Hey gang
Here's a quick summary of some of the things we tried on Friday. Essentially, I wanted to provide you with a few strategies for group scenes that will make them more successful. (In this case, group scenes involve more than two people.)
In general, it is best to keep the idea of 'dynamics' in mind when thinking about group scenes. For our purposes, the term 'dynamics' will refer to the interactions happening between two people, groups, or ideas. In a two-person scene, there is only one dynamic to follow: the dynamic between the two people on stage. Even if person one shouts 'I am eating papayas!' and person two begins to mime assembling a model airplane, there is only one dynamic to follow (however weird this example may be). The audience can follow along no matter what you throw at them. (Remember, in the situation with papayas and airplanes, it's far more important that you do something than what you do).
In a group scene, there are naturally more dynamics to follow as there are simply more people on stage. In this situation, though, which dynamic does the audience follow? More than likely, one improviser will either become dominant, controlling the entire progression of the scene, or be ignored entirely. This trend occurs because there are too many dynamics present. Basically, there's too much going on. Improvisers will become confused and worse yet, the audience will become confused. Recall the example I gave during practice: Who are you going to pay attention to? The dynamic between the strawberry picker and the prisoner, the dragon and the barbeque dad, the barbeque dad and the strawberry picker? In any of those situations, something will be lost. So, what do you do?
You can mirror each other!
Mirroring, as you recall, refers to the act of becoming the exact same character as somebody else. You take on their physical traits, their voice, their actions and their perspective. It is important to try to mimic everything that the other person does. The minute you do something that differentiates your character from theirs, you've stopped mirroring and you've create a schism that the audience will detect.
When you are mirroring, if somebody says a line, you say that line back heightened a little bit. If one of you says 'It's a beautiful day today', then the other person could say 'This is the most gorgeous day I've seen all week'. Strangely enough, even though you're basically saying the exact same thing, the very fact that you have heightened it a touch makes the audience think things are moving forward.
Bear in mind that while mirroring, you will have to add things to the conversation as well. You can't merely wait for the first person to say and do everything. It will make you all look like much better improvisers if you can give and take freely. Take turns leading and following. If one of you begins a train of thought, then let somebody else begin a train of thought.
"Why does this technique work?" You may be thinking. "Isn't there still a new dynamic to follow for each additional character on stage?" I'm glad you asked that question, hypothetical other person! There certainly is a new dynamic between a new character and each character on stage, but if they're mirroring, then it's the same dynamic! Instead of having to watch the dynamic between the prisoner and the barbeque dad, the dragon and the strawberry picker, the prisoner and the dragon, etc, you're watching the dynamic between the waiter and the waiter, the waiter and the waiter, the waiter and the waiter, and so on. It's easier to follow because the audience understands exactly what is going on.
Furthermore, (and this is pretty dang cool) you can show how good of an improviser you are by creating the same character four times over. Could you imagine? A whole stage of unique people, doing the same brilliant character? All the agreement and heightening would be a joy to watch. You'll know exactly what you're doing ("I'm just copying what the first person did, and adding a little to each line they're saying") and the audience will think that you're brilliant.
Alliances
Four people sit around a table. The lights go down, they laugh comfortably, and the lights go up. The first three people to speak have an 'alliance' (they will mirror each other throughout the scene). The final person to speak gets to be the wildcard. They don't have to mirror, and they can basically say what they want, though in general it will likely work if they say something different than the people with the alliance.
This type of mirroring exercise works on the same principles as the scenes in which everybody mirrors each other. There is still only one dynamic to follow. (In this case, it is alliance and wildcard, alliance and wildcard, alliance and wildcard). I could see there being another dynamic between the members of the alliance, but if everybody in the alliance is mirroring each other, then there shouldn't be a new dynamic there.
Summary
If you're uncertain what to do in a scene, try mirroring the other person. That action will create the game of the scene for you. If you mirror and heighten, mirror and heighten, the audience will be delighted. If you find yourself in a group scene, mirror one of the other players. It will make your groups scenes much more cohesive and far more entertaining for the audience. You'll look mad professional, too. What a better way to show your support for your teammates than by saying "That character is so awesome that I'm going to do it too. I am going to heighten it with you and make it even more awesome."
Keep up the great stuff, gang!
Cheers,
Cliff
Monday, February 21, 2011
Friday, February 4, 2011
Robert Bateman Improv Team - Thoughts on February 4th
Hey gang
You know, watching today's Improv practice really highlighted the importance of establishing a solid platform. A lot of improvisers will likely jump into scenes with an immediate 'what' offer. I suppose I can understand why they may choose to take this action: it's a safe choice. If you slam down a big offer (for example, "Let's start corralling these horses!"), then you know exactly what to expect in the scene.
Problem is, without a solid platform, this type of offer is inherently weak. Personally, I'm not certain why I would care to see two people corralling horses. There's no value in this presentation for me, it doesn't mean anything to me. However, if I were to have some kind of connection to the performers, or if they were to show me that their actions were directly affecting each other in an interesting way, then I would likely become interested in the scene. I don't want to see people corralling horses, I want to see people affected by the choice to corral horses.
For example:
Person A: Let's start corralling these horses!
Person B: What's that supposed to mean?
Person A: I'm sorry?
Person B: I mean, what do you mean by that?
Person A: I mean, it's time to corral the horses.
Person B: Do you think I'm stupid?
Person A: What?
Person B: Do you view me as being inherently without worth or value?
Person A: I'm...uncertain how to proceed with this.
And so on. I'm not certain that conversation what entirely a good example, but perhaps if it were to be acted out, with subtle status manipulations and character flaws, it could be entertaining. In any case, it's an example of characters being affected by choices, rather than going though the motions simply because it's what the scene's about.
Dropping a strong 'what' choice can make the scene worthwhile, provided it has a solid platform of character and environment (This situation would be your Big Dumb Choice, or your Red Flag style of scene). Highlighting the 'what' of the scene at the beginning could also be an effective choice, providing that you explore how that choice affects the characters in the scene. I don't want to see a scene about corralling horses. I want to see a scene about people being affected by corralling horses.
I feel as though I should mention that nothing I've observed is a hard-and-fast rule about Improv. I'm certain everyone can think of a scene they thought was successful but defied any number of Improv 'rules'. I suppose I'm observing that in general, scenes tend to be more entertaining and memorable if they focus on the relationships and characters. Essentially I would like you to take these observations with a grain of salt.
See you all on Monday!
Cheers,
Cliff
You know, watching today's Improv practice really highlighted the importance of establishing a solid platform. A lot of improvisers will likely jump into scenes with an immediate 'what' offer. I suppose I can understand why they may choose to take this action: it's a safe choice. If you slam down a big offer (for example, "Let's start corralling these horses!"), then you know exactly what to expect in the scene.
Problem is, without a solid platform, this type of offer is inherently weak. Personally, I'm not certain why I would care to see two people corralling horses. There's no value in this presentation for me, it doesn't mean anything to me. However, if I were to have some kind of connection to the performers, or if they were to show me that their actions were directly affecting each other in an interesting way, then I would likely become interested in the scene. I don't want to see people corralling horses, I want to see people affected by the choice to corral horses.
For example:
Person A: Let's start corralling these horses!
Person B: What's that supposed to mean?
Person A: I'm sorry?
Person B: I mean, what do you mean by that?
Person A: I mean, it's time to corral the horses.
Person B: Do you think I'm stupid?
Person A: What?
Person B: Do you view me as being inherently without worth or value?
Person A: I'm...uncertain how to proceed with this.
And so on. I'm not certain that conversation what entirely a good example, but perhaps if it were to be acted out, with subtle status manipulations and character flaws, it could be entertaining. In any case, it's an example of characters being affected by choices, rather than going though the motions simply because it's what the scene's about.
Dropping a strong 'what' choice can make the scene worthwhile, provided it has a solid platform of character and environment (This situation would be your Big Dumb Choice, or your Red Flag style of scene). Highlighting the 'what' of the scene at the beginning could also be an effective choice, providing that you explore how that choice affects the characters in the scene. I don't want to see a scene about corralling horses. I want to see a scene about people being affected by corralling horses.
I feel as though I should mention that nothing I've observed is a hard-and-fast rule about Improv. I'm certain everyone can think of a scene they thought was successful but defied any number of Improv 'rules'. I suppose I'm observing that in general, scenes tend to be more entertaining and memorable if they focus on the relationships and characters. Essentially I would like you to take these observations with a grain of salt.
See you all on Monday!
Cheers,
Cliff
Robert Bateman Improv Team - Performance Notes
Hey gang
Hope you're all doing well and that second semester has been kind to you as yet.
It's been a little while since I've updated the improg, but to be perfectly honest, I don't think that's atypical at this point. Here are some thoughts on the games we will likely be doing during the competition.
Theme
Suggestion: Provided by CIG Judges
As I'm certain you all know, we will be playing Sweep for our Theme event. Sweep is essentially our version of Macro Neato, a performance style largely done by the Bad Dog Theatre in Toronto. Players form a back row, or stand to the sides of the stage (we will likely be standing to the side, as it will make the stage appear less cluttered). Performers create two-person scenes, focusing on their individual Deals while perhaps establishing a Game. At any point, people in the back row (or to the sides) can tap out one player, thus endowing the remaining player as the 'driver' of the scene. Players then depict the driver in a variety of different scenarios. When improvisers feel as though the characters have worn out their premise (i.e. the premise has been taken to the moon, the characters have been killed and are in heaven, or any other number of things), then any member of the back row (or the sides) can run in front, thus 'sweeping' the scene and beginning a new scene.
This game will prove an excellent opportunity to demonstrate your ability to create something out of nothing. Begin with your Deal. It doesn't matter what it is, that you are doing it is much more important than why you are doing it. Notice the other person and begin to do your thing because the other person is doing their thing. The very fact that you are doing your thing because of the other person creates an interesting relationship that will utterly delight the audience. Once you have the platform, the tiny, truthful and organic core around which you will build your scene, add in your Who/What/Where. This incorporation is your opportunity to tie the scene to the Theme, whatever it may be. Don't worry about trying to find that connection immediately. Build your Deal and trust that you will be able to make the connection, no matter what the Theme may be. You're all clever people. You can do it.
Once improvisers have clearly established their Deals, then it is easy to pick a Driver to further additional scenes. If an improviser chooses happiness as their Deal, and everything that happens only serves to make them happier, then we know that they will be the happy character in every scene they're thrown into. Once the character and scene has been heightened to the extreme (for example, "Welcome to the gates of Hell. Will it be the lake of fire or the river of excrement?" *met with laughter*), sweep the scene and become new characters with new Deals.
A few general tips and reminders:
-Nobody will care why everything is causing you to do your Deal harder. It will be entertaining that you do it. Audiences like to see situations that they wouldn't normally encounter.
- For heightening, remember the pattern Out Out In. If you choose 'Love' as your Deal, thus making you love everything, or love weirder and weirder things, then the ultimate choice is to turn your love to your scene partner. (for example, "I love this sweater. I love the floor. I love you!!!") Begin by associating yourself with external things (Out) and end with something on stage (In).
- If improvisers are killing, and the audience is bowled over with laughter, sweep them. It sounds counter intuitive, but you'll have just done those improvisers a huge favour. The audience will remember them as being hilarious, which will only work to their favour the next time they are in a scene. Good improvisers make other improvisers look good.
Life
Suggestion: A happy moment from your teenage years, or some iteration thereof
The Harold is a style of improvisation developed by Del Close. It consists of truthful monologues, two-person scenes and large-group games. These elements flow together and stem from each other in a way that is organic, truthful and wonderful to watch. Essentially, it's an opportunity for improvisers to demonstrate their prowess at performing with each other and acting as a group.
For our purposes, we will be doing a shorter, adapted version of the Harold. We will begin with a large-group word association/exploration, taking the chosen theme and associating it with other ideas/concepts. From there, we will naturally break into individual monologues based off of the themes explored in the initial word association. These monologues will be followed immediately by short scenes that further the themes explored in the monologue. Should it become necessary for other improvisers to take part in the scene, then they absolutely can. With this pattern in mind, we will explore all three elements of Del Close's original Harold format, albeit abbreviated for CIG time restraints.
A few general tips and reminders:
- During the initial word association/exploration, try to build the A to C thinking we've practiced during word association circles. Remember that every response is the correct response. Allow the words to flow through you, creating an emotion that will be expressed through your physical movements. Perhaps the emotion will be happy, perhaps sad, perhaps any other emotion. In any case, you will be priming yourselves and the audience for the rest of your scene.
- If you hear a monologue that may call for a large group (e.g. the Soccer team example), then be ready to jump into the scene. If you notice other people jump into the scene, though you are uncertain why, simply mirror everybody. No one in the audience will be able to tell you have no clue what you're doing. Notice what others are doing and do it harder.
- If you're telling a monologue, don't feel as though you need to change names or places. Real names and places will provide a better connection for the audience than fictitious ones. (I recall a scene when an improviser mentioned they were drinking Rumpelstiltskin cola. They would have made the scene more realistic, less silly and therefore less easily dismissed had they used a real soft drink. They also would have made less cognitive work for themselves.)
Story
Suggestion: A favourite animal and a favourite colour, or some iteration of an object and an adjective, to be combined to form the title of the story (for example, 'Purple' and 'Moose' become 'The Purple Moose')
For our Story event, we will be playing the game Typewriter. I would be lying if I said that I have never seen this game played before. However, our version will differ from any performance ever given in the sense that we will be creating a tiny, organic, truthful core and building outward from there.
Two improvisers will begin a scene in the fashion of 'That's so True'. After a short amount of time, one improviser will drop the Big Dumb Choice, thus fueling the rest of the scene. Graeme will act at the storyteller/typist for the rest of the scene. (I don't remember whether he volunteered or if we volunteered him, but regardless, he's the perfect fit for this role.) Taking the truthful platform and utilizing the Big Dumb Choice made by one improviser, Graeme will narrate the rest of the scene, incorporating storytelling elements (such as heightening/raising the stakes, reaching a conclusion/denouement, and a moral if needed). Other improvisers will continue to act throughout the scene, following Graeme's directions.
A few general tips and reminders:
- Even though the direction of the scene will be taken over by Graeme, keep the Deals established at the beginning of the scene. If someone is angry, they become angrier. If someone is fishing, they fish in more interesting and unique ways (basically, they fish harder).
- Build the actions of the improvisers in the scene until there appears to be no option left but a resolution. This moment of change, this turning point, if you will, can effectively serve as the end of the scene.
- For the improvisers who aren't directly involved in the scene, be ready to jump into the scene should your presence be needed. If Graeme mentions a shady character lurking behind a tree, somebody had better be ready to be a shady character. (Furthermore, perhaps somebody could act as a tree. Who do we know with tree-impersonation abilities?)
Character
Suggestion: A location that could fit on the stage, somewhere somebody in the audience spent money recently, or any location prompt that has the audience remember rather than create (we will also certainly not be asking for a non-geographical location)
For our Character event, we will be playing the game Pecking Order. This game will serve as an opportunity to showcase your character acting and your ability to incorporate status in your scenes. Furthermore, it will be exceptionally entertaining for the audience.
Four improvisers will be given a number. '1' will be the first person to enter and therefore the lowest status character. '2' will have a status higher than 1, but lower than 3 or 4. '3' will be higher than 1 and 2, though lower than 4, and '4' will be the highest status. 1 will enter the scene, establishing the location of items in the room and generally setting up the premise of the scene. 2 will enter, playing high status to 1. 3 will enter, playing even higher status, and then 4 will enter, playing the highest status of all. 4 will then find a reason to leave, followed by 3 and then 2, thus leaving 1 in the scene. 1 will find some way to give the audience a pleasing conclusion to the scene, thus ending the performance.
The humour in this scene will come from seeing higher status people continually lowered by even higher status people. The trick, however, will be in maintaining deals despite having status lowered. If you come into the scene with a gruff, 'trucker-esque' accent, you can't drop it simply because somebody else has come into the scene. In Start the Revolution without me, the King doesn't stop being the King simply because he has his status lowered. (For those of you who are interested, Start the Revolution without me is a wonderful film starring Gene Wilder and Donald Sutherland. It serves as a fantastic study of status, character, and the difference between status and class.)
A few general tips and reminders:
- As a result of there being so many improvisers on stage at once, you will certainly need to manage your speaking and pacing. Try not to talk over other people. I realize this will be difficult, but do your best to keep things sane on stage.
- Try speaking through the pecking order. Namely, 4 can give orders to 3, who then speaks to 2, who then speaks to 1.
- Again, maintain your character despite having your status raised and lowered. If you play a little girl, then you had best not suddenly become someone much older as a result of your change in status.
~
Hopefully these outlines will help focus your energy in scenes. If these outlines make you nervous or apprehensive, trust that you already have the skills to perform these scenes very well. Know that, should all else fail, you will have the platforms you establish to fall back to, and you will be surrounded by people who will support you no matter what happens during the performance.
I recall reading an interview with Colin Mocherie. He said that improv isn't scary or intimidating for him, because if he fails on stage, he knows that he's failing with his friends by his side.
Let's break some hearts.
Cheers,
Cliff
Hope you're all doing well and that second semester has been kind to you as yet.
It's been a little while since I've updated the improg, but to be perfectly honest, I don't think that's atypical at this point. Here are some thoughts on the games we will likely be doing during the competition.
Theme
Suggestion: Provided by CIG Judges
As I'm certain you all know, we will be playing Sweep for our Theme event. Sweep is essentially our version of Macro Neato, a performance style largely done by the Bad Dog Theatre in Toronto. Players form a back row, or stand to the sides of the stage (we will likely be standing to the side, as it will make the stage appear less cluttered). Performers create two-person scenes, focusing on their individual Deals while perhaps establishing a Game. At any point, people in the back row (or to the sides) can tap out one player, thus endowing the remaining player as the 'driver' of the scene. Players then depict the driver in a variety of different scenarios. When improvisers feel as though the characters have worn out their premise (i.e. the premise has been taken to the moon, the characters have been killed and are in heaven, or any other number of things), then any member of the back row (or the sides) can run in front, thus 'sweeping' the scene and beginning a new scene.
This game will prove an excellent opportunity to demonstrate your ability to create something out of nothing. Begin with your Deal. It doesn't matter what it is, that you are doing it is much more important than why you are doing it. Notice the other person and begin to do your thing because the other person is doing their thing. The very fact that you are doing your thing because of the other person creates an interesting relationship that will utterly delight the audience. Once you have the platform, the tiny, truthful and organic core around which you will build your scene, add in your Who/What/Where. This incorporation is your opportunity to tie the scene to the Theme, whatever it may be. Don't worry about trying to find that connection immediately. Build your Deal and trust that you will be able to make the connection, no matter what the Theme may be. You're all clever people. You can do it.
Once improvisers have clearly established their Deals, then it is easy to pick a Driver to further additional scenes. If an improviser chooses happiness as their Deal, and everything that happens only serves to make them happier, then we know that they will be the happy character in every scene they're thrown into. Once the character and scene has been heightened to the extreme (for example, "Welcome to the gates of Hell. Will it be the lake of fire or the river of excrement?" *met with laughter*), sweep the scene and become new characters with new Deals.
A few general tips and reminders:
-Nobody will care why everything is causing you to do your Deal harder. It will be entertaining that you do it. Audiences like to see situations that they wouldn't normally encounter.
- For heightening, remember the pattern Out Out In. If you choose 'Love' as your Deal, thus making you love everything, or love weirder and weirder things, then the ultimate choice is to turn your love to your scene partner. (for example, "I love this sweater. I love the floor. I love you!!!") Begin by associating yourself with external things (Out) and end with something on stage (In).
- If improvisers are killing, and the audience is bowled over with laughter, sweep them. It sounds counter intuitive, but you'll have just done those improvisers a huge favour. The audience will remember them as being hilarious, which will only work to their favour the next time they are in a scene. Good improvisers make other improvisers look good.
Life
Suggestion: A happy moment from your teenage years, or some iteration thereof
The Harold is a style of improvisation developed by Del Close. It consists of truthful monologues, two-person scenes and large-group games. These elements flow together and stem from each other in a way that is organic, truthful and wonderful to watch. Essentially, it's an opportunity for improvisers to demonstrate their prowess at performing with each other and acting as a group.
For our purposes, we will be doing a shorter, adapted version of the Harold. We will begin with a large-group word association/exploration, taking the chosen theme and associating it with other ideas/concepts. From there, we will naturally break into individual monologues based off of the themes explored in the initial word association. These monologues will be followed immediately by short scenes that further the themes explored in the monologue. Should it become necessary for other improvisers to take part in the scene, then they absolutely can. With this pattern in mind, we will explore all three elements of Del Close's original Harold format, albeit abbreviated for CIG time restraints.
A few general tips and reminders:
- During the initial word association/exploration, try to build the A to C thinking we've practiced during word association circles. Remember that every response is the correct response. Allow the words to flow through you, creating an emotion that will be expressed through your physical movements. Perhaps the emotion will be happy, perhaps sad, perhaps any other emotion. In any case, you will be priming yourselves and the audience for the rest of your scene.
- If you hear a monologue that may call for a large group (e.g. the Soccer team example), then be ready to jump into the scene. If you notice other people jump into the scene, though you are uncertain why, simply mirror everybody. No one in the audience will be able to tell you have no clue what you're doing. Notice what others are doing and do it harder.
- If you're telling a monologue, don't feel as though you need to change names or places. Real names and places will provide a better connection for the audience than fictitious ones. (I recall a scene when an improviser mentioned they were drinking Rumpelstiltskin cola. They would have made the scene more realistic, less silly and therefore less easily dismissed had they used a real soft drink. They also would have made less cognitive work for themselves.)
Story
Suggestion: A favourite animal and a favourite colour, or some iteration of an object and an adjective, to be combined to form the title of the story (for example, 'Purple' and 'Moose' become 'The Purple Moose')
For our Story event, we will be playing the game Typewriter. I would be lying if I said that I have never seen this game played before. However, our version will differ from any performance ever given in the sense that we will be creating a tiny, organic, truthful core and building outward from there.
Two improvisers will begin a scene in the fashion of 'That's so True'. After a short amount of time, one improviser will drop the Big Dumb Choice, thus fueling the rest of the scene. Graeme will act at the storyteller/typist for the rest of the scene. (I don't remember whether he volunteered or if we volunteered him, but regardless, he's the perfect fit for this role.) Taking the truthful platform and utilizing the Big Dumb Choice made by one improviser, Graeme will narrate the rest of the scene, incorporating storytelling elements (such as heightening/raising the stakes, reaching a conclusion/denouement, and a moral if needed). Other improvisers will continue to act throughout the scene, following Graeme's directions.
A few general tips and reminders:
- Even though the direction of the scene will be taken over by Graeme, keep the Deals established at the beginning of the scene. If someone is angry, they become angrier. If someone is fishing, they fish in more interesting and unique ways (basically, they fish harder).
- Build the actions of the improvisers in the scene until there appears to be no option left but a resolution. This moment of change, this turning point, if you will, can effectively serve as the end of the scene.
- For the improvisers who aren't directly involved in the scene, be ready to jump into the scene should your presence be needed. If Graeme mentions a shady character lurking behind a tree, somebody had better be ready to be a shady character. (Furthermore, perhaps somebody could act as a tree. Who do we know with tree-impersonation abilities?)
Character
Suggestion: A location that could fit on the stage, somewhere somebody in the audience spent money recently, or any location prompt that has the audience remember rather than create (we will also certainly not be asking for a non-geographical location)
For our Character event, we will be playing the game Pecking Order. This game will serve as an opportunity to showcase your character acting and your ability to incorporate status in your scenes. Furthermore, it will be exceptionally entertaining for the audience.
Four improvisers will be given a number. '1' will be the first person to enter and therefore the lowest status character. '2' will have a status higher than 1, but lower than 3 or 4. '3' will be higher than 1 and 2, though lower than 4, and '4' will be the highest status. 1 will enter the scene, establishing the location of items in the room and generally setting up the premise of the scene. 2 will enter, playing high status to 1. 3 will enter, playing even higher status, and then 4 will enter, playing the highest status of all. 4 will then find a reason to leave, followed by 3 and then 2, thus leaving 1 in the scene. 1 will find some way to give the audience a pleasing conclusion to the scene, thus ending the performance.
The humour in this scene will come from seeing higher status people continually lowered by even higher status people. The trick, however, will be in maintaining deals despite having status lowered. If you come into the scene with a gruff, 'trucker-esque' accent, you can't drop it simply because somebody else has come into the scene. In Start the Revolution without me, the King doesn't stop being the King simply because he has his status lowered. (For those of you who are interested, Start the Revolution without me is a wonderful film starring Gene Wilder and Donald Sutherland. It serves as a fantastic study of status, character, and the difference between status and class.)
A few general tips and reminders:
- As a result of there being so many improvisers on stage at once, you will certainly need to manage your speaking and pacing. Try not to talk over other people. I realize this will be difficult, but do your best to keep things sane on stage.
- Try speaking through the pecking order. Namely, 4 can give orders to 3, who then speaks to 2, who then speaks to 1.
- Again, maintain your character despite having your status raised and lowered. If you play a little girl, then you had best not suddenly become someone much older as a result of your change in status.
~
Hopefully these outlines will help focus your energy in scenes. If these outlines make you nervous or apprehensive, trust that you already have the skills to perform these scenes very well. Know that, should all else fail, you will have the platforms you establish to fall back to, and you will be surrounded by people who will support you no matter what happens during the performance.
I recall reading an interview with Colin Mocherie. He said that improv isn't scary or intimidating for him, because if he fails on stage, he knows that he's failing with his friends by his side.
Let's break some hearts.
Cheers,
Cliff
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