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Peter Rogers's Blog
Artist-in-Residence at Chez Firth

Sunday (12/25/11) 11:22pm - ... wherein Peter posts his notes about Switchboard's Out of Bounds workshop.

These are my notes on Switchboard's workshop at Out of Bounds (9/4/11):

* The audience enjoys watching *your* creative process.
* In group games, open *out* and share your energy.
* Words can limit your expression.
        * So use silence, too.
* Exercise:  character transformations.
        * Everyone gets in a circle
        * Person #1 enters with a physicality.
        * They connect to person #2.
        * Person #2 enters with the same physicality.
        * They interact for a bit.
        * Person #1 leaves.
        * Person #2 changes the physicality to something new.
        * ... and goes off to find person #3.
        * Repeat, until everyone's had a chance to go.
* This game helps you find out how different physicalities feel.
        * It also helps you find identical characters to interact with.
        * You can also interact with elements in the setting/world.
                * Those elements might be beyond the stage.
* The audience feels what you feel, and worries (uncomfortably) if you're in danger.
        * Say "yes" to things in a way that you're still okay with.
* Have aggressive energy.
        * Aim it *out*, not at each other.
* Imagine rubber bands connecting you to your scene partner(s).
* Group games.
        * Aim energy *out*.
        * Do this even though your instinct is to circle up.
                * That only aims energy at each other.
        * Let transformations happen to the group game *when* the existing energy exhausts itself.
                * (Not before.)
        * Eye contact is key to 'checking in' with people.
        * Turn a sound into a vocabulary.
* Try to convey feelings, and who you are deep down.
        * Do this instead of 'signifying'.
        * (Same reason to avoid words.)
* Leave room for *everyone* to do initiations.
* It's harder to initiate when you are stock-still.
        * Gets very 'brainy'.
                * And also, opaque to the audience.
        * Work from the body.
                * Again, this is more visible to the audience.
* Also think of this in 'real' scenework.
        * e.g. "adding emotion".
* Note that there isn't a strict hippie/engineer dichotomy.
* Nobody pays to watch 'safe improv'.
* Singing.
        * When singing on-stage, pretend you're the best singer in the world.
                * Don't be timid.
                * Audiences love this.
* Doing a group, eyes-closed soundscape is a great warm-up.
* You can use physical connection (like 'leading') to check in with your scene partners.
* "We" initiations are useful in group scenes.

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Mood: [mood icon] contemplative · Music: none
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