Profile Sheet
Teacher:
Laura Prim
Title:
Artists Re-create the Lost Art of Commedia dell’arte
Primary Subject Area:
Drama
Outside Subject Area:
Language Arts
Class and Level
Drama, Advanced
Grade Level:
10th grade
Description of Student Roles and Problem Situation:
Students will take on the roles of actors, designers, directors and writers, while representing one
of two groups – either Members of the Bay Arts Alliance or members of the Gulf Coast Players.
These groups will determine the best way to recreate the lost of art of Commedia dell’ arte in
order to introduce the art to the residents of Bay County. Ideas will be presented at a fictional
meeting held by a Committee made up of the arts community in July. The project is spurred by
a memo sent by the president of the Bay Arts Alliance about why this problem needs to be
solved. The president also included two articles about what is known about Commedia for
members to acquaint themselves with this art form.
Adaptions for Students from Non-Western Cultures:
1.) The student’s culture will be researched to determine any cultural differences that would
hinder success with the project. Teaching strategies that would help counter these differences
will be prepared.
2.) Information about the non-western student’s culture will be shared with the class and the
student’s group in order to help them work better together.
Adaptions for ESOL Students:
1.) Students will be allowed additional time for their presentations.
2.) Students will be able read directly from a written version of their presentation or use
flashcards with key points and phrases to help with their oral presentation.
Title, Learner Characteristics, and
Next Generation Sunshine State Standards
Teacher:
Laura Prim
Title:
Artists Re-create the Lost Art of Commedia dell’arte
Primary Subject Area:
Drama
Outside Subject Area:
Language Arts
Class and Level
Drama, Advanced
Grade Level:
10th grade
Primary Sunshine State Standards:


TH.912.H.1.3 Benchmark Description: Present a design or perform in the style of a
different historical or cultural context to gain appreciation of that time and culture.
TH.912.S.2.9 -- Research and defend one’s own artistic choices as a designer.
Outside Subject Area Sunshine State Standards from Language Arts:

LA.910.5.2.2 Benchmark Description: The student will research and organize information
for oral communication appropriate for the occasion, audience, and purpose (e.g., class
discussions, entertaining, informative, persuasive, or technical presentations).
Learner Characteristics of High School Grades Students:
Physical Characteristics: Generally speaking, students in the High School grades have a high level
of fascination in regards to sex.
Justification: Commedia dell’arte contained a bawdy element that would peak the interest of
students in this age group. They would be able to explore the understood roles of the individual
stock characters -- many of who show lecherous or promiscuous characteristics -- in an
objective, historical fashion, thereby having “permission” to discuss and analyze these
characteristics in context.
Social Characteristics: Students in the High School grades deal with the influence of parents,
peers and their own anxieties.
Justification: The exploration of Commedia dell’arte, its historical context, the understood
scenarios and the stock characters deal with many of the concerns that students deal with on a
daily basis – parental pressure, right and wrong, etc. Research, individual and group work would
allow for students to experience different perspectives of these issues.
Emotional Characteristics: Depression is a common emotional disorder for High School grade
students. Symptoms like feeling worthless, social isolation and anxiety are prevalent.
Justification: This project will have to take into consideration the best way or ways to improve
the participant’s positive self-view and to instill a sense of success. Emphasizing the importance
of each participant to the project groups in addition to each group showing appreciation for the
others group’s work will be necessary.
Cognitive Characteristics: High school students become increasingly capable of engaging in
formal thought, but they may not use this capability (page 103, Chapter 3, Psychology Applied to
Teaching)
Justification: Students will have guidelines from which to start – the basic information posed by
the project – and they will have to research and created a unique work that require this ability
to use formal though to produce results. They will have to have guidance, but the
independence will be emphasized.
Cognitive Characteristics: Student thinking becomes more abstract and knowledgeable in
regards to politics, laws and rules at the High School Grade level.
Justification: As each group will have to form their own “group mentality”, emphasis on fairness,
taking initiative and the consequences of not putting the required effort into individual parts of
the project will be necessary.
Learning Outcomes, Student Roles and Problem Situation,
Meet the Problem Method
Teacher:
Laura Prim
Title:
Artists Re-create the Lost Art of Commedia dell’arte
Primary Subject Area:
Drama
Outside Subject Area:
Language Arts
Class and Level
Drama, Advanced
Grade Level:
10th grade
Primary Sunshine State Standards with Learning Outcomes:

TH.912.H.1.3 Benchmark Description: Present a design or perform in the style of a
different historical or cultural context to gain appreciation of that time and culture.
o Learning Outcome 1:Using research and the provided documents as a guide,
students will accurately examine the history and style of Commedia dell’arte
and discover a minimum of four characteristics to include in their re-creation of
Commedia. (Analysis)

TH.912.S.2.9 -- Research and defend one’s own artistic choices as a designer.
o Learning Outcome 2: Using their research, students will accurately design and
construct a costume, a mask and a prop for one character using a minimum of
four characteristics known about this character. (Synthesis)
Outside Subject Area Sunshine State Standards from Language Arts with Learning Outcomes:

LA.910.5.2.2 Benchmark Description: The student will research and organize information
for oral communication appropriate for the occasion, audience, and purpose (e.g., class
discussions, entertaining, informative, persuasive, or technical presentations).
o
Learning Outcome 3: Using research, students will accurately interpret the style
of Commedia dell’arte orally or in writing in a manner that follows outlined
criteria. (Evaluation)
Description of Student Roles and Problem Situation:
Students will take on the roles of actors, designers, directors and writers, while representing one
of two groups – either Members of the Bay Arts Alliance or members of the Gulf Coast Players.
These groups will determine the best way to recreate the lost of art of Commedia dell’ arte in
order to introduce the art to the residents of Bay County. Ideas will be presented at a fictional
meeting held by a Committee made up of the arts community in July. The project is spurred by
a memo sent by the president of the Bay Arts Alliance about why this problem needs to be
solved. The president also included two articles about what is known about Commedia for
members to acquaint themselves with this art form.
Meet the Problem Documents:

Included is a Memo from the Bay Arts Alliance and two documents. One document is
from an article describing the basic characteristics of Commedia dell’arte from the
Metropolitan Museum of Art’s website and the other is a passage from the book The
Essential Theatre by Oscar G. Brockett concerning the demise of Commedia dell’arte.
8 Harrison Ave, Panama City, Florida 32401
850.769.1217 * info@bayarts.org
Memo
To:
All Local Arts Organizations
Bay County Area
From: Carla Goldoni
President, Bay Arts Alliance
Chair, Arts in the Community Committee
Date: May 18, 2012
Re:
Artists Re-create the Lost Art of Commedia dell’ arte
The arts community must continue efforts to broaden the cultural awareness of the citizens of Bay
County. The Arts in the Community Committee has determined that introducing Commedia
dell’arte is the next wave of this effort. As you are aware, Commedia dell’arte had a huge
influence on theater as a whole, yet details of the actual performances have been lost. We would
like to be able to both celebrate Commedia while also introducing it to a new audience. We want
all of you – our best and brightest actors, designers, directors and writers, to form teams in order
to solve this problem and figure out how best to recreated and introduce Commedia to area
residents. Our next Arts in the Community meeting will be July 28, 2012 at 11:30am, downtown
in Panama City. Please be prepared to present your solutions to the Committee at that time. I
look forward to working on this endeavor with you and your organization.
http://www.metmuseum.org/toah/hd/comm/hd_comm.htm
Commedia dell'arte | Thematic Essay | Heilbrunn Timeline of Art Hi...
http://www.metmuseum.org/toah/hd/comm/hd_comm.htm
Heilbrunn Timeline of Art History
Commedia dell'arte
Commedia dell'arte is a theatrical form characterized by improvised dialogue and a cast of colorful stock characters
that emerged in northern Italy in the fifteenth century and rapidly gained popularity throughout Europe. The earliest
known company formed in Padua in 1545, and by the turn of the seventeenth century troupes such as the Gelosi,
Confidenti, and Fedeli enjoyed international celebrity. Some troupes were favored at foreign courts, especially in
France, where images from the commedia became a favorite theme of artists such as Jean-Baptiste-Joseph Pater
(1695–1736) and Jean Antoine Watteau (1684–1721) (49.7.54).
In its golden age, plays of the commedia dell'arte (literally, "comedy of professional artists") were usually performed
in open air by itinerant troupes of players, as seen in Pater's The Fair at Bezons (49.7.52). Performances were
based on a set schema, or scenario—a basic plot, often a familiar story, upon which the actors improvised their
dialogue. Thus actors were at liberty to tailor a performance to their audience, allowing for sly commentary on
current politics and bawdy humor that would otherwise be censored. Most commonly, the plot centered on the
struggles of young lovers, or innamorati, whose union is hindered by one or several elders (vecchi), possibly a
jealous guardian or even an aged spouse. The innamorati seek assistance from servant characters called zanni
(from which the word "zany" derives) who, with cunning intervention, bring the play to a happy conclusion. Other
popular scenari involved adultery, marital jealousy, and the outwitting of a foolish character by his servant.
Occasionally, stock characters acted out stories from mythology and ancient Greek and Roman comedies as well.
Beyond the most basic plot elements, the only scripted components of the performance were lazzi—rehearsed
interludes of comic stage business, music, acrobatics, or fighting—often unrelated to the development of the
scenario. The lazzi allowed actors, usually those playing the zanni, to show off a particular skill; some actors became
so famous for these routines that audiences expected the "trademark" lazzi of a particular actor or troupe at each
performance.
Each stock character of the commedia evolved a distinct set of attributes—characteristic speech, gestures, props,
and costume—that became standard to the portrayal of the character. All characters except Pedrolino and the
innamorati wore masks, a tradition deriving from ancient Roman comedies, Atellanae Fabulae, that featured
character types similar to those of the commedia. Because the mask partially or entirely obscured facial expression,
emphasis was placed on dialect (often reflecting regional stereotypes, as a foil to the elegant Tuscan speech of the
innamorati) and exaggerated gesture to convey emotion and intention. These distinctive costumes and stylized
postures held particular appeal for modelers of small sculpture such as Franz Anton Bustelli (ca. 1720–1763), who
produced witty and graceful porcelain figurines of commedia characters. The cast of vecchi included Il Dottore, a
wealthy old doctor from Bologna who speaks in non sequiturs, often quoting Latin inappropriately, and Pantalone, a
miserly Venetian. The latter is distinguished by a costume of red vest, breeches, and hose, a black cassock, and a
mask with hooked nose. A comically large codpiece alludes to his womanizing tendencies. Il Dottore wears black
academic robes and a black mask that covers only the forehead and nose. He is usually depicted as obese and
red-cheeked from drinking too much wine. Playing either a vecchio or a zanni, the bullying braggart Il Capitano
appears in a military uniform and carries a sword, proclaiming his war victories. He reveals his cowardice whenever
challenged to some act of danger or daring, and usually attempts to take the credit for other characters'
achievements. Il Capitano lends many of his traits to a later character, the waggish Scaramuccia (Scaramouche).
The zanni (servants) were in many ways the most important—and certainly the most subversive—characters of the
commedia, as their antics and intrigues decided the fate of frustrated lovers, disagreeable vecchi, and each other.
Perhaps best known of these is Arlecchino, or Harlequin (1974.356.524,.525), a character whose origin is contested.
It is likely that he derived either from Alichino, a demon from Dante's Inferno (XXI-XXIII), or from Hellequin, a
character from French Passion plays, also a demon charged with driving damned souls into Hell. Arlecchino is
characterized as a poor man, often from Bergamo, whose diamond-patterned costume suggests that he is wearing
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Commedia dell'arte | Thematic Essay | Heilbrunn Timeline of Art Hi...
http://www.metmuseum.org/toah/hd/comm/hd_comm.htm
patchwork, a sign of his poverty. His mask is either speckled with warts or shaped like the face of a monkey, cat, or
pig, and he often carries a batacchio, or slapstick. Though usually a brilliant acrobat, Arlecchino is gluttonous,
illiterate, and gullible. His paramour is Columbina or Arlecchina, a clever and coquettish maidservant usually in the
service of the innamorata. Bustelli portrayed the patchwork-clad couple in figurines that capture their flamboyance in
suspended animation.
The versatile character Brighella is sometimes vindictive, deceitful, and violent, at other times easily duped and the
brunt of jokes. The character gave rise to many regional and international variants, including Figaro, Scapino, and
Mezzetino (Mezzetin). He is often portrayed as a musician, most sympathetically in a canvas by Watteau (34.138)
that depicts him in a moment of lovelorn melancholy. Another character of varying temperament is the Neapolitan
Pulcinella. He is portrayed in loose white garments, with conical hat and a black mask with beaklike nose, and is
often hunchbacked. The English character Punch derives from this type and is usually crafty and cantankerous,
beating people with his batacchio at every opportunity. Other scenari depict Pulcinella as an amiable glutton, as he is
portrayed-with attributes of wine, cheese, and spaghetti-in a soft-paste porcelain sculpture of Italian or Spanish origin
(50.211.264). The two characters may be found in Giovanni Domenico Tiepolo's A Dance in the Country (1980.67):
Pulcinella's high hat and grotesque countenance distinguish him from the crowd, while Mezzetin, in the foreground,
dances with an actress.
Finally, the sweet-natured and naive Pedrolino (best known in his character variants, Pierrot and Pagliaccio) accepts
blame for wrongs he has not committed. He wears white garments with his face powdered white, sometimes painted
with a single teardrop alluding to his melancholy. This character was later championed by French literati of the
nineteenth century, who saw the creative and solitary Pierrot as a metaphor for contemporary artists. He was
famously portrayed by Baptiste Deburau of the Théâtre des Funambules in Paris, and by his son, Charles Deburau.
The latter was photographed by Nadar (1820–1910) in 1855 (1998.57) for a resoundingly successful series of
expressive portraits.
Jennifer Meagher
Department of European Paintings, The Metropolitan Museum of Art
Citation
Meagher, Jennifer. "Commedia dell'arte ". In Heilbrunn Timeline of Art History. New York: The
Metropolitan Museum of Art, 2000–. http://www.metmuseum.org/toah/hd/comm/hd_comm.htm (July
2007)
Further Reading
Lawner, Lynne. Harlequin on the Moon: Commedia dell'Arte and the Visual Arts. New York: Abrams,
1998.
These related Museum Bulletin or Journal articles may or may not represent
the most current scholarship.
Chilton, Meredith. "The Spaghetti Eaters." Metropolitan Museum Journal, Vol. 37
(2002).
JSTOR | PDF
Sterling, Charles. "Early Paintings of the Commedia Dell Arte in France."
Metropolitan Museum of Art Bulletin, New ser., v. 2, no. 1 (Summer, 1943)
JSTOR | PDF
Related exhibitions and online features
Special Exhibitions (including upcoming, current, and past exhibitions)
Watteau, Music, and Theater
! Back to Top
HEILBRUNN TIMELINE OF ART HISTORY
About the Timeline | Credits | Image Copyrights and Credits | Share the Timeline | Connections
© 2000–2012 The Metropolitan Museum of Art
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From: The Essential Theatre, 5th Edition by Oscar G. Brockett, Chapter 7: Popular
Entertainments: Commedia dell’arte and Melodrama, page 156.
“Commedia was most vigorous and popular between 1575 and 1650 but it continued into
the last half of the eighteenth century. Its last stronghold was Venice, where two
playwrights seeking to reform and preserve it contributed to its destruction. Carlo
Goldoni (1707-1793), Italy’s most famous comic dramatist, began writing scenarios for
commedia companies in Venice around 1743. Because he believed the situations in
commedia had become hackneyed and vulgar, he refined and sentimentalized the
characters and situations. He also though the usual level of improvisation was
inadequate, and he was able to persuade companies to accept scripts with most of the
dialogue written out. In addition, he campaigned for the abandonment of masks because
he though they handicapped the actors by hiding facial expression. Goldoni wrote a
number of plays (many of them still performed) using commedia characters. Had all the
changes he championed been implemented, they would have done away with most of the
basic conventions of commedia. He was bitterly opposed by another dramatist, Carlo
Gozzi (1720-1806), who emphasized fairy-tale stories and improvisation in his scripts.
For a long time their battle aroused new interest in commedia, but by about 1775 this
theatrical mode largely ceased to be a living form, perhaps because of overfamiliarity
after two hundred years or because its rather broad, often coarse, farcical humor had lost
its appeal in the more refined atmosphere of the eighteenth century.
Although numerous scenarios have survived from the period when commedia was at
its peak, they are too bare in outline to convey the flavor of a commedia performance.
Goldoni’s The Servant of Two Masters, though it comes from the last days of commedia
and lacks most of the improvisational element, probably brings us as near the commedia
experience as we can come today. “
Problem Statement, Know/Need to Know Boards, and
Possible Resources
Teacher:
Laura Prim
Title:
Artists Re-create the Lost Art of Commedia dell’arte
Primary Subject Area:
Drama
Outside Subject Area:
Language Arts
Class and Level
Drama, Advanced
Grade Level:
10th grade
Primary Sunshine State Standards with Learning Outcomes:

TH.912.H.1.3 Benchmark Description: Present a design or perform in the style of a
different historical or cultural context to gain appreciation of that time and culture.
o Learning Outcome 1:Using research and the provided documents as a guide,
students will examine the history and style of Commedia dell’arte and discover a
minimum of four characteristics to include in their re-creation of Commedia.
(Analysis)

TH.912.S.2.9 -- Research and defend one’s own artistic choices as a designer.
o Learning Outcome 2: Using their research, students will design and construct a
costume, a mask and a prop for one character using a minimum of four
characteristics known about this character. (Synthesis)
Outside Subject Area Sunshine State Standards from Language Arts with Learning Outcomes:

LA.910.5.2.2 Benchmark Description: The student will research and organize information
for oral communication appropriate for the occasion, audience, and purpose (e.g., class
discussions, entertaining, informative, persuasive, or technical presentations).
o Learning Outcome 3: Using research, students will interpret the style of
Commedia dell’arte orally or in writing in a manner that follows outlined
criteria. (Evaluation)
Problem Statement:
How can we, as artists who are members of the Bay Arts Alliance and Gulf Coast Players,
recreate the lost art of Commedia dell’arte in such a way that




We introduce Commedia dell’arte to the community at large.
We perpetuate the art form.
We can work within a budget.
We can have solutions ready by the deadline of the next arts committee meeting.
Need to Know Board Facts:
1. Commedia dell’ arte relied on improvisational acting that worked around a
predetermined scenario, called a lazzi.
2. Although some scenarios have survived, no one really knows exactly what Commedia
performances were actually like.
3. Commedia dell’ arte troupes traveled all throughout Europe performing in every sort of
venue including outdoor courtyards.
4. Troupes tailored their performance to the audience they were performing for.
5. Performances could strictly be for entertainment or they sometimes involve political
commentary and the like.
6. Commedia relied on the use of stock characters in the performances.
7. Stock characters were identified by their specific character’s costume and mask,
although not all characters wore masks.
8. Some stock characters also had a particular skill, way of speaking and/or prop.
9. The stock characters fit into one of three categories -- the innamorati (the lovers), the
vecchi (the pompous aristocrats), and the zanni (the problem causing servants).
10. In seeking to preserve Commedia dell’ arte, it was essentially destroyed, as the
improvisational aspects were deemphasized in favor of the written word.
11. The closest example of an actual depiction of Commedia that survives today is thought
to be the play The Servant of Two Masters by Carlo Goldoni which features Commedia
characters and supposed scenarios.
Need to Know Statements/Questions:
1.
2.
3.
4.
5.
6.
7.
8.
9.
10.
11.
12.
13.
What are the origins of Commedia dell’ arte?
During what time period was Commedia dell’ arte performed?
What else was going on in the world when Commedia dell’ arte was at its peak?
What kind of audiences enjoyed Commedia dell’ arte?
What was the style of Commedia dell’ arte?
What is improvisational acting and how did it apply to Commedia dell’ arte?
What are scenarios?
What types of scenarios still survive or what were the basic outlines of scenarios?
Describe the stock characters and their personalities.
Describe the masks worn by stock characters.
Describe the costumes worn by stock characters.
Describe the props used by stock characters.
What other characteristics did the stock characters possess that helped the audience
know who the characters were?
14. How would you interpret or present this art form for those who do not know anything
about it?
Resources:

Books:
o Brockett, Oscar J. (1992). The Essential Theatre. Fort Worth: Harcourt Brace
Jovanovich. ISBN 0030553539.
o Goldoni, Carlo (2006). The Servant of Two Masters. New York: Broadway Play
Publishers. ISBN 0881453234.
o James, Thurston (2009). The Mask-Making Handbook. New York: Player Press,
Inc. ISBN 0887349609.

Internet Sources:
o http://www.britannica.com/EBchecked/topic/127742/commediadellarte#toc1434
o https://sites.google.com/site/italiancommedia/
o http://www.youtube.com/watch?feature=player_embedded&v=z_t8FFEdig0
o http://learnimprov.com/

Mask and Costume Making Supplies:
o Fabric, Paper Mache, Paint, Clay and other supplies for creating masks and
costumes are available from Hobby Lobby Stores.
Capstone Performance
Teacher:
Laura Prim
Title:
Artists Re-create the Lost Art of Commedia dell’arte
Primary Subject Area:
Drama
Outside Subject Area:
Language Arts
Class and Level
Drama, Advanced
Grade Level:
10th grade
Primary Sunshine State Standards with Learning Outcomes:

TH.912.H.1.3 Benchmark Description: Present a design or perform in the style of a
different historical or cultural context to gain appreciation of that time and culture.
o Learning Outcome 1:Using research and the provided documents as a guide,
students will examine the history and style of Commedia dell’arte and discover a
minimum of four characteristics to include in their re-creation of Commedia.
(Analysis)

TH.912.S.2.9 -- Research and defend one’s own artistic choices as a designer.
o Learning Outcome 2: Using their research, students will design and construct a
costume, a mask and a prop for one character using a minimum of four
characteristics known about this character. (Synthesis)
Outside Subject Area Sunshine State Standards from Language Arts with Learning Outcomes:

LA.910.5.2.2 Benchmark Description: The student will research and organize information
for oral communication appropriate for the occasion, audience, and purpose (e.g., class
discussions, entertaining, informative, persuasive, or technical presentations).
o
Learning Outcome 3: Using research, students will interpret the style of
Commedia dell’arte orally or in writing in a manner that follows outlined
criteria. (Evaluation)
Problem Statement:
How can we, as artists, recreate the lost art of Commedia dell’arte in such a way that




We introduce Commedia dell’arte to the community at large.
We perpetuate the art form.
We can work within a budget.
We can have solutions ready by the deadline of the next arts committee meeting.
Capstone Performance Description:
Capstone Performance Description:
The capstone performance for the Problem Based Learning project titled “Artist Re- create
the Lost Art of Commedia dell’ arte” will be made up of two parts: an individual portfolio
presentation and a group presentation. There will be two rubrics -- one for the individual
portfolio and another for individual participation in the group presentation.
For the portfolio, students will assume the role of an individual theater artist. They will orally
present their research findings and explain how this research influenced their design work,
which they will also present as part of the portfolio. Each student will also present two feasible
Commedia scenarios that they have written or adapted and will then provide four justifications
as to why they will submit one to their group over the other.
Each group, which will be made up of five individuals, will read the five chosen scenarios and,
as a group, will choose the scenario that the group presentation will be based on. One student
will present the chosen scenario and each of the other students will present one justification for
the choice. Each student will be representing one Commedia character. The group will take the
chosen scenario and explain how they would create an improvised performance piece that
features all of the represented characters and follows the guidelines of the scenario. The
students will have fifteen minutes to prepare for their Commedia presentation that will utilize
the chosen scenario.
Student autonomy is incorporated into this project since each student will make final
decisions about how their individual character will look and will decide which of the scenarios
they wrote will be presented to the group. Students will determine their own method of
delivery during their capstone performance. Metacognition will be a part of this project from
the beginning as students will keep journals over the course of their project that will require
them to reflect on their process, create goals and show the overall evolution of each student’s
project. The final step of the project will require students to reflect on the project as a whole.
The capstone performances will have a time limit. Students will be allowed no more than ten
minutes each to present their individual portfolios. The group presentation will need to be at
least ten minutes and no more than twenty. In order to cover every group, presentations will
take place over several days.
The audience for the presentation will consist of students not currently performing, parents
and/or invited community arts representatives to represent local Bay County Residents. The
presentation space would consist of a large area approximately 25’-0” wide by 15’-0” deep.
There would be enough rows of chairs to accommodate the audience opposite the presentation
area so that the presenters and audience are facing each other. This space could be a small
theater auditorium or a classroom.
Rubric for Assessing the Capstone Performance
Teacher:
Laura Prim
Title:
Artists Re-create the Lost Art of Commedia dell’arte
Primary Subject Area:
Drama
Outside Subject Area:
Language Arts
Class and Level
Drama, Advanced
Grade Level:
10th grade
Primary Sunshine State Standards with Learning Outcomes:

TH.912.H.1.3 Benchmark Description: Present a design or perform in the style of a
different historical or cultural context to gain appreciation of that time and culture.
o Learning Outcome 1:Using research and the provided documents as a guide,
students will examine the history and style of Commedia dell’arte and discover a
minimum of four characteristics to include in their re-creation of Commedia.
(Analysis)

TH.912.S.2.9 -- Research and defend one’s own artistic choices as a designer.
o Learning Outcome 2: Using their research, students will design and construct a
costume, a mask and a prop for one character using a minimum of four
characteristics known about this character. (Synthesis)
Outside Subject Area Sunshine State Standards from Language Arts with Learning Outcomes:

LA.910.5.2.2 Benchmark Description: The student will research and organize information
for oral communication appropriate for the occasion, audience, and purpose (e.g., class
discussions, entertaining, informative, persuasive, or technical presentations).
o Learning Outcome 3: Using research, students will interpret the style of
Commedia dell’arte orally or in writing in a manner that follows outlined
criteria. (Evaluation)
Problem Statement:
How can we, as artists, recreate the lost art of Commedia dell’arte in such a way that




We introduce Commedia dell’arte to the community at large.
We perpetuate the art form.
We can work within a budget.
We can have solutions ready by the deadline of the next arts committee meeting.
Portfolio Rubric
Criteria
Research
Mask Design
Superior
Adequate
Unacceptable
12
7
3
At least four examples
that demonstrate the
importance of research
and how it aided in the
interpretation of design
ideas are presented. A
minimum of six research
images that represent
various historical
interpretations of the
student’s chosen
character’s mask and
costume are presented.
At least two reasons that
explain why each image
was chosen and how it
helped the student
interpret their final
design are presented. All
research and related
work must be 100%
accurate.
At least three of the
required research
examples are presented.
OR At least five of the
required research
images are presented. At
least two reasons that
explain why each image
was chosen and how it
helped the student
interpret their final
design are presented. All
research and related
work must be 100%
accurate.
Less than three of the
required research
examples are presented
OR Less than five of the
required research
images are presented.
OR less than two
reasons that explain
why each image was
chosen and how it
helped the student
interpret their final
design are presented
OR research and related
work is less than 100%
accurate.
10
6
4
A mask is created and
exhibited that clearly
shows four
characteristics
(examples: shape, color,
particular nose or facial
hair style etc.)
A mask is created that
clearly shows at least
three characteristics
interpreted from
research. Mask is
wearable and includes a
method to tie to the
A mask is created that
clearly shows less than
three characteristics
interpreted from
research. OR Mask is
not wearable OR does
not includes a method
Costume and
Prop Design
Scenario
Presentation
Overall Oral
Presentation to
interpreted from the
student’s research. Mask
is wearable and includes
a method to tie to the
actor’s face.
actor’s face.
to tie to the actor’s face.
8
5
3
A simple costume is
presented that shows
two elements (examples:
a cape, clothing of a
particular color etc.)
interpreted from the
student’s research. One
prop that is
representative of the
character will also be
presented and must be
justified by research
(examples: a slapstick, a
scroll, a cane etc.)
A simple costume is
presented that shows at
least one element
interpreted from
research. One prop that
is representative of the
character will also be
presented and must be
justified by research.
No costume elements
are presented OR one
prop is not presented.
12
7
3
At least two feasible
Commedia scenarios,
original or adapted from
a surviving scenario are
presented. The
presentation clearly
explains how research
aided in the creation of
the scenario with 100%
accuracy. One scenario
is chosen to contribute
to the group
presentation.
At least two feasible
Commedia scenarios,
original or adapted from
a surviving scenario will
be presented. The
presentation clearly
explains how research
aided in the creation of
the scenario with 9990% accuracy. One
scenario is chosen to
contribute to the group
presentation.
Less than two feasible
Commedia scenarios
are presented. OR The
presentation clearly
explains how research
aided in the creation of
the scenario with 89%
accuracy or less. One
scenario is chosen to
contribute to the group
presentation.
Four justifications are
provided that explain
why one scenario was
chosen over the other.
OR Three justifications
are provided that explain
why one scenario was
chosen over the other.
8
5
3
Analysis, ideas and
conclusions were clear
Analysis, ideas and
conclusions presented
Analysis, ideas and
conclusions presented
OR Less than three
justifications are
provided that explain
why one scenario was
chosen over the other.
the Audience
Scoring Guide:





A = 41-50
B = 31-40
C = 21-30
D = 11-20
F = 0-10
and presented
accurately. Presentation
was a minimum of ten
minutes in length.
Presenter projected loud
enough to be heard by
90-100% of the
audience. Presenter
kept his/her head up
during presentation and
did not look at the floor.
had no more than two
inconsistencies.
Presentation was less
than eight minutes in
length. Presenter
projected loud enough to
be heard by 80-89% of
the audience. Presenter
kept his/her head up
during most of the
presentation.
had more than two
inconsistencies.
Presentation was 6
minutes or less.
Presenter projected
loud enough to be
heard by 79% or less of
the audience. Presenter
consistently looked at
the floor while
presenting.
Oral Presentation Rubric
Criteria
Individual
Justification of
the group’s best
solution
Superior
Adequate
Unacceptable
15
7
4
The student’s individual
justification for the
group’s chosen scenario
adheres to at least two of
the conditions in the
group’s problem
statement:
The student’s individual
justification for the
group’s chosen scenario
adheres to at least one of
the conditions in the
group’s problem
statement.
The student’s individual
justification for the
group’s chosen scenario
does not meet any of the
conditions in the group’s
problem statement.
15
7
4
At least three ways that
the student’s chosen
character could
contribute to an
improvised performance
will be presented. The
presentation clearly
explains how research
aided in the formulation
of the contributions with
100% accuracy.
At least two ways that
the student’s chosen
character could
contribute to an
improvised performance
will be presented. The
presentation clearly
explains how research
aided in the formulation
of the contributions with
90-99% accuracy.
Less than two ways that
the student’s chosen
character could
contribute to an
improvised performance
will be presented. OR The
presentation clearly
explains how research
aided in the formulation
of the contributions with
less than 90% accuracy.
10
6
3




Explanation of
Character’s
Involvement in
the Scenario
We introduce
Commedia
dell’arte to the
community at
large.
We perpetuate
the art form.
We can work
within a budget.
We can have
solutions ready
by the deadline
of the next arts
committee
meeting.
Reflection
Overall Oral
Presentation to
the Audience
Scoring Guide:





A = 41-50
B = 31-40
C = 21-30
D = 11-20
F = 0-10
Using their completed
journal as a reference
guide, students will
answer four reflection
questions about their
process, goals and the
evolution of their
project.
Using their journal as a
reference guide, students
answer at least three
reflection questions
about their process,
goals and the evolution
of their project. Journal
is 85-99% complete
Students answer less than
three reflection questions
OR Journal is less than
85% complete.
10
6
3
Analysis, ideas and
conclusions were clear
and presented
accurately. Presentation
overall was a minimum
of ten minutes in length.
Presenter projected loud
enough to be heard by
90-100% of the
audience. Presenter
kept his/her head up
during presentation and
did not look at the floor.
Analysis, ideas and
conclusions presented
had no more than two
inconsistencies.
Presentation was less
than eight minutes in
length. Presenter
projected loud enough to
be heard by 80-89% of
the audience. Presenter
kept his/her head up
during most of the
presentation.
Analysis, ideas and
conclusions presented
had more than two
inconsistencies.
Presentation was 6
minutes or less. Presenter
projected loud enough to
be heard by 79% or less
of the audience.
Presenter consistently
looked at the floor while
presenting.
Two Alternative Solutions and “Best” Solution Analysis
Teacher:
Laura Prim
Title:
Artists Re-create the Lost Art of Commedia dell’arte
Primary Subject Area:
Drama
Outside Subject Area:
Language Arts
Class and Level
Drama, Advanced
Grade Level:
10th grade
Primary Sunshine State Standards with Learning Outcomes:

TH.912.H.1.3 Benchmark Description: Present a design or perform in the style of a
different historical or cultural context to gain appreciation of that time and culture.
o Learning Outcome 1:Using research and the provided documents as a guide,
students will examine the history and style of Commedia dell’arte and discover a
minimum of four characteristics to include in their re-creation of Commedia.
(Analysis)

TH.912.S.2.9 -- Research and defend one’s own artistic choices as a designer.
o Learning Outcome 2: Using their research, students will design and construct a
costume, a mask and a prop for one character using a minimum of four
characteristics known about this character. (Synthesis)
Outside Subject Area Sunshine State Standards from Language Arts with Learning Outcomes:

LA.910.5.2.2 Benchmark Description: The student will research and organize information
for oral communication appropriate for the occasion, audience, and purpose (e.g., class
discussions, entertaining, informative, persuasive, or technical presentations).
o
Learning Outcome 3: Using research, students will interpret the style of
Commedia dell’arte orally or in writing in a manner that follows outlined
criteria. (Evaluation)
Problem Statement:
How can we, as artists, recreate the lost art of Commedia dell’arte in such a way that




We introduce Commedia dell’arte to the community at large.
We perpetuate the art form.
We can work within a budget.
We can have solutions ready by the deadline of the next arts committee meeting.
Solution One:
The artists of the Bay County Arts Alliance recommend creating an annual Commedia dell’arte
festival in order to introduce this lost art form to the community at large. This annual event
would perpetuate the art form by being presented every year. It would be possible to predict
costs in advance, so it would be possible to work within a budget and we can have the event
planned by the deadline of the next arts committee meeting.
Pro
Con
We would be able to present Commedia
dell’arte to the community at large.
The community at large may not want to show
up depending on what else may be going on at
the time.
The festival would perpetuate the art form by
being an annual event.
If attendance is poor, then it may be hard to
justify an annual event.
Festival costs will be offset by admission fees.
This would help us remain under budget and
provide funds for next year’s festival.
If the festival is poorly attended, there may
not be enough to help offset costs and/or
provide funds for next year’s festival.
There are lots of ideas that we could use to
create a festival that might appeal to a broad
audience.
We might not have enough time to create the
best festival possible before the deadline.
Consequences:
1. The festival is well attended and stays under budget, which results in the festival being
successful enough to continue the following year.
2. The festival is poorly attended and/or goes over budget, which results in the festival not
being successful enough to continue.
Solution Two:
The artists of the Bay County Arts Alliance recommend creating a tour group that would go to
schools, festivals and other community events in order to introduce the lost art of Commedia
dell’arte for free. This tour group would present information about Commedia dell’arte and also
present example of performances. This tour group would perpetuate the art form by
introducing it to lots of diverse people and groups. It would be possible to predict costs in
advance, so it would be possible to work within a budget. We can have the tour planned by the
deadline of the next arts committee meeting.
Pro
Con
The tour will present Commedia dell’arte to
schools, community groups and at festivals,
reaching diverse groups of people.
We may not be welcome at any of these
schools, community groups or festivals.
Tour group members will all be volunteers,
which will help keep down costs.
The volunteers might not be available for all
performances or might have work or school
obligations that would interfere with
performances.
Performances would be free to the public
making the tour something that would be
affordable and appealing to those we are
presenting to.
Since the tour would not be bringing in any
income, any changes to our expenses (gas,
costume or prop repairs for example) might
make the tour impossible to continue.
There are lots of ideas that we could use to
create a tour that might appeal to a broad
audience.
We might not have enough time to create the
best tour possible before the deadline.
Consequences:
1. The tour might become a popular guest at a wide variety of school and community
events.
2. The tour might not be successful for a variety of reasons including budgetary, lack of
venues that want us to perform and volunteer conflicts.
Justification:
Best solution: Solution One. A Commedia dell’arte festival would be the best choice for a
variety of reasons. This would be a once yearly event. The toil on the volunteer artists in the
Bay Arts Alliance would be minimal. They would not be volunteering for an unpredictable
schedule of year round events like they would be with Solution Two. A festival would be the
more expensive of the two events. However, there would be admission charged, vendors who
would provide fees to participate and concessions that would help offset costs. The tour
proposed in Solution Two would be widely appealing because it would be free to the
organizations being presented to. However, it would provide no income or revenue to the Bay
Arts Alliance to help with additional programs or to offset costs of the tour like the festival
would. Both solutions would take a great deal of planning. The Solution One festival, however
could offer diverse activities that would appeal to a wide variety of people who would be free to
participate as they saw fit. Solution two would essentially be presented to a captive audience
with no choices. Some people will say that it would be impossible to attract a large enough
audience to perpetuate a brand new event that would celebrate one obscure form of art.
However, with an intense advertisement campaign and publicity, we can get the residents of
Bay County excited about the festival and give them all sorts of reasons why they would want to
come and be a part of it.
Debriefing Plan and Coaching Questions
Teacher:
Laura Prim
Title:
Artists Re-create the Lost Art of Commedia dell’arte
Primary Subject Area:
Drama
Outside Subject Area:
Language Arts
Class and Level
Drama, Advanced
Grade Level:
10th grade
Primary Sunshine State Standards with Learning Outcomes:

TH.912.H.1.3 Benchmark Description: Present a design or perform in the style of a
different historical or cultural context to gain appreciation of that time and culture.
o Learning Outcome 1:Using research and the provided documents as a guide,
students will examine the history and style of Commedia dell’arte and discover a
minimum of four characteristics to include in their re-creation of Commedia.
(Analysis)

TH.912.S.2.9 -- Research and defend one’s own artistic choices as a designer.
o Learning Outcome 2: Using their research, students will design and construct a
costume, a mask and a prop for one character using a minimum of four
characteristics known about this character. (Synthesis)
Outside Subject Area Sunshine State Standards from Language Arts with Learning Outcomes:

LA.910.5.2.2 Benchmark Description: The student will research and organize information
for oral communication appropriate for the occasion, audience, and purpose (e.g., class
discussions, entertaining, informative, persuasive, or technical presentations).
o
Learning Outcome 3: Using research, students will interpret the style of
Commedia dell’arte orally or in writing in a manner that follows outlined
criteria. (Evaluation)
Problem Statement:
How can we, as artists who are members of the Bay Arts Alliance and Gulf Coast Players,
recreate the lost art of Commedia dell’arte in such a way that




We introduce Commedia dell’arte to the community at large.
We perpetuate the art form.
We can work within a budget.
We can have solutions ready by the deadline of the next arts committee meeting.
Debriefing Plan:
Each group of artists will present their solutions in front all other groups. This will ensure that
the solutions from each group will be heard by all of the students.
Each “best” solution will be rated based on whether or not the solutions presented follow the
guidelines. Guidelines will be provided to students before the presentations that present the
rating scale described below. Points will be awarded for each element present in the following
manner:
20 points – All four conditions outlined in the problem statement are met. (5 points per
condition)
10 points – Students present a minimum of two examples of how research influenced their
outcome. (5 Points per reason)
Students will receive their ranking and written feedback from the teacher at the beginning of
the class following the last presentation. All scenarios will then be discussed by the class as a
whole in order for students to give each other feedback and suggestions.
Five Essential Concepts:
The following are essential concepts and/or issues that must be addressed for content accuracy
and/or successful completion of the learning outcome:
1)
2)
3)
4)
5)
Research
How masks can be used to create a character.
The importance of costume design choices when creating a character.
Historical perspective
The defense of choices.
These concepts will be addressed even if they do not arise during the student’s presentations
since all of the prep work for this project will essentially be coaching activities that prepare
students to be able to learn the five essential concepts. Research will be focused on initially and
will result in the discovery of the rest of the essential concepts. The concept of defending
choices will be a concept that students will utilize during their presentation. Masks, costume
design choices and historical perspective will be learned while creating the student’s portfolio so
the students will thoroughly learn about these concepts even if they do not address them during
their presentations. In addition In addition, following the students' presentations/discussions,
the teacher will ask about these concepts in order to insure that they are addressed.
Coaching Questions:
Meeting the Problem
 C -- 1. What information do you already have?
 E -- 2. Could the desire to re-create the lost art of Commedia dell’arte happen in the real
world?
 M -- 3. What do you already know about the problem at hand?
Know/Need to Know Board
 C – 4. Where could you gather information about re-creating Commedia dell’arte?
 E -- 5. Why is it important to re-create Commedia dell’arte?
 M -- 6. How do you know this?
Writing Problem Statements
 C -- 7. What resources will you need access to in order to help re-create Commedia
dell’arte?
 E -- 8. What have you been asked to consider as you create this project?
 M --9. Is everyone in the group happy with the problem statement? What changes
should you make?
Information Gathering & Sharing
 C -- 10. How can the group determine what methods will reach the most people?
 E – 11. Which of the resources we have available are the best ones to use?
 M - 12. How do you think the work for this project should be divided?
Generating Possible Solutions



C - 13. What is the potential cost of this solution?
E--14. Will this solution be able to reach the maximum number of people?
M--15. What are alternative solutions to re-create Commedia dell’arte?