TRIBUTE TO CARLO MAZZONE-CLEMENTI
From Wikipedia: Carlo Mazzone-Clementi (12 December 1920 – 5 November 2000) was a performer and founder of two schools of Commedia, mime and physical theater as well as a contemporary and colleague of leaders of the modern European theater. From his arrival in the USA in 1957, he was largely responsible for the spreading of commedia dell’arte in North America. He first gained attention in Italy in 1947 alongside Marcel Marceau in the mime’s first tour outside of Paris. From 1948 to 1951, he assisted Jacques Lecoq, while Lecoq taught and directed the Players of Padua University. In 1954, Mazzone-Clementi was at Piccolo Teatro di Milano with Dario Fo and Franca Rame. Click here for more information from their post about Carlo.
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I have to admit I don’t remember when I met Carlo but it was before 1983. That was the year I convinced him to visit my studio to do some photographs. He was playful and not too prepared. He came with a couple of great Commedia masks and found objects in the studio to improvise with for the camera. It was great fun! I have decided to make this tribute since many movement-based performers don’t know about Carlo. I contacted a few friends that knew him well ask them to contribute to this post. They knew him better and have stories to tell!
Here is an interview with his friend Hovey Burgess
Originally posted at:
Karen Jenson interviews playwright Brendon Cole and director Michael Di Jiacomo of “Imperfect Love” at The Connelly Theater. Closes Sunday 2/18/18.
IMPERFECT LOVE is a story of love and betrayal, set just over 100 years ago, between the actress Eleonora Della Rosa, and her playwright lover Gabriele Torrisi. (Inspired by the real-life relationship between the great Eleanora Duse and the poet D’Annunzio). It’s a story set at the turning of an epoch, and the turning of two styles of theater: the more visceral and emotional style that Eleonora and Torrisi are exemplars of, and the ‘new’ psychological style epitomized by Nordic writers like Ibsen and Strindberg. Our characters Eleonora and Torrisi are both vulnerable and aware that their day may have passed, and along with it, their love. Should Torrisi abandon Eleonora and strike out for a collaboration with her arch-rival, the Parisian Sarah Bernhardt? Should Eleonora withdraw her support (and love?) from the possibly outmoded Torrisi and try to work with up-and-coming Ibsen? In the middle of all this is the classically trained leading-man Domenica, who doesn’t know which way to turn in his professional life, or in the tangled world of his emotional allegiances. One other delight of the play is how the traditional clowns Beppo and Marco not only comment on the action in a comical and human way, but how they themselves also embody the conflicting epochs – the rambunctious farce of the Commedia dell’Arte, set against a premonition, a whiff of the bold futurism of a Beckett or a Pirandello, a modernism that will eventually make all earlier styles redundant. In the end, matters of theater and matters of the heart come together in a climax both affirming and bitter-sweet. The play’s the thing. At least, until the curtain falls.
Go here for more information.
The New York Theatre Workshop was packed ‘wall-to-wall’ with boxes and other storage unit items. I had read about “The Object Lesson” when Geoff Sobelle had performed it at BAM a few years ago, and the reviewer’s description of it resonated with me until today.
The interview was originally posted on:
Karen Jenson interviews Big Apple Circus‘s director Mark Lonergan and clown Joel Jeske for Vaudevisuals.com. Great fun hearing about the new show and history of Big Apple Circus.
Video originally posted at:
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Radio Vaudeville visits Jenny Lee Mitchell for a great interview by Karen Jenson.
Jenny talks about her work, feelings about her career and direction she is taking in her work.
Originally appeared at Vaudevisuals.com
This podcast is called Stories from the Pitch for a reason, and this particular interview exemplifies this title more than most because Johnny Fox is a natural when it comes to telling stories. His life and his career have been filled with so many chapters, in fact, the stories came fast and furious.
The striking thing about Johnny’s stories is that they mix his experience with those from his mentors in a way that weaves a greater picture of how this Storyteller, Magician, Sword Swallower evolved into a well-established entertainer who’s been on the circuit since the 70’s.
Guy Collins sat down with Johnny in his 1957 GMC vintage bus at the 2015 Maryland Renaissance Festival to discuss how he got started, who he was taught by and to touch on the sometimes uncomfortable topic of material that’s been appropriated from him over the years. The names, places, and events all helping to capture a slice of history from the Busking World.