* Song spot * This isn't just about singing songs and singing along. * Think about other ways to support: clapping, dancing, anything. * Keep an eye on the room; see if you can *join* in the pattern. * Definitely tag someone out when they're struggling. * Don't self-censor ("D'oh, this song isn't 'good enough'!") * As you play, take note of the patterns you see among the songs. * Cocktail Party * Put three pairs of people on stage. * Give each of them a topic of conversation. * Have them all converse a bit. * Then, direct one to take the focus, then another. * Then, let them do the same thing, undirected. * Stay aware of who else is talking. * ... and the general "shape of the exercise". * Let the pace increase over time. * Revel in the connections among the conversations. * But don't feel like you have to *force* either. * Consider both of these warm-ups to be similar to, say, the opening of a Harold. * They are exercises that spontaneously generate interesting themes. * Scenework exercises: * You're given a relationship between two characters. * These characters are in a diner. * Character A starts with "I have a confession to make," and finishes the line. * Character B responds with "I have a confession to make," and finishes that line. * Try to get both characters on 'a team'. * i.e. they're both on the same page. * Remember that your confession should have some resonance/importance for your character. * Generally, don't be afraid to have your character show vulnerability, or seem pathetic. * This can be very entertaining for the audience. * If the two confessions seem of unequal 'weight', you can make the 'lesser' one *feel* more important. * Scenes with a given relationship and conflict. * The challenge: do the scene without worrying about the conflict. * i.e. don't get caught at loggerheads; keep building a scene together. * You can have long stretches of agreement, even in a "conflict scene". * "Saying 'yes' gives you *more* to play with." * It's often helpful to provide *why* your character feels so passionately about this or that point of view. * Reflective Scenes * This is where we start with one scene, and then do a number of scenes based around the themes, ideas, and quirks of that scene. * It could be something big, or it could just be a Family Guy-esque riff on a tiny, odd detail. * The callback can be completely literal. * General notes: * iO prioritizes emotional reality, even in its fantastical scenes. * If something feels like bullshit, it probably is. * Notes for me: * You're good at giving gifts/endowments to the other people onstage. * Don't do that to the exclusion of giving gifts to yourself/taking care of yourself. * I feel like I kind of cratered on the "conflict" exercise. * I spun out some world-building, but I couldn't get away from "Raaah I am soooo mad at you". * If you're in a "quick throwaway bit" scene, and nobody wipes it... just treat it as a real scene. * As Dave Pasquesi would say (paraphrasing), "Okay, let's just figure out who these people are." * Just settle in, instead of waiting for the scene to wipe.
Mood: contemplative · Music: none