i need some action
- Thread starter ryloc
- Start date
in the past week i've had 3 seperate coaches do this excercise with us:
he/she gives the 2 people an action, and they start doing it right away - but never talk about the action. they can talk about anything else except the action.
i really love this excercise. i don't know try it - you may find it useful.
he/she gives the 2 people an action, and they start doing it right away - but never talk about the action. they can talk about anything else except the action.
i really love this excercise. i don't know try it - you may find it useful.
I appreciate the Mich Napier approach and always start out strong doing an activity. Take care fo yourself first, is what he says. Then you don't preplan the improv too much. Maybe just a first line or whatever.
Isn't it more interesting when 1 player is playing the trumpet and the other is saying wood? Who knows where it's going, but it's cool.
-Erik :up:
Isn't it more interesting when 1 player is playing the trumpet and the other is saying wood? Who knows where it's going, but it's cool.
-Erik :up:
Rachel - out of curiosity what sidecoaching did they use to help people who accidentally started talking about the activity? Or didn't that happen or didn't they use sidecoaching.
I fail at that exercise a lot.
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VAPORITE VAPORIZER TEMP
I fail at that exercise a lot.
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VAPORITE VAPORIZER TEMP
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Rather than replacing the "talking heads" syndrome with the "got to have an activity" syndrome (which imv tends to *stop* improvisers from being freely physical because they're busy doing the activity, and also tends to take their focus away from each other and onto the activity), try doing exercises which emphasise physical rather than verbal communication between the characters.
For example, in the middle of a scene that's got a bit "talky", side-coach simply "stop talking". I find this often leads to people really noticing for the first time what's going on between them in the scene and responding fully to each other rather than tossing words back and forth. Telling just one character to stop talking can be useful, as well.
In any exercise designed to reduce talking, you should strongly discourage the use of physical "substitute language" - i.e., trying to mime the words that you want to say, rather than letting the physical actions come from a non-wordy place.
For example, in the middle of a scene that's got a bit "talky", side-coach simply "stop talking". I find this often leads to people really noticing for the first time what's going on between them in the scene and responding fully to each other rather than tossing words back and forth. Telling just one character to stop talking can be useful, as well.
In any exercise designed to reduce talking, you should strongly discourage the use of physical "substitute language" - i.e., trying to mime the words that you want to say, rather than letting the physical actions come from a non-wordy place.
re: needing some action
Ryloc:
Whenever I find myself becoming a "talking head," I immediately force myself to interact with at least one object in the environment. At least that grounds me in the physical world we've created.
I'm also down with prompting an emotional connection (a la telling my partner "I love you"), but I usually save that as a wild card for use when a scene is tanking.
Lauren
_______________________
August 23rd at 7pm at the UCB: Come for New Team Harold Night. Stay for the funny.
Ryloc:
Whenever I find myself becoming a "talking head," I immediately force myself to interact with at least one object in the environment. At least that grounds me in the physical world we've created.
I'm also down with prompting an emotional connection (a la telling my partner "I love you"), but I usually save that as a wild card for use when a scene is tanking.
Lauren
_______________________
August 23rd at 7pm at the UCB: Come for New Team Harold Night. Stay for the funny.