Lazzi
The Secret "Toolbox" of the Actor-Creator
In Commedia dell’Arte, the script doesn’t begin on a page; it begins in the rehearsal room and lives in the bodies and shared memory of the ensemble. Often talked of as an improvised form, Commedia is often mistaken for being entirely made up on the spot. There is a degree of flexibility in the dialogue and the script will always draw in aspects of the audience played to that day but much of a Commedia production is well rehearsed and ‘locked down’. A key component of this ‘organic, living theatre’ are the Lazzi (singular: Lazzo).
The word translates literally to ‘jokes’ and in Commedia these lazzi are rehearsed, repeatable units of comic business – physical and/or verbal gags, pranks or acrobatic feats – that an actor can add into a scene to heighten the comedy, change the rhythm, or save a lagging plot. Lazzi generally do not move the plot forward though; actors will usually have a stock of lazzi scribbled in their zibaldoni (pocket notebook) that can be thrown into any narrative. As well as providing comic relief, lazzi are a chance for the actor to show off their physical virtuosity, their technical prowess or verbal wit. In the hay day of Commedia del’Arte (16th-17th Century) certain actors became known for their signature lazzi and audiences would applaud the moment when their unique style and comedic DNA took centre stage. Carlo Goldoni famously decided to write a full script for his play The Servant of Two Masters in order to tame the actor’s ego and commit the ‘allowed’ lazzi to the page leaving little room for performance braggadocio!nocking in terror, these bits of business are the universal language of comedy. Below is our curated library of Lazzi, adapted specifically for the modern rehearsal room and educational workshop.
Frequently Asked Questions
Which characters perform Lazzi?
Most frequently, it is Zanni (the servants) who perform lazzi but any character could perform them – or be the ‘victim’ of them. The only characters who are unlikely to be the instigators of Lazzi are the Lovers as these characters are played ‘straight’ and not for comedy.
Can you speak in Lazzi?
Yes! While many lazzi are purely physical, Commedia characters are rarely silent. Whether through rapid-fire dialogue or rhythmic monologues, sound is an essential tool for the actor-creator. There are some purely verbal lazzi, though these are less common to see.
Using Grammelot as a Bridge
When devising a new lazzo, we recommend starting with grammelot (gibberish that mimics the sounds of a real language). This allows you to:
Map the ‘shape’ and rhythm of the sequence without getting bogged down in script.
Focus on the physical storytelling and the emotional ‘drive’ of the character.
Use audible breath and exaggerated gestures to convey meaning.
From Sound to Script
As the lazzo takes shape, you can begin to replace the nonsense with ‘essential’ words. Use dialogue selectively – only keep the lines that clarify your intention or heighten the comedy.
Pro-Tip: If a scene still relies heavily on grammelot after several rehearsals, it’s a sign that specific dialogue is needed to drive the plot. Conversely, if the words are slowing you down, strip them back and let the body do the talking.
Are Lazzi unique to Commedia?
No. Whilst lazzi did begin within Commedia they are more than just historical curiosities. They are a blueprint for Physical Storytelling and we see them all the time in good comedies.
Why are Lazzi useful to an actor who does not want to be a Commedia performer?
By mastering these lazzi performers learn:
The Rule of Three: Understanding how to build a gag to ‘milk’ for laughs.
Precision and Safety: How to execute high-energy slapstick with total control.
Ensemble complicité: Working closely on a rehearsed routine to synchronise and support each other.
Audience Connection: Learning how to truly engage the audience and play with them, rather than just at them.
Whether it’s a Zanni desperately trying to catch a fly or a Captain’s knees knocking in terror, these bits of business are the universal language of comedy. Below is our curated library of Lazzi, adapted specifically for the modern rehearsal room and educational workshop.
Lazzi Libary
Physical & Slapstick Lazzi
Lazzo of the Fly: The servant, driven by hunger, stalks and eventually 'eats' a gourmet fly.
Lazzo of the Tooth Extractor: A terrifyingly clumsy mock – surgery using giant, ridiculous tools like blacksmith’s pincers.
Lazzo of the Unspilled Wine: An actor performs a full somersault or roll while holding a glass – not a single drop is lost.
Lazzo of the Innocent Bystander: Two fighters 'accidentally' land every blow on the person trying to break up the fight.
Lazzo of the Straw: A servant siphons a master’s drink through a long straw from behind their back.
Lazzo of the Invisible Obstacle: A character mimes hitting a solid, invisible wall. They struggle to find a way around while others walk through the space easily.
Lazzo of the Sticky Letter: A secret letter won't leave the actor's hand. Every flick of the wrist just moves it to a new, more awkward part of the body.
Lazzo of the Chair: As a high – status character prepares to sit, the servant pulls the chair back at the very last second.
Lazzo of the Heavy Sack: Two characters heave a bag supposedly filled with gold. When it rips, it contains only a single feather.
Lazzo of the Sneeze: An agonizing, 30 – second physical build – up to a sneeze that ends in either a tiny 'pip' or a world – shaking explosion.
Lazzo of the Mirror: Two characters perfectly synchronize every movement as if one is the other’s reflection.
Lazzo of the Statue: To escape capture, a character mimes a garden statue. They must remain frozen while a pursuer 'tests' them by hanging a heavy coat on their arm.
Lazzo of the Shield: A coward grabs a fellow performer and uses them as a physical shield, rotating them like a revolving door to avoid danger.
Lazzo of the Puppet Master: One actor moves the limbs of a 'fainted' partner to make them appear alive during a conversation.
Lazzo of the Ghost: A character puts a sheet over their head to scare others but gets so lost they end up scaring themselves.
Lazzo of the Tasting: A servant 'checks for poison' by taking sip after sip until the master’s entire bowl is empty.
Lazzo of the Chase (Stationary): Two characters run 'on the spot' with exaggerated effort, using the audience as the moving scenery.
Verbal & Mental Lazzi
Lazzo of the Foreigner: A character speaks entirely in 'Grammelot' (gibberish) and must convey complex instructions through tone and gesture alone.
Lazzo of Echo: A character shouts secrets into a well. A hidden actor repeats the last few words but changes the meaning to mock them.
Lazzo of the List: A servant recites a 'to–do' list that gradually morphs into nonsense (e.g., 'Buy some bread' becomes 'Drop him dead').
Lazzo of the Deaf Master: Pantalone refuses to admit he can't hear, turning serious plot points into ridiculous, rhyming misunderstandings.
Lazzo of the 'No, YOU!': Two characters get into a circular argument, repeating the same insult but flipping the pronoun – “You are a fool! / No you are a fool!” This escalates in speed and volume until they are both shouting the same thing at the same time, eventually forgetting what they were fighting about.
Lazzo of the Translation: A character speaks at length in passionate Grammelot, which The Doctor translates as a single, mundane sentence like “He is hungry”. The contrast between the epic speech and the tiny translation reveals the Doctor's incompetence.
Lazzo of the Rhyming Insult: A character delivers a 'Tirate' – a long, rhythmic rant of increasingly ridiculous adjectives without taking a breath. Often used by Pantalone or Il Capitano. "You bumbling, stumbling, crumb-eating, thumb-sucking, noodle-headed nuisance!" The actor must keep the breath control going to reach the end of the list without pausing, building the energy until they are red in the face.
Lazzo of the Misinterpreted Word: A servant hears sophisticated instructions as something related to food (e.g., “Ambassador” becomes “Ham-on-a-platter”). This creates a "Comedy of Errors" where the servant spends the next ten minutes looking for lunch instead of a diplomat.
Lazzo of the Never-Ending Story: The Doctor starts a story but goes off on endless 'tangents' about every noun they mention until everyone else falls asleep. "I was walking to the market – speaking of markets, my uncle once bought a pig – now, pigs are fascinating creatures, much like the ancient Greeks – who, as we know, invented democracy..."
Rehearsal Tip: The "Verbal Tennis" Exercise
To practice these, have two performers stand face-to-face. Give them one ‘Verbal Lazzo’ and a ball. They can only speak when they catch the ball. This forces them to focus on the cue-response rhythm that makes Commedia dialogue feel like a musical score.