Objective: To responsibly and recklessly endow scene partners (with characteristics, information, activities, etc.) that s/he must accept.
Objective: To responsibly and recklessly endow scene partners (with characteristics, information, activities, etc.) that s/he must accept.
Objective: To play with strong emotional perspectives that evoke strong emotional reactions and drive strong emotional scenes.
Objective: This exercise is about channeling personal memories to evoke details and define mime.
Objective: To focus on strong initiations that heighten established games with new stakes, situations, characters and relationships.
Objective: To focus on strong initiations that endow personal and scenic games and leverage those quickly defined games with subsequent beat initiations that heighten characters and relationships.
Improvisation: Making it up as you go along. A group of players gets on stage without previously rehearsed lines or blocking and acts out. The audience understands that this show is constructed from nothing before their eyes. In these aspects, improvisational performance differentiates itself from any other performance medium. Improvisation then is at its best […]
THE SELF CONTAINED EMOTIONAL STATEMENT How do you start an improv scene? My answer was forged from the perspective of giants' shoulders. Mick Napier, of The Annoyance Theater, says we start with just one thing. - Assume a posture. - Grab an object. - Start a motion. - Engage your environment. - Embody a character. […]
When we whine that we don’t want to do group game work anymore, we ask, “Can we just do some two person scenes?” We want to breathe. And we equate “two person scene” with “time to breathe up top.” There’re just two of us; there’s less impetus to force our voice into the scene. We’re […]
We’re going to build "two person scenes" on patterns of emotional behavior. LET’S WARM-UP
How do we build our two person scenes after the initiating sequences? Practice. Let's review the components of strong two person scene initiations: 1. From the moment you enter the stage, actively engage either your environment or your scene partner with an emotional perspective dialed up to 11. That is all. With that, or those, […]