* Monologs * Get three people on the back line. * Give them a suggestion. * Each person delivers a brief monolog. * It's inspired by the suggestion. * It's honest and real-life. * Aim for details/specificity. * Try to make it about you. * If it's nominally about your crazy Uncle Earl, ensure that it's *really* about *you*. * Emphasize/describe characters whenever you can. * When the three monologs are done... * Try to find themes that run throughout. * Such themes will always crop up. * Often, the strongest/most useful themes... * ... have to do with personal relationships. * ... are ideas you have strong feelings about. * Also pick out tangents/superficial things. * These are flighty & fun things to play with. * If you pick an item/object from the monologs... * ... try to hold on to the feelings/relationships/symbolism associated with the object in your scenework. * The Deconstruction includes lots of methods of extracting information from scenes/monologs. * A 'commentary' = picking up on an absurd behavior, and *heightening* it to comment on it. * You pick one specific aspect to heighten. * Leave other aspects the same. * Don't just make it random or absurd. * Heighten it, but stay in the same category. * Test Armando. * This was a brief Armando, using a different monologist for each speech. * Remember that the form should pick up the pace/energy over time. * Don't criticize the monologist's avatar in a scene. * Remember that any previous material is fair game for inspiration in an Armando. * i.e., not just the previous monolog. * Scene-Painting * = "Adding scenic detail as a non-character." * You can scene-paint settings or characters. * In this 'opening' version of scene-painting: * Any time someone establishes the object, the rest of the ensemble jumps in to: * Physicalize the object (through mime or embodiment). * Help describe the object (verbally). * Note that the ensemble can do this via clumping or flocking. * Variation is good. * Jump into scene painting with alacrity and confidence. * Watch for patterns and support/repeat them * If something weird happens in the opening, take note of it. * The audience did. * Make sure you use the 'weird thing' in the show. * The audience will want/expect you to. * If a pattern develops in the opening... * ... you can drop it and move on to something else... * ... or you can develop it 'til it becomes something new. * If you commit, this *will* happen. * Try to exhaust describing one object before moving on to the next. * If you do a pattern and nobody else joins in, stick to your guns. * In 'flocking' stage painting, try to stay aware of the stage picture. * If the stage picture looks weird, that becomes one of those 'weird things' the audience just noticed. * Listing a lot of similar details in a setting can be a good and useful pattern. * But you don't always have to do it. * When a pattern is in progress, always watch it for new developments or changes in tone. * Scene-paint opening, then 3 scenes. * Try to keep the 3 scenes disparate. * This gives you lots of material to build from. * This is as it would be in the start of a Harold. * Don't revisit elements in the first 3 scenes. * Don't do callbacks in the first 3 scenes. * Scenework with secret objectives. * i.e. objectives scribbled on sheets of paper... * ... and chosen at random from a hat. * I got the "I want you to ask me out on a date" objective. * I did about as well with that as you'd expect. * Play your objective hard. * Remember: in scenework, you can always give *yourself* a secret objective. * Try to ground your goal in some internal motivation that's really central to your character. * "I want you to think I'm smart, *because* <x>." * You can temporarily drop the objective if the exigencies of the scene/realism demand it. * "Okay, you're on fire, I'm no longer concerned about making you think I'm smart. Let's put this fire out." * General notes: * Remember that for a sweep edit, you don't need as strong of an idea as to what the next scene is as you do with a tag-out. * For a sweep edit, you can step out with nothing and 'find the scene'. * For tag-outs, you don't have to take the tagee's place physically on stage. * e.g., you can show up on the opposite side of the stage, and reverse the staging. * Just do whatever is easiest/the most seamless. * Even when you see a strong tag-out, you have the option to just let things breathe. * A good game can, in some cases, kill a beautiful scene. * Wait a while -- 3 or 4 scenes, at least -- to do a callback to something. * If it's a high point in the scene, is that the time to edit? * Is it a 'bit', or have we just hit the emotional high point of the scene. * Note that scenes can change gears -- from 'bit' to 'proper scene' midway through. * Relted note: if you're doing a 'bit', always be ready to ground it into a scene. * Perhaps put another way, it depends on whether that high point is a button or a tilt. * Notes for me: * Notes for myself: * Wow, I am so crap at noting themes across monologs. * I default to "commentary". * i.e., "whoa, *that* behavior was weird". * I get really thinky and hesitant when trying to extract scene setups from monologs.
Mood: contemplative · Music: none