For anyone who wants to listen

[Rachel]

and I quote Mr. Delaney

"It's about characterization . . . "

"Pepper is nice as a seasoning, but nobody wants to eat pepper for dinner . . . I'm talking about fresh pepper"

"Your inner child should be at least between 8 or 9 years old, not 2 1/2"

Last night I learnt a lot more watching than I did playing - the trick is to remember all this stuff!

I love the idea of thinking of the opening as an overture - playing melodies of possible things to come. Delaney said enjoy playing the opening - if your not enjoying it, it's going to show in the Harold, and that was so true in watching the 50 minute Harold that followed. I'm not criticizing the players, I saw the things they were stumbling on, and I understood completely!

#1 - edit edit edit - edit on a high note - it's the back walls job to take care of the players in the scene - don't ever leave a scene hanging - once it hits it's high point get them out of there - don't ever let a scene fizzle out

#2 - Nebulous relationships don't work ever. From an audience perspective there is nothing more frustrating than watching somebody talking to somebody else about something somewhere.

#3 - Economy of words - say exactly what you mean in the simplest way possible - don't try to get fancy - it's not in your best interest to stump your scene partner.

#4 - Initiations shouldn't be complicated and tricky - simplicity. If you want your scene partner to know what your talking about then you have to be specific

#5 - Don't compete with fellow players - we are supposed to be supporting each other - not trying to stump each other.

#6 - Always play within the perameters you've already established - what you've established for yourself allows your scene partner to make assumptions on your character and then add/play off of you.

#7 - 3rd beats need to be most active - they're twice as short, so they have to be played twice as hard - bring something specific in and play it hard

This is what I learned yesterday!
:love: rachel

 

[Rachel]

January 16 2002

This is not so much a response to Mullaney's post about PSE spreadin' the love, as it is inspired by that post.

Keeping groups committed and supportive is a real challenge - one I fear I have not contributed to in my group. It's like your trying to create a healthy family - now I'm questioning my maternal abilities. As simple as it seems, supporting your team mates on the good work they've done, rather than dwelling on the mistakes of rehearsal and/or performance has never crossed my mind. I think too often we think of ourselves - how well "I" did - and how he/she messed "me" up - we're nothing without the group - so good or bad we all contributed to it.

So my first challenge of the year is to spread the love!

:love: rachel (muah! . . . that's a big wet kiss)

 

[Rachel]

January 17, 2002

I have so many things to say about last night's class with Armando Diaz, that I don't know where to begin. I didn't take notes, so my thoughts are a jumbled mess. I'll do my best.

In "Truth in Comedy" there is the quote from Del that an improviser should " . . . follow your fear." Improvising is scary in and of itself, so I took the quote as inherent of improv as a whole; as though just the fact that I'm playing implies that I'm following my fear. But last night was the first time I really understood what it means to walk into something completely unknown and just discover. Armando's class is about being "naked", plain and simple. There is absolutely nowhere to hide, and charm will get you nowhere - it was the most fun I've had watching and playing.

I know those of you reading are probably saying to yourself, "Well duh Rachel, that's obvious, haven't you learned anything." I understand this reaction, and I would probably have had the same one had I not taken last night's class. It was really creating three dimensions from air, and complex chracters from a simple movement and a sound. It was about accidentally tripping on your way to do an excercise, and finding yourself in the middle of your scene because of it.

ACTION. I remember reading Viola Spolin's "Improvisation for the Theater" a couple of years ago, and I noticed she stressed action and physicality throughout. Though I read it and agreed with the idea in theory I never really put it to the test. Action as in active, here-and-now type choices. Action that makes me live in this space as opposed to just talking in it, action that makes me really see the objects around me and interact with them - I feel that last night I saw this theory proven.

Another thing - I met and saw so many people that I had never played with before in my life. It was an awsome excercise. I've been grounded in playing with a lot of the same people since my level 2 class (many of which I've formed a group with . . . but that's a different thread) - and though I enjoy performing with these people, I'm so familiar with their style, that I feel I have a sense of what to do before I ever enter a scene. Last night was exciting just based on all the elements of surprise - all these choices people were making that I didn't expect had me playing in ways I don't think I've ever played before - following my fear; hmm maybe.

I have so much more to say - but I'm trying to make sense of it in my mind - maybe later on in the day, I'll be able to articulate it better.


rachel :worm:

____________________________________________________

OK it's later on in the day and I remembered one last thing, and then I won't bug ya'll anymore . . .

He mentioned that improv can loose it's freshness and fun after a while if you don't allow yourself to react to now. What's happening now could never have happened before, and if you react honestly to the moment and the space - which has never existed before now - you have no choice but to play in a way you've never played before. Therefore you'll never play the same twice and it can't help but be fun! This is what I understood anyway.

 

[Rachel]

January 18, 2002

I was a slacker last night, it's true. I promised to watch all the harolds (not including cagematch), and I was sucked into the vortex that is McManus. But I did manage to see the New Team Harolds; really enjoyed them.

Watching children play is wild. They tug at each other, touch each other, shove their friends out of the way, cheer too loud, hug hard . . . and all that good stuff. They behave this way without blinking an eye - they don't have any sense of personal space.

Here we are, a bunch of improvisers, adults to be more precise, trying to play like children. How do we know how far to take things? Playing with abandon can be so hard when your dealing with all those walls that life builds - my concern is with the question of physical boundaries. How do you know when to stop, if you've gone too far, and does this kind of thinking work against what we're trying to accomplish when we play?

I don't have the answers - I assume it's a matter of personal boundaries. Is it our job as improvisers to allow ourselves to be completely open to possible invasion? Should we even consider it invasion? Can we take being touched as a gift? If we're bothered by a player's comfort level with touching can we use our discomfort to inform the scene?

I've been told by coaches to consider myself a vessle - allow myself to be taken over by a chracter/idea . . . so am I personally relieved of my responsibilities while I'm on stage - can I blame what came over me? Shit I don't know. This entry is full of problems and no solutions!

I can say that I've been an audience member and seen performers play off of being touched, and others that were clearly bothered by it. The key word here is playing, and in playing we assume people are having fun - I think if you pay close attention to your scene partner you'll be able to judge what games are O.K. and what games are not. Some people are responsive to anything, while others can be paralyzed by aggressive groping.

O.K. that's it for today! Sorry about all the questions!

rachel

 

[Rachel]

January 20, 2002

Rehearsal Friday night was amazing in my opinion. I thought everyone in the group did work that I had never seen them do before. That's the point of rehearsal - it's supposed to be a safe place to experiment - really go nuts. What works works and what doesn't doesn't - who cares - by the time it's on stage it's as good as vanished anyways. I also felt a lot closer to everybody in the group by the end of the night. I cared about them more, and wanted to see them more frequently - now that could've just been the margaritas, but hey whatever it takes.

I really feel the group as a whole improving, and I find the back wall supporting like mad - I think this is due to this closeness that's coming over everyone. Scene work is incredibly important, but that gets drilled constantly during class and rehearsal - I'm starting to feel that most of the work has to happen after rehearsals - concentrating on the relationships - finding out about the group members outside of improv. What they like, what they don't, when they're birthday is, where they went to school . . .

my dog is scratching at the front door - gotta go!

:worm: rachel :worm:

 

[Rachel]

January 22, 2002

I'm so tired that I haven't been able to figure out what I learned from last night's class.

My favorite quote of the evening, and I quote Michael Delaney:

"If it's not funny that's OK. If it's not fun, that's when you should fix it."

"Screw conflict, explore character and relationship."

I did notice last night, more than ever, that laughter can really mislead players. As audience members, especially in class, we laugh at a variety of things - and sometimes we laugh at mistakes. I did notice that laughter seems to encourage the performer in the direction of whatever sparked that laughter - and more often than not that's incredibly deceiving.

Another note from Delaney - Don't have troubles right off the top of the scene. It's OK to be OK with what is going on. It seems that we've equated finding the game with finding conflict - the game can simply be the dynamic of the relationship; what some one wants and the methods they use to get it . . . But I noticed we were finding problems with everything last night - even the silliest most normal activities were causing conflict. I think we become desperate to invent a game - so we try to force it from go.

Finally - hold the ensemble responsible for the success of the third beat!


:worm: rachel:worm:

 

[Rachel]

January 24, 2002

These are just raw notes from last night's Armando class. I may elaborate later in the day, as I come to life.

Take responsibility for the scene at all times - people tend to defer to their scene partner. Good improvisers can both initiate and lead, and follow the lead. Don't make it a habit of hanging on to the apron strings of your scene partner.

What makes a good initiation?

• Committment
  - confidence* in your ideas/decisions
  - really own your choices
  - don't second guess yourself, b/c then you loose th trust of your audience
  
  Strong sense of who you are
  Initiate w/something that some one can react to - don't initiate with indifferent - b/c if you don't care then niether will your scene partner

*comes from not caring what you look like or how you are perceived. Your responsibility is to the scene and the reality established within it.

Good morning and good day one and all
:love: rachel:worm:

 

[Rachel]

January 25, 2002

Last night went to see new team play - and it all came down to fun fun fun!

I loved it. It was a bunch of over excited people having a wickedly good time - and in the end that's the biggest rule. Rules were broken at times, but I didn't give a hoot because their attitude was infectuous!

Key word = play - playing is fun!

:up:

 

[Rachel]

January 28, 2002

I was reading something on yesand about Martin de Maat - they said he ended every class by saying "Sahib" - which means I am me because of how you respond to me. Thank you for creating me. here's the link:

http://www.yesand.com/news/cif2001/tributeshow.html

I can't get this statement out of my head - it seems to imply that I'm at the mercy of my environment. If that's true than the only power I have in shaping my person is in choosing my environment, and allowing certain people in, while shutting others out. And it also implies that I'm responsible for shaping the people in my environment - WHAT A HUGE RESPONSIBILITY. One I think most of us, myself included take pretty lightly.

As I read journal entries, and as I grapple with my own concerns, both in improv and personally, I feel as though everyone's inner turmoil is related to the people/environments they've surrounded themselves by. It seems as though we shouldn't waste so much time trying to make people like us who just don't - trying to work with people who don't appreciate the work we're doing etc . . . Shit I'm so mad that everyone on these boards doesnt' feel like a fuckin genius, and I want to know why. Am I contributing to an environment that's making people feel less then they are?

I have never understood what poeple meant when they said they need to turn off the "noise" - and I think I finally do. I really wonder how much of the bullshit we feel inside stems from how people are responding to us - chances are if they're not responding well, than it's time to find those that do.

Realizations can be pretty painful. This journal entry is pretty unclear - but sometimes you just don't fully trust your environment, and that's a really weird feeling.

The next time you have a negative opinion about some one's character ("you" includes me . . . this is a journal entry after all) think about how you've contributed to shaping that person. And then shut the fuck up and be a better person.

love :worm: rachel:worm:

p.s. god i love my dog!

 

[Rachel]

January 29, 2002

I always like to open my Tuesday morning entry with a quote from Delaney:

"Trust your sense of humour, not your sense of comedy."

"Don't go to art for art, go to life for art."

I didn't take many notes last night, because Delaney had the whole class on their feet the whole time doing scene work - which was nice.

But here are some things I did manage to jot down:

Not only should the player always play competently, but the spaces the players inhabit should also be competent - don't make your spaces problematic - that's not where your going to find the game, and the audience doesn't care about that.

That's about it - other than that it was just great to get up and play.

I may have more to say after my coffee - so stay tuned.


:worm: rachel :worm:

oh - i've decided to stop posting radio shows on the off topic thread, and just post my new favorite shows in my journal.

so here's one i heard on friday that i thought was brilliant:
81 words
http://www.thislife.org/ra/204.ram

good morning, and enjoy!

 

[Rachel]

January 31, 2002

GOOD MORNING!!!

OK, last night's Armando class was amazing - what is it about that bloody class. Everyone does consistent, great work. I'm not kidding - it's a joy to attend. We played more than usual last night, so I didn't really have the opportunity to write much down.

• 
  We did an exercise where 2 people got up and the initiation had to be a reaction to something. It was amazing - he suggested we react with high emotion right off the top of the scene. This infused the scene immediately with relationship and emotion. It was the true meaning of start in the middle of action - I thought it would be interesting to start mid sentence. This exercise completely eliminated those dreaded initiations like "Hi, what are you doing?" or "Hi, what's your name?" Excellent little trick!
  
  Next we did an exercise where one person was given a statement by the class, and they had to heighten the statement till Armando called "scene". This was interesting in that it brought out unexpected reactions - if you just let yourself be affected by the statement, you were suddenly taken away and speaking in "tongues" - saying things you wouldn't think of if you took the time. One would find logic in their "rant", and then the momentum would build on its own - almost effortless - very cool. try it of you get the chance.
  
  We also did 2 person scenes sitting down facing away from our scene partners. During this exercise you heard things I don't think you would otherwise hear if you were concentrating on object work, moving through the space etc. They do say when one looses one sense the others are strengthened in order to compensate, and that's exactly what happened here.
  We only had hearing, so we were hearing like mad!!!

OK - i want to give a shout out to tanouye - he lent me his book "The Informant" - and I know that wasn't easy for him:up:

As a homage to the book I'm reading listen to this radio show . . . and thank me later! The greatest radio moment/hour I have ever had - it's what made me want to read the book in the first place!

The Fix Is In
http://www.thislife.org/ra/168.ram

Good morning, and enjoy!

:love: rachel :worm:

 

[Rachel]

February 4, 2002

BUON GIORNO TUTTI!!

So my group had a sleepover on Friday to bond - and I must say it was an excellent idea. Between bookcases falling over, people being stuck on the brooklyn bridge, car searches, and drunken harolds, the night accomplished more than I had anticipated. We broadcast it live over the internet, and I have to say that was hillarious in and of itself - all these weird people were chatting, asking us questions, asking each other questions, and wanting more action on our end - very funny.

I learned that some people in the group snore really loudly when they sleep, other's fall asleep within seconds and nothing on earth can wake them, and they're all excellent to play with drunk at 3:30am.

I hope everything I learned friday night comes through in our scene work - I'm sure it will.

Love :love: rachel:love:

I'm still trying to figure out what they're obsession is with "say anything" - after seeing it i realized i had seen it before and found it rather . . . bad. in a bad way. john cusak's old movies are clearly becoming retro and kitschy! . . . i'm trying to like them (the movies) though - really i am.

 

[Rachel]

GOOD MORNING!!!!

Just had my coffee, and some eggs, and just read drifter's journal entry, and felt all warm and fuzzy inside. I didn't read it yesterday because i played hookie from work, and didn't go on the IRC. i didn't call you at work yesterday drifter because sometimes i feel my communication with you verges on stalking! and i don't want to scare you!:cop:

so i gained weight - i don't know why but i did! that's my confession for the day. i love food - carlos decided i'm a food junkie and have to approach it as an addiction - he's probably right. god i love food - not as much as i love drifter, lola, and carlos, but pretty damn close.

ok lets talk shop shall we. - Delaney's class on Monday - lots of playing again which i loved! the notes are a mix of my thoughts based on what i saw going on while people were playing.

Quote: "Don't chase 'busy back soon'"

If you don't want to play a game don't play it - find another game - if your not having fun playing the game - nobody is having fun watching the game.

I think the best thing to do is to start a scene with a reaction to your scene partner. Reactions assume relatonship, and they have a built in time elapsed - these people have been involved in this activity for quite some time - they didn't just bump into each other.

"WHen you find something, bring it on home, bring the metaphor into your life in another realm."

Try not to call out what you the improviser is supposed to be doing - e.g., lets talk about our relatoinship . . . you know stuff like that - don't walk the audience through the improv process.

Park Bench of Truth - bring yourself to everything, be honest, how are you affected.

Honorable mention: Sean Taylor "Honey are you still talking to the babysitter." - just a simple add on that clarified the scene and made it so funny no one could stop laughing!

"Whenever you get your character's philosophy, get it out, and don't be apologetic. Own it."

:blush: rachel :blush: :worm:

 

[Rachel]

GOOD DAY!!!

This is definitely a show worth listening to - and if you don't agree feel free to send your complaints either by private message or email.

Meet the pros
http://www.thislife.org/ra/192.ram

also - this site of dailies from http://jorgecolumbo.com
are quite interesting to browse through. they're not spectacular in and of themselves, but when viewed as a series, it's awsome. at least to me. that's how i got hooked on thumbing through them. they're just sketches of ordinary people he finds around nyc - i try to hide where he spotted them and guess - living here for so many years now you start to figure out who comes from where, and you can imagine their personalities and what they do for a living. have fun with them or just look at them - they're a great walking tour of my favorite city when your glued to your desk at work.

Holy shit i just heard this - take the time to listen - be patient, and you'll be happy you did.

http://www.yourlight.org/sound/yrnl_noa1.ram


:love: rachel:love:

 

[Rachel]

:love: WELL LOOK AT HERE!!! VERY NICE!!

OOOOOhhhh!!! look at these shnazy new journals - i like it alot. well i haven't written in here in a while and i don't know that i have much to say. i have some thoughts running through my mind and i need a release.

went to the theater last night and saw the syndicate - very impressed . i loved the opening. i think a new standard was set last night with how creative we can actually get with openings. and what a great idea to have something to refer too - and if nothing else it made a wicked backdrop. loved it - thank you!

I'll be back later on today when i've thought of important things to write. for now good morning to all, and i hope you have an excellent day :up:

:love: rachel

 

[Rachel]

HELLO AGAIN!

I like my written diary better than this one because it's written. that's probably one of the stupidest things I've ever said.

The weirdest thing happened to me the other day - i was walking down the street with Carlos (my papichulo), and he casually says to me that sometimes I have old fashioned taste. Such a comment shouldn' t have phased me, but on this fine day I burst into tears. That's when I realized I'm getting really antsy about turning 30. how humiliating. I vowed I wouldn't be one of those women that gave a shit, and here i am crying over being called old fashioned. what the fuck does that mean anyway.

I've been caught in a state of nostalgia since 26 - I'm turning 29 in april. that's 3 years of nostalgia - it's torture. I can't take it. nothing speaks to me now - everything tugs at my heart strings, recalls a past time, and makes me want to ball my eyes out. i was raised by awsome parents - maybe too awsome. i keep waiting for the day that i open the door and it's the same as it was when i was little. horrible feeling.

i've decided to be a terrible mother - i don't want my children to want to be around me. like birds push their chicks out of the nest - it seems cruel, but it's the best for everyone. all that love and caring just makes them want to stick around, or miss you when they do leave. none of that for my kids. they're going to thank heaven they're gone (i don't have any children btw) - and i'm going to be this cruel out of love!

 

[Rachel]

Here we go again!

In the tradition of the times, I was given notice today that my assignment was coming to an end. I was told last week that I was safe, that very impressive packages had been offered to permanent employees, but it appears they weren't impressive enough. Only 5 people took them, and they needed to get rid of 10 people by the end of March 20 by September. I'm sure had I dodged this bullet this time around, I would've been hit by it in a couple of months.

On my 23-block walk to work this morning, I kept thinking how great it would be to ditch this damn job. I thought it would give me some time to think about what I want to do, write, audition etc. I guess one should watch what they wish for. I was hoping to leave at the end of the summer, but destiny made the decision for me. I guess now was the time.

I'm writing this down because I'm experiencing a lot of anxiety and need to vent. I'm not a financial planner by any stretch of the imagination, and my boyfriend is chronically unemployed. So I'm not financially prepared for unemployment. But then again, who the hell ever is. As long as my dog doesn't go hungry, I guess everything should be all right.

I'll be embarrassed by the tone of this entry tomorrow, but for now, it's how I feel.

 

[Rachel]

ewww!

OK i just read the above entry and i think it's pathetic. i'm sorry for putting you, my loyal readers, through my self pity. it's over and i'm excited about the prospects of unemployment. it's true. i was lying in bed the other night, with my three cats and my dog, and noticed how unbelievably cozy it was. then i realized that i could be paid for doing this for the next 26 or so weeks. SWEET!


:up:

 

[Rachel]

I'm still in my PJ's

I did nothing today. NOTHING. I decided to stay home and practice being unemployed, and you know what I learned. I'm very good at it. I woke up early because that's just me, made myself some instant bustello caffinated coffee (because the ol' ball and chain melted the handle of the stovetop espresso machine, and basically welded it shut), made a cheese omelette, took terds out of the kitty litter, and sat in front of the computer, posting, emailing etc. this all started at about 6:45am, and here I am, still in my flannel pjs - haven't brushed my teeth yet, didn't wash my face yet. I'm soaking in my nastiness, and I confess, I LOVE IT! Spoke to some friends who are working, and didn't envy them for even a second. I may have finally found my niche. I am a sloth - my ass is sort of killing me, but not enough for me to get off this chair. did you see the sun shower today . . . no. pity, because i did and it was lovely - i even went outside for a bit to enjoy it. I didn't take nap today only because I didn't want to, but i coulda. the possibilities are endless! This was only a sweet taste of what it's going to be like starting sunday - who wants to join me for a little unemployed walk in the park. let me know 'cause i'm game!

:up: :flip:

www.corpa.iwarp.com

 

[Rachel]

The day after yesterday

I woke up this morning and decided to start a new life. I also decided that Lola's life would never be the same, since mine was about to change drastically. I got up, made myself dandelion tea (which I'll get used to in due time) - I double fisted my tea this morning with a mediocre cup of coffee, a drop of cream, and a pack of equal. I stretched for about fifteen minutes. I could hear the cracking of joints long forgotten. Welcomed all these long lost body parts back into my life, put on some sweats, sneakers, tried to prepare Lola mentally for what was about to happen, and decided to go jogging.

I'm not a dog trainer, I believe I've discussed this before, so as soon as I started jogging Lola went into full out run mode - since she's in a halti (similar to a horse lead - it guides from the snout), I was quickly and gracefully able to bring her down to my "pace".

I feel amazing! It didn't start that way - I jogged for approximately 2 1/2 miles (which is pretty amazing for me since I haven't moved other than to breath eat and piss for about a year now) I wanted to puke when I ended it, then I thought I was gonna pass out, then I started coughing up all this nasty stuff from smoking, just when my jugular felt like it was about to burst I started to feel really excellent.

I feel like I'm tripping and I hope it stays this way. I wonder if Lola feels the same!

Awright - I'm out.

Later
:love: Rachel

www.corpa.iwarp.com