Peter (hujhax) wrote,

  • Mood:
  • Music:

... wherein Peter scribbles notes during noir rehearsal.

Because I have no short-term memory, here are some show notes from last night's Violet Underbelly (AKA "improvised noir") rehearsal.
  • We need more names at the start of the show.
    • Generally, go for *character* stuff at the top of the show.
    • Don't cut a slow, character-heavy scene early.
  • Just because a character appears or is alluded to in the first scenes, you don't have to make that character a tentpole in the rest of the show.
  • As the protagonist in noir, you have two jobs:
    1. Get pushed around by the plot.
    2. Name people.
  • If the protagonist is squeaky-clean, you can eventually reveal latent flaws, dangerous vices, or a shadowy past.
  • If the stage is blank, then there are two good options:
    1. The lead walks onstage.
    2. Two apparently-unrelated characters take the stage.
    • This second case is very "jump-and-justify"
    • The revealed reason these two characters meet could...
      • ... be interesting.
      • ... introduce further threats to the lead.
  • Feel free to just be a minor character or an extra.
    • Especially if you show up, introduce pressure, then leave.
  • Don't accidentally upstage other players.
    • If someone upstages you, feel free to play down/out to the audience.
    • You needn't be face-to-face to your scene partner.
    • You needn't be static, either.
      • Feel free to move around, vary up the stage picture.
  • You can always make endowments that apply to earlier scenes.
    • Think of it as a kind of retconning.
    • Nearly every room has a supply of booze & cigarettes.
      • Their exact location tells us something about the room.
        • Lying on a table = blue-collar
        • In a special lacquered box = upper-class.
  • When a scene sputters out, try endowing the location.
  • For next time, we'll work on stage violence and crowd scenes.
Tags: improv, noir
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