* Warm-ups: * A fun variation on the enemy/defender game: * At some point, the warm-up leader shouts, "SWITCH!" * At that point: * Your enemy is now your defender. * Your defender is now your enemy. * Pairwise work: * Everyone pair up. * POV via spacework: * Each pair collaborates on some bit of spacework business. * e.g. "fixing a cabinet" * Each person discovers their POV via the spacework. * Once that's done, they start a conversation about something other than the activity. * POV via expression: * Each couple makes eye contact. * Person #1 makes a facial expression. * Person #2 initiates a scene. * POV via eye contact: * Each couple makes eye contact. * They hold eye contact 'til they collectively arrive at a mood. * Then, initiate a scene. * Carry out a scene with a 5-second pause after each line. * Have one person make an embarrassed face. * Then, start the scene from there. * Using an improvised song as an opening: * As with our scenes, we have a lot of trouble hitting endings here. * A song-as-opening doesn't really 'engage' 'til it finds something thematic and/or emotional and/or relationshippy to dig into. * It might work as a pop song 'til then... * ... but it's not that useful as an opening. * 10-minute Harolds: * That is, go through the entire form, in ten minutes. * Additional provisos: * All openings/games require the whole cast to build on the opening/game *one at a time*. * Every line of dialog must be followed by five seconds of silence. * Openings need to home in on a theme. * In an opening, offer #2 needs to respond to and develop offer #1. * As opposed to offer #2 responding to and developing the original prompt. * In week 4, we'll talk about what elements are good to pull from 1st beats forward to 2nd beats. * Often, a strong character in a 1st beat should be the thing you re-use. * If you have to choose between following what the show needs and following the format, follow what the show needs. * Realistic scenes about heavy subjects: * These are two-handers with a given "heavy" subject. * i.e. "You're breaking up." * Stay realistic. * Note that the scenes won't necessarily be funny. * This class defaulted to angry confrontations in this exercise. * This indicates a lot of trust within the class. * But note that anger is not the only way to go with this. * Even if you're dealing with heavy material, deal with it head-on. * If you seem tentative or like you're tiptoeing around it, it makes the audience uncomfortable. * So: be brave. * iO scenes tend to operate by heightening. * (i.e. the "3/7/10" thing.) * So whenever a genuine emotional response pops up, and it feels like it's at the core of the scene, grab on to it and heighten it. * Once it gets to 10, the scene is just about over. * Me: note that any emotional response can be heightened. * You can also heighten physical patterns. * A scene can segue into a purely physical game. * If you stumble onto an appealing verbal or physical tic, hold it for the rest of the scene. * You still want to be paranoid about noticing patterns. * When you see them, respect them & repeat them. * Eye contact is incredibly useful here. * Me: note that you can force eye contact through dialog. * ("Look at me!") * General notes: * A frequent side-direction: "Stay on <x>." * Lindsay would give this note when it felt like the performers were about to drop something rich and useful, and go find something new. * This resets your heightening back to zero. * i.e., you have to start over. * This class hugs the UC wall to much. * Notes for me: * I initiate a lot of scene. * I hit plot pretty hard. * I deliver lots of exposition. * I often play frenetic characters. * I often don't let offers land on & affect me. * Especially when I do the "5 seconds of silence" rule. * I was given the challenge of playing a character who: * Kept his feet planted. * Chest forward, shoulders back, high status. * Was silent. * (Also: no pantomiming.) * Was angry. * Unlikeably hateful. * "Give yourself permission to be completely disliked by the audience." * I was playing a vexed 50s ex-military type. * Notes for the future: * Use fewer words. * Use less exposition. * Trust that you're expressive enough just emoting. * My notes for myself: * I noticed that just waiting tended to filter out most of the exposition from my dialog.
Mood: contemplative · Music: none