continue to be used as reference points for the masks, costumes, and physicality of the characters. He also created a series of prints entitled Les Gobbi:

This first character, by all appearances, has the physical proportions we now associate with dwarfism. Some might attribute these proportions to some sort of grotesque caricature, but if one looks closely at the face, it is apparent that this violin playing Gobbo is wearing a mask: there are eye holes and the edge of the mask is clearly demarcated.


This one, playing a flute, does appear to be hunchbacked, but is also wearing a mask, (note again the eye-holes and the edge.)

Here we have another with a hunchback, but he is flamboyantly dressed and carries a sword. Probably not a soldier, but quite likely an actor.

Again, flamboyant dress and a sword. Which again makes me think that this Gobbo is an actor.

This one is certainly a comedian. Note the mask, the comic stance, the clothes barely holding together, a sword longer than the wielder is tall, a comically visible erection and "package," and a phallic nose, and we have either Il Capitano, or a zanni recently conscripted into an army.

Obviously, this is just preliminary research. Was Callot drawing inspiration from an actual troupe of dwarf actors and musicians known as Les Gobbi? Or are these simply figures from his imagination? Callot was a child when Shakespeare composed The Merchant of Venice (believed to have been written sometime between 1596 and 1598; first quarto published in 1600), could the Gobbi that Callot illustrated have been the second generation of a troupe from which Shakespeare took the name "Gobbo"? After all, the commedia troupes were often family businesses, and some of them did travel to England.

Not only does this tie in to my not-very-controversial intuition that links Shakespeare's Gobbi with the zanni of the Italian comedy (in particular, Arlecchino) but if any of the answers to the above questions are "yes" then there's a strong argument to specifically cast dwarf actors in the roles of Launcelot and Old Gobbo.

N.B.: I've posted an imaginatively titled follow-up: Launcelot Gobbo, Old Gobbo and Les Gobbi, Part 2.

May 14th: Commedia Teatro presents Ian Thal @ Outpost 186

Or: I haven't the time to design a new poster because the show must go on!

Back in 2004, I met Jonathan Samson, who had the mad idea to create a commedia dell'arte inspired television series. This led to a rather intense period of working and playing together over a period of several weeks. Then Jonathan left for Thailand, planning to stay but for a few months, instead, he stayed and founded Thailand's first commedia troupe: Commedia del Siam! Several years later, we got to talking about doing some shows together when he is back in the states. We try to get a few gigs together and then on the on the facebook page for one of those gigs, Jonathan writes:

I'm gonna have to be there in spirit only! My transportation to Boston has been impeded by political rioting in Bangkok, the volcanic eruption in Iceland, and the poor global economy. Ian will be producing and directing a wonderful commedia show by himself... and I am so jealous that all of you are gonna get to see it live!

The room has been paid for, so the show must go on! Here's the poster anyway:


I shall be performing a short bill of:

O, Mister Sun, Don't You Fall Asleep On Me (corporeal mime and mask)
The Marmalope (mime)
Arlecchino Am Ravenous (commedia dell'arte)

The event is Friday, May 14th at 8pm

Outpost 186
186 Hampshire Street
Inman Square
Cambridge MA


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Belated Photographs from Commedia dell'Arte Day Presentation

[Yes, it was nearly two months ago, but I as mentioned before, blogging takes a back seat to the passing of a beloved cat.]

On February 25th, I gave a presentation for World Commedia dell'Arte Day after Orfeo Group Theatre's production of Pierre Marivaux' The Island of Slaves. I packed my masks, along with three that were loaned to me by Eric Bornstein of Behind the Mask. Eric had been invited to present, but had a prior commitment so he recommended me to go in his place (thanks, Eric!)

Judith Chaffee (visit her Commedia dell'Arte Website) was also scheduled to present, but was unable to make it. So it was up to me. Thankfully, between performing and teaching, I've gotten quite a few ideas about what commedia means to me.

Besides introducing some of the masks, I also demonstrated some of the physical postures of the characters. Photographs courtesy of Cherie Konyha Greene unless otherwise noted.
To quote Cherie: "I'd have liked to get more shots of Ian's Arlecchino--but he moves too fast for my camera. As an Arlecchino should."

Il Dottore has a someone different approach to filling his belly than Arlecchino.

Il Capitano, by contrast, is seeking to fill something else, or as he said to one audience member: "This is not rain. It is the angels weeping because I have forsaken them for you."

The red mask at center is Eric Bornstein's interpretation of Il Capitano. Eric did this mask in leather, mine is in papier-mâché.

Amanda J. Collins, who had been playing Cleanthis earlier in the evening, wearing one of Eric's Arlecchino masks. This one is in leather.

Once again, as Il Capitano. Photo courtesy of Orfeo Group.

Photostream (including more photos) starts here

In addition to Orfeo and Behind the mask, I want to thank Associazione SAT and Faction of Fools for declaring and organizing World Commedia dell'Arte Day!

Belated Post-Reading Report

The March 28th reading was as rewarding as was stressful. As with the previous reading in October, I had had a few roles to recast, but I was also still dealing with the loss of my cat, Omi, who had been my companion for some 16 years. Grief has a way of putting one off schedule.

Then, as my plans finally came together with roles being cast only days before the reading, more chaos ensued. Stage manager Anika Hannibal-Colvin, who had been a valued assistant in the previous two readings fell ill, and Dan Schneider had an emergency to deal with on the day of the show. I was able to appoint Trudi Goodman to be stage manager since she she was reading a minor role that was only needed for a single scene, and she appointed me the understudy and so, I played the role of Jonah, especially strange since my plan was to sit in the back of the room and take notes.

The talk-back after the reading was particularly helpful. Both Thomas Garvey and Art Hennessey were in the audience and had a lot of useful observations as to how the dramatic potential could be better exploited (Art promised me some notes!) A recurring issue with the current draft as I would see with the feedback was that many dramatic turns near the end were left to inuendo, and not made explicit and therefore missed by the audience. In situations like that, it's the playwright, not the audience who is at fault.

As most of my actors were returnees, they seemed more comfortable than before in speaking candidly with me about both the performances and the script (both in terms of the current draft and the over all development)-- something which has continued in email conversations over the following couple of days in which I had superb dialogue with several cast members. I found myself in one exchange citing Adam Szymkowicz' recent interview of playwright Paul Mullin, when asked for advice to playwrights, Mullin said:

Understand the tradition you have joined. Never cede your place in the hierarchy. Directors did not come into existence until the 19th Century. Artistic directors not until the 20th. Only actors outrank you in seniority in the tradition. So treat them with respect. In fact, act on stage as often as you can...

Very good advice, I think.

The following day I received a letter in the post from a literary director, who after reading a ten-page sample was soliciting the full length script. Obviously, I can't name names since no commitment has been made, but sometimes the reward for hard work is simply to be encouraged to go back to work.

Cast for March 28th Staged Reading of "Total War"

Sunday, March 28th at 8pm at Outpost 186

186 1/2 Hampshire Street, Inman Square, Cambridge MA

A staged reading of Total War, a play by Ian Thal

Cast:

Jonah Gringer: Dan Schneider

Andrea Kunst: Savanah Shaughnessy

Edith Havilland: Kate Heffernan

Erica Weiss: Kendall Stewart

Father Aldobrandini:Martin Comack

Father John Bullock: Tom Sprague

Richard Doncaster: James Bocock

Duane McCormack: Matthew Zahnzinger

Donald Crincoli: Andrew Gerst

Campus Police Officer: Trudi Goodman

Stage Manager: Anika M. Colvin-Hannibal

March 28th: A Staged Reading of Total War @ Outpost 186

Total War, a semi-finalist in the 2009 Dorothy Silver Playwriting Competition, is a five-act play set at a Catholic university where the student newspaper has published a Holocaust denial advertisement. Before faculty, students, and staff can begin the expected dialogue on free speech and religious pluralism, an anarchist-cell using the nom de guerre of “Total War” begins a campaign of guerrilla art attacks.

This will be the third draft of Total War to be presented at Cambridge’s Outpost 186. The first reading, in April of last year inspired a lone protester to picket the reading from the sidewalk.

The reading will feature the talents of local actors, including: Trudi Goodman, Kate Heffernan, Dan Schneider, Savanah Shaughnessy, Tom Sprague, Kendall Stewart and Matthew Zahnzinger. Anika M. Colvin-Hannibal will stage manage. Three more cast members are to be announced shortly.

Though a work of fiction, Total War was inspired by events I witnessed while attending graduate school. The play explores the history (and potential futures) of Jewish-Catholic relations, historical memory, and the conflict between grass-roots activism and institutional power. It is a story made timely after the recent scandal regarding Vatican’s recent lifting of the excommunication against the anti-Semitic Society of Saint Pius X and its Holocaust-denying Bishop, Richard Williamson.

Facebook users can RSVP here


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Call for Actors: Staged Read of "Total War": March 28

Having taken a harsher view than much of the audience of the draft presented at the last staged reading of Total War, I did yet another rewrite. The new draft runs three pages shorter: Much of the craft of playwriting seems to be learning out to strip away the unessential. Most of the cast has elected to reprise their roles but three roles will be recast.

As this is simply a reading of a work in progress in front of a small audience, there will be no blocking. My concern is not so much the look or age of of the actors but their interest in the story and enthusiasm and insights into the characters. I will be available to answer any questions actors have about the characters prior to the reading. I will schedule read-throughs with any actors not comfortable with a cold reading.

To quote the press release:

Total War is a five-act play that addresses the legacy of anti-Semitism after the student newspaper at a Catholic university publishes a Holocaust denial advertisement. Before faculty, students, and staff can begin the expected dialogue on free speech and religious pluralism, an anarchist-cell using the nom de guerre of “Total War” begins a campaign of guerrilla art attacks.

If you are an actor and this sounds interesting, continue reading:

Dramatis Personae:

Father Aldobrandini: (Male, early 40s to early 50s.) A priest and university professor. Sees himself as a "traditionalist." Anti-modernist in orientation and argely opposed to the innovations of Vatican II, but his opposition stops just short of becoming a schismatic.

N.B. Martin Comack has been cast as Aldobrandini.

Richard Doncaster: (Male, late 30s to 50s.) Dean of students at a Catholic university. Though a political animal, he has presented modern liberal version of in loco parentis that aims to protect the identity and traditions of the school while also recognizing the increased pluralism of recent years.

Donald Crincoli: (Male, early 20s) Undergraduate who works on the student newspaper. An impulsive and twisted comic vulgarian.

I'm sorry that my budget does not allow for a stipend for the actors, but snacks and beverages will be provided. There will be a talk back session after the reading for the actors and audience to share their observations.

Interested? Drop me a note about the role that interests you. Resumes are helpful but not necessary.