* Mindfuck * This is the game where you send list of items around the circle. * All the items are in one category. * Then you send another list around. * Then another. * Finally, you try and do 2, then 3 lists simultaneously. * Treat the pattern in Mindfuck like any opening-game pattern. * Attend to the theme being developed. * If the pattern changes, follow the change. * If your "pre-loaded" idea no longer fits the pattern, drop your idea. * Tagouts * What is a tagout? * A tagout is when you change the scene *without* going to a different world. * As opposed to a "sweep edit", which typically blows away this whole universe & starts us from scratch. * Typically, you keep one or more characters from the previous scene. * But you needn't do so. * Why perform a tagout? * It can build context for the current action. * It allows for jumps in time and/or space. * It can let us quickly develop a pattern or game. * It can put a sharp character in a new environment. * It can explain a character's motivation. * It can answer a question the audience has. * It can show something they suddenly want/need to see. * It can let us in on a character's secret. * Often by providing ironic counterpoint to a claim. * It can be good for the 'rhythm' of the show. * You can click forward to new action without blowing away the existing world. * How do you do a tagout? * Typically, you physically 'tap out' the people you don't want in the next scene. * Over time, this is becoming more subtle. * Like maybe a gesture or nod to the person. * If you do a tagout, start your next scene with a clear initiation. * Be supportive. * Always tag out if the people on stage need you to tag out. * Think of someone floundering in song spot. * i.e., we don't want that. * Always listen for opportunities to tag out. * Be it a quick 'callout joke' or a fully-developed scene. * Note that if you're inside of a scene, you can always take the initiative and *leave the stage*. * Reflective scenes * This time, we started from a soundscape and generated scenes off of that. * You can use either large themes or small details from the opener. * Either way, try to hold on to the overall 'flavor' of the opener. * In this exercise, we want to increase the pace as we go on. * 2-Person scenes * The setup: * Both people perform a physical activity. * (e.g. "weeding a garden") * They get really into the activity, in detail, silently. * They use that activity to arrive at their emotional state. * Then (and *only* then), they initiate dialog. * Ideally, the resulting emotion shouldn't be *about* the activity. * Try to make it about something deeper. * Try to get to the emotional truth of the scene. * In an early scene, this can provide a *lot* of fuel for the rest of the show. * But still, you needn't *force* that emotion. * i.e., you don't have to *invent* something to feel emotional about. * The silent start to the exercise is far more gripping than you would think, for far longer than you would think. * If the initial dialog leads to a serious bombshell being revealed, the audience will wonder, "Why did this revelation happen *today*? Why *now*?" * Performers (not necessarily characters) ought to agree as much as possible in the initial dialog. * Disagreement, especially about basic nature-of-the-universe stuff, is damned hard to build on. * General notes: * If something peculiar happens in a scene, the audience noticed it. * So *grab on* to that weird thing. * Make it a game or a character trait. * If you play a silent character, that's a fine choice. * But make sure you still give gifts and info to your partner. * You don't want to just be a vaguely-emotive cipher. * Watch a scene -- especially an early one -- for its open questions. * You can *always* escalate anything. * You can also *always* emotionally overreact to things. * (Justify afterwards, if necessary.) * Always always be affected by what's going on. * Notes for me: * Remember that you tend to play low-status and un-aggressive. * So: if someone late in a scene endows you as high-status or über-aggressive, that creates a question for the audience. * My notes for myself: * If someone behind you is doing something weird or off (as noted by, say, audience reaction), try to check in on what's up there. * If you start a scene with a certain emotional outlook, try to hold on to it through the scene. * Any subsequent action in the scene, you can interpret via that same point of view.
Mood: contemplative · Music: none