Dramatic Features

Dramatic Features

Blending dramatic features from both the east and the west traditions, Tales of Fool incorporate elements from Cantonese opera and commedia dell'arte. The two genres display stark differences regarding such aspects as narrative styles and props. Apart from viewing a historical happening from sundry perspectives, audience may conjure up disparate reflections inspired by the means and techniques of performance of the actors.

Commedia Dell'arte

Commedia dell'arte refers to improvised theatre performances rooted in comedies. Having only plots’ outlines instead of complete scripts, actors make up their own lines on the stage and fabricate character-related Lazzi to mesmerise their audience. Lazzo, or in plural lazzi, is the Italian expression for joke.

Traditionally, characters of commedia dell'arte regularly present devious servants, merchants blinded by love, and military officers with superficial courage. Apart from struggling for survival, all these individuals display a double-faced quality, for instances, being innocent and cunning at the same time.

On commedia dell'arte, theatre master Jacques Lecoq made the following remarks, “…in the commedia dell’arte, it breaks free from the limits of everyday behaviour, reaching an imaginary dimension.”* In an exaggerated style, dramatic elements of our routine activities expand outward indefinitely. The emotions of characters ceaselessly and abruptly alter from one particular state to another. Audience would therefore discover the close resemblance between physical gestures of extreme joy and extreme sadness.

Colombina masks are frequently used in Tales of Fool; actors have to depict their characters with gestures. Meanwhile, wearing the colombina mask, the actor will abandon his/her own distinctiveness and merge into the character entirely. This is exemplified by the tone and tempo during the reciting of dialogues.

__________ * Jacques Lecoq, trans. David Bradby, The Moving Body (Le Corps Poétique), London / New York: Bloomsbury (2009), p.119.

Jacques Lecoq Born on 15 December 1921, Jacques Lecoq is the most representative figure in theatre education. His studies in physical structures and method of exercising began when he was functioning as an athlete and physiotherapist during World War Two. Afterwards, he founded the École Internationale de Théâtre in Paris in 1956. Adopting a gradual teaching approach and taking inspiration from commedia dell'arte, Lecoq uncovered the possibility of physical theatre, including the invention of neutral and expressive masks, the practice of performances with and without spoken verbatim, and eventually his researches in clowns.

Chou Sang in Cantonese opera

One of the critical aspects in Tales of Fools is chou (male clown) of Cantonese opera.

The tradition of Cantonese opera follows a stringent classification of role types. In the 50’s, Cantonese opera associations established the Six Pillar that still prevails. The six roles are wen wu sheng (the principal male); xiao sheng (the supporting male); zheng yin hua dan (the principal female); er bong hua dan (the supporting female); chou sheng (the clownish role); and wu sheng (the military role). According to the plot, a single actor may embody several roles. The role types of Cantonese opera can also be categorised as Sang, Dan, Jing, Mo, and Chou. Each has its own peculiar quality.

Chou commonly portrays a humorous or grotesque character. The portrayal of Chou requires mainly reciting and acting. These acting skills include gestures, eye expressions, bodily movements, and steps, etc. As the old saying in the industry applies, “No Cantonese opera can be without the chou role.”

Chou is further divided into wen chou (civilian) and wu chou (military). The former often carries out such roles as philanderer and military veteran; the latter, showcasing mainly acrobatic fighting, tends to render characters with competent martial art skills and a witty mind.

(Left) Example of wu chou: Jiang Ping in The Three Heroes and Five Gallants (Right) Example of wen chou: Tang Qin in Identifying of a Severed Head and Assassination of Tang Qin

Commedia dell'arte vs. Chinese Opera

Both of these major types of drama follow a formalised standard of their characters. For instances, there exists a particular set of requirements concerning the style for rehearsing certain roles.

Commedia dell'arte Chinese Opera

Script Without a script, the content crops up in response to issues raised by audience on the spot. Consequently, the subject matter reflects the social context of those days.

Audience There are immediate and direct interaction with the audience. With a complete script, the content remains unchanged amidst miscellaneous eras.

Unilateral communication is favoured. There is no attempt to break the fourth wall - the barrier that separates actors from the audience.

Example The Servant of Two Masters by Carlo Goldoni

It tells the story of a servant who, in pursuit of incomes, tries to be smart and works for two masters simultaneously. Both are victims of their own love affairs. Finally the ending spirals out of control. The Crossroads

The Crossroads is a classic combat drama in Peking Opera, casting two wu sheng who demonstrate acrobatic fighting without any dialogue. Set in the Song Dynasty, it tells the story of Jiao Zan, who was exiled for his crime against a corrupt dignitary. To protect him from being persecuted by unscrupulous officials, Yang Yanzhao ordered Warrior Ren Tanghui to tail after him. When Jiao came to rest in a restaurant in the Crossroads, its owner mistakenly took Ren as the one sent to assassinate Jiao. So, to protect Jiao, the two fought fiercely at night, stirring up heaps of fun.