I know this is a question for Brian, but I'll answer what I know. Every time I've done this exercise the characters have been assigned. It's amazing what people think they do all the time. People are almost always surprised at the character that gets assigned to them. That's part of the lesson, I guess.
Inhibitions.
- Thread starter Drifter Luke
- Start date
But to have it assigned by Mick...
He knows just what you need to work on.
If it was left up to me I'd work on something I thought I was lacking in, then the teacher would say "I never thought you were lacking in that". It's also lead me to believe that I'll only respond to the specific criticisms I get. Most of the time a lot of those things i think are lacking in my performance are there, it's just my head-deamon telling me they're not. Screw the Head-Deamon! Just go out with 110% and the teacher'll let you know where you can improve.
-Erik:up:
He knows just what you need to work on.
If it was left up to me I'd work on something I thought I was lacking in, then the teacher would say "I never thought you were lacking in that". It's also lead me to believe that I'll only respond to the specific criticisms I get. Most of the time a lot of those things i think are lacking in my performance are there, it's just my head-deamon telling me they're not. Screw the Head-Deamon! Just go out with 110% and the teacher'll let you know where you can improve.
-Erik:up:
Ari,
In that workshop of Mick's, it was actually the rest of the class who told each person what they had never seen that person do.
For example, Mick said, "What have you never seen Armando do?" and the answer was "Play high-status". Armando then did a scene with Susan Messing in which he played a military commander and it was hilarious. I still remember Susan seductively unbuttoning Armando's shirt and his response: "You're deregulating my uniform!"
I also remember that when Mick asked us what we'd never seen Mitch Rouse play, the answer was, "Mitch!" Mitch had to be Mitch onstage and that was great to watch, too, since he usually went into character immediately.
It was the best single workshop I've ever been in.
In that workshop of Mick's, it was actually the rest of the class who told each person what they had never seen that person do.
For example, Mick said, "What have you never seen Armando do?" and the answer was "Play high-status". Armando then did a scene with Susan Messing in which he played a military commander and it was hilarious. I still remember Susan seductively unbuttoning Armando's shirt and his response: "You're deregulating my uniform!"
I also remember that when Mick asked us what we'd never seen Mitch Rouse play, the answer was, "Mitch!" Mitch had to be Mitch onstage and that was great to watch, too, since he usually went into character immediately.
It was the best single workshop I've ever been in.
I just agree with this so much I can't express it. "Say everything like it's the exact thing that needed to be said at that moment." This always works. The audience, and other performers, respect confidence above all else I think. And not the faux confidence of "Hey audience, I don't know what I'm doing, but I'm giving it my all." But the real confidence of "Even though I'm just saying, 'Yes.' that is exactly what needed to be said by me at that time, it was the completely natural thing to happen."
It works like mind over matter.
(I will punctuate this by saying I'm not very experienced. So...take what I said or leave what I said.)
It works like mind over matter.
(I will punctuate this by saying I'm not very experienced. So...take what I said or leave what I said.)
I agree with Katie...
When I've directed, I've given similar advice. I think the very first line of a play--its volume or emotional commitment--sets the standard for the whole show.
I make sure my actor who has the first line gives it volume, energy, force, or what-have-you, because if the bar is not set high enough in the first moment, other actors in the scene and scenes to follow tend, in my watching, not to go much beyond that first set energy level made in the first line delivery, and make for a less exciting, tittilating show.
I almost go as far as to say it doesn't need to be "connected" (kinda like if you're voluminous, that's all you need to be committed) ... it's a technical thing more than an acting-in-character thing. A first line that is blandly delivered is hard for other actors to bounce off of without forcing it ... A first line that is delivered with energy, now there's a wider spectrum of color opened up for other actors.
When I've directed, I've given similar advice. I think the very first line of a play--its volume or emotional commitment--sets the standard for the whole show.
I make sure my actor who has the first line gives it volume, energy, force, or what-have-you, because if the bar is not set high enough in the first moment, other actors in the scene and scenes to follow tend, in my watching, not to go much beyond that first set energy level made in the first line delivery, and make for a less exciting, tittilating show.
I almost go as far as to say it doesn't need to be "connected" (kinda like if you're voluminous, that's all you need to be committed) ... it's a technical thing more than an acting-in-character thing. A first line that is blandly delivered is hard for other actors to bounce off of without forcing it ... A first line that is delivered with energy, now there's a wider spectrum of color opened up for other actors.
the crossover
Brian, et al:
Reading about the Mick workshop, I began thinking of one of the single best workshops I've been in w/ Martin D.
Their minds overlapped (proximity, time), to be sure, in interesting ways. But another approach, another door, channel --
He asked everyone what their fear in improv was - what they were most afraid of. What do you do that keeps your resources limited?
I said I thought I was too controlling, pushing my idea and agendas. Another on my team said he was afraid of being boring. So on. I suppose the normal fears came out, categorically overlapping.
Everybody with similar fears were placed on stage and told to become their worst nightmare. As crazy, crotchbusting and forceful as possible. As boooooring as breathing or lots of white rice.
In my scene, we looked at each other (there were four of us) as if to say, 'welp, you asked for it.' From there: screaming and chaos.
Then Martin stopped us (saved us?) from sweating and panting and gave everyone a secret. Mine: it's your birthday, you suspect the rest have forgotten.
Wow. Well, needless to say my focus was nearly impenetrable. The other boys shut up and opened their ears so wide that anything anybody did we became fascinated with and built upon. Magic, simply. Similar puzzles and solutions from the rest.
I mention the 'boring' people because after delivering them from their fears with a particular focus, they delivered a laugh in a simple, concentrated moment that had us all on the floor for ten minutes. [I think the line was either 'Yes' or 'No'] And, of course, this screaming laughter included Martin; an improv coach who laughed at what I laughed at. Truly brilliant.
Brian, et al:
Reading about the Mick workshop, I began thinking of one of the single best workshops I've been in w/ Martin D.
Their minds overlapped (proximity, time), to be sure, in interesting ways. But another approach, another door, channel --
He asked everyone what their fear in improv was - what they were most afraid of. What do you do that keeps your resources limited?
I said I thought I was too controlling, pushing my idea and agendas. Another on my team said he was afraid of being boring. So on. I suppose the normal fears came out, categorically overlapping.
Everybody with similar fears were placed on stage and told to become their worst nightmare. As crazy, crotchbusting and forceful as possible. As boooooring as breathing or lots of white rice.
In my scene, we looked at each other (there were four of us) as if to say, 'welp, you asked for it.' From there: screaming and chaos.
Then Martin stopped us (saved us?) from sweating and panting and gave everyone a secret. Mine: it's your birthday, you suspect the rest have forgotten.
Wow. Well, needless to say my focus was nearly impenetrable. The other boys shut up and opened their ears so wide that anything anybody did we became fascinated with and built upon. Magic, simply. Similar puzzles and solutions from the rest.
I mention the 'boring' people because after delivering them from their fears with a particular focus, they delivered a laugh in a simple, concentrated moment that had us all on the floor for ten minutes. [I think the line was either 'Yes' or 'No'] And, of course, this screaming laughter included Martin; an improv coach who laughed at what I laughed at. Truly brilliant.