When asked for a desired focus for a scheduled coaching session, a Duo sent me the following: Mainly character stuff, fleshing them out versus building out more plot. Getting better at finding and sticking to the game of the scene. What follows is some didactic and exercises that filled two hours. DIDACTIC: How do You […]
Personal Games are the focus of the base Mirror, Action, Object warm-up exercise. Engaged in either how they feel about themselves, how they feel about what they're doing, or how they feel about a mimed object, players build progressions of emotional reaction triggered by active endowments. As examples: A player loves his outfit, and as […]
To establish sustainable scenes, it is helpful to remember that each player on stage can have at least one Personal and Scenic game at their disposal to heighten. Personal Game – how you react to who you are, where you are or what you’re doing * I love cake; when I eat a piece I’m overcome with […]
The environment is fleshed out and experienced. Characters' endow and react to endowments through their Personal Game filters. [wpvideo KEEqG5MB] From my Johnsons Full Show 9.21.14 featuring, Lauren Serpa and Shawn Hambright
Looking for an exercise/warm-up that will engage your group in tapping personal emotions and leveraging those emotions in heightened subsequent beats?
Objective: This exercise is about channeling personal memories to evoke details and define mime.
The key to sustainable, dynamic two person scenes that are most conducive to improv as improv does best is setting up patterns of emotional behavior. While in the Facebook age, the world defines their friends by who, what, where and when, we know we know a person when we can say, “That’s how he is.” […]
Active Endowments: If I say, “I love cats,” I’m just emoting. If I say, “I love this cat,” I’m emotionally reacting. If we make the object of our emotion active in the scene – actually tangible/observable/repeatable on stage – then we have something to react to instead of just talk about. What is it specifically […]
Objective: In any scene you have at least two different emotional perspectives to play from: Your Personal and Scenic Emotional Perspectives – How you feel about “I” and How you feel about “You.” Your Personal Emotional Perspective = How I feel about who I am, where I am and what I’m doing. Your Scenic Emotional […]
Personal Engagement: If you were all by yourself on stage, how would you feel about who you are, where you are and/or what you’re doing? Finding an emotion and an active scene element to feel that emotion toward can be the continued catalyst for a successful scene. If I say, “I love cats,” I’m […]