The stock characters in comedia del'arte were just like characters we enjoy in modern performances. We recognize characters like the nerd, the dumb blonde, the amoral politician, the pretty boy, the cougar, the person who thinks he's smart but actually isn't, the person who acts like he's "all that" but isn't -- I'm sure you can think of lots of others. Some of the most popular characters from comedia include Il Capitano (the braggart warrior, who is scared of everything but pretends to be brave, with lots of bluster), Il Dotore (who uses lots of big words, and intellectual concepts and Latin, to show off his intellect, which is nearly non-existent), Columbina (the wise servant, much wiser than her mistress) and Il Pantalone (the old miser who likes young women). If you are in Twelfth Night, you will realize that lots of the characters in the play are Shakespeare's take on these comedia characters. If you're trying to create a stock character, think of what sort of animal your character resembles, or what sort of costume she might wear. That might help you get a handle on who he is.
It can be fun to play a broad character. Start with a voice that sounds like the character (an accent doesn't hurt, or a lisp, or a different pitch than your own voice). Maybe a funny walk will help you find out more about who you are. Some actors count on costumes to help them develop a character.
Great actors start with a broad character and then personalize it. They ask themselves why Pantalone is a miser. The character of Ebenezer Scrooge looks like a stereotype, but as Charles Dickens explores his history, we find out what has turned him into a "grasping, covetous old sinner". That is because Dickens isn't satisfied with the way things appear -- he's an artist and wants to know why. He wants us to see that nothing is simple. Shakespeare does this with every character, even those we think of as minor roles. No such thing as a small part, remember!
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