my class notes

[ameygirl]

So I'm that crazy girl that tapes all rehearsals and all my classes...I transcribe notes word for word and i've been asked by several people to release my notes to the world...
With that said
In a few weeks I will write my UCB class notes featuring:
Level one Armando Diaz
Level two Michael Delaney
Level three Kevin Mullaney
Rehearsal notes from Chris Gethard, Brian Husky, Ptolemy Slocum, and more.......just to name a few.
If anyone is interested in a specific Improvisation question please e-mail me. I will look it up in my notes and try to give you the answer through the wisdom of others.

The grammer in this journal will not be the best be forwarned...part my fault...part transcribed notes...okay fine i'll have an english lit. guy edit it....
thanks
Demblowski
:angel: uke:

 

[ameygirl]

Armando Diaz: The 1st Instillation

These notes come from Armando's "Instant Brilliance" class, not level one...partially because I can't find that one notebook as of today but also I really believe you must experience Armandos level one class for yourself. But if they turn up I may post them.

This is a brief compilation of notes that will come in installments.

Yes, And...Energy

Can you really "yes and" in a real pure sense? Yes, you can and you will because that is just a starting point in the scene. Wherever you take it from there is fine...because the scene will go wherever the scene goes.

*Be okay with letting yourself move away from the opening and forwarding the scene.

Try saying yes completely to whatever someone is initiating. As an option, take on that same attitude and movement, heighten and explore that for awhile. Always be in the same space.

Narrow your energy down to that which is significant to what's going on. You're taking on the reality of whatever is going on in the scene. Everything should make sense because it's being created on the spot between the two people on stage. If you have a question or you're not sure about what's happening in the scene, then you need to ask those questions and answer those questions in a hip way...watch out for questions. Try to make statements that will help you get the information you need.

A lot of times we don't pay attention to energy, we just hear words so we try to play back with words. Words are great, but energy and how you carry yourself, how you behave, tends to be more important most times then words. You can say a lot where it becomes this place or scene where things don't have any meaning anymore and you'll have a hard time trying to get a message across. Use actions and put a simple twist on a scene.

How often do you see someone start a scene real quiet, low energy saying something like "I'm on Fire". They've said the words but there is no energy, it's not expressing anything. If you are truly playing a scene and character then you should be into it. If you are having fun on stage then the audience will be having fun.

Paying attention to your scene partners energy on stage is so important. that is how you can really pick up on what they're doing and also you realize that you are going to have to respond to this partners attitude, buisness etc.

More to come

 

[ameygirl]

Armando Diaz: Energy

One way to play off of an initiation is to just mirror your scene partner's energy, character, and attitude.

Another way is to pay attention to status on stage. The initiator may set a tone or set up a status in the first line by telling you who you are or who they are. In this case you can pick low or high status based off of their status in the scene. This is also an excellent way to create a relationship with stakes.

*If you don't have a connection or relationship with your scene partner, then you will just be talking heads on stage.

1.) You really have to pay attention to what your scene partner is doing in the scene.

2.) You also have to respond and put energy out there for your scene partner.


ACTION...REACTION

Every scene and every game is action and reaction. What I do affects my scene partner, and what my scene partner does affects me: that's a relationship. (A scene with consequences and stakes makes it interesting)

Reaction is an important part of improv. It's not always in the initiation. To come up with a funny idea is important but if it doesn't affect your partner then it's probably not the best initiation, not much inspiration.

*Just being able to react is almost as important as the game in the scene. Going into a scene with a reaction is a great start.

Depending on how someone reacts to the initiation will tell you which direction the scene is going to go. People have very different reactions to eachother...so be ready for anything.

The person reacting in the scene still has a very big role in how the scene is going to go. That connection you make is what will dictate the game for you.

Reaction is giving something back to your scene partner.
If you make choices you're fine, if you don't then you'll fail.

It isn't a matter of coming up with a clutter of stuff, you have to react. If you don't react or connect then you won't be Brilliant.

It doesn't matter what the initiation is because if you take it and internalize it you can make something happen.

 

[ameygirl]

Armando Diaz: The Physical Body

If you don't verbally initiate then you can physically initiate. Be physical and active as a choice.

Masks: Masks are like magic. When you put a mask on you gain all the properties of that mask. It's very transformative and it works. For some reason people feel very free with a mask on.

The physical body is a very rich part of comedy. USE IT!

Being Physical/Body language is very important for communicating ideas to your scene partner. Be aware of how you are physically responding to people and how they react to you through body language.

When you take on a character you don't have to go to extremes. You can take on a physical attribute to convey a personality or a character.

If you are not afraid when you are on stage and you can be silly and let yourself go that is when you will be a great performer. The audience wants to see things that they wouldn't do or see themselves. Go nuts!!

AUDIENCES WANT TO SEE DANGER. So put yourself in danger on stage, a reasonable amount. Take some risks! Because how are you ever going to surprise yourself. If you are inspired and excited then your audience will be too. Jump at danger and risk.

Bring it on!

 

[ameygirl]

Armando Diaz: Initiations

What goes into a good initiation? Motivation to react, confidence (commited to your idea) stakes involved in the statement (you are affected by it.)

Sometimes a scene takes a little while to connect. You may not be getting a pure reaction from someone. You may not know who you are or where you are.

Maybe your scene partner hasn't caught onto where or what is going on. THE THING TO DO...is to not pile on more stuff. "Well that didn't work, so i'll try this". You will end up back peddeling and just throwing in a lot of stuff you don't need.

**The best thing to do is just continue to invest in it (your idea)
"Say you're sorry. Say you're sorry..." It puts new stakes in the scene and heightens.

Invest in your idea and make it work...It's always a good thing. Keep at it and keep making a move until it sticks and grows, Commit and have fun.

*It's not so much ideas as much as creating a reality, and a relationship.

The scene initiations that do not work are the ones that you don't even know how to react to it. Thay are vague and non-specific. If you don't know how they feel then you have to make choices and initiate or introduce something.

The Vague: If you are playing apathetic and you've initiated a work place, you hate your job...then show us don't just say "Oh this sucks", show it. It doesn't have to be the biggest idea but staying in the vague and hoping that something happens is not as good as making choices. Make choices and commit to a state of mind or a physical reaction or a subtext.
1.) Something specific--commiting to it
2.) You are affected by what you and others do.
If all that happens and you create that reality, then your partner should be able to join you in that reality and hopefully add to the scene as well.

Don't get into the habit of defering to your scene partner. Even if they do initiate the scene. If you do that then you are going to shut out your own ideas. You should be able to lead and follow on stage. It's very important to be able to play all kinds of different roles on stage.

It's not fun to see the same people initiate all the time. A good ensemble should be able to mix it up. Lead and Follow! Everyone should be confident in any role presented on stage.

It's better to risk more then risk less. Take reasonable risks. It also has to do with attitude, you have to have fun and play around...TAKE RISKS! Invest in your idea!

 

[ameygirl]

Armando Diaz's Brain Juice

Some of my favorite armando lines that don't really fit in a specific catagory...but these ideas rule...I'm sure everyone has heard them before but these have become my improv mantras.

***Improvisation is more of an animal activity rather then a higher brain function. When you interact with people it's more instinct. You pick up on their body language etc.. You don't have to think "Having converstion now...think and listen...pull up memories...relate memories to conversation." It just happens.
If you approach improv as more of an instinctual thing where you just let yourself improvise then you'll trust yourself and your ideas.

***The general rule in improv is if someone tells you not to do something then do it. An improv rule not a dating rule.

***Rather then shying away from a challenge you'll take it because you trust that you have a shot at it. Don't get in your head about it. Just do it!

***Don't Try...Feel an idea or suggestion!

***Free your mind and the rest will follow.

***You have to have a personal feeling towards the idea. Find what your attitude is about the idea. You have to have an opinion about it, an honest opinion. Either you have some knowledge on a subject or you don't, but you can always have a opinion on an idea. Personal ideas are better because they will lead you on another path of exploration.

***Find the psychology behind it...what's your attitude on the subject...it then becomes easier to play the emotional stance or physical reality of the scene.

***Be your idea...show don't tell.

***The improv mind is less on the intellectual side of the mind and more of the kind mind. you play with stuff and you have more of a natural instinct about everything.

Me as a kid (and my evil gram)!

 

[ameygirl]

spoke to armando about the notes...

So i spoke to armando about the notes i was posting and he has agreed to look over them and discuss changes. But these are live tapes...So the margin of error is slim to none...Written word for word. Although i am not including all the notes because you must try to take armando atleast once for yourself. I am also not posting exercises teachers or coaches have done but i am talking about Hot Seat with Armando...it crushed me...it was awesome. He will free your mind.

The next instalment of armando notes will be: Verbal heightening objects, object work, The game, Words and how they can betray you, tone, Harold, the opening, relationship, Emotion, HOT SEAT, improvisation is like a religion...

Then we will dive into the wisdom on living by Delaney and it just so happens to work for long form comedy involving the Harold....This will blow your ass out....and you may implode...but just for a second.:exp:

 

[ameygirl]

Armando Diaz

Verbal Heightening

A lot of times you have to take on an attitude and you don't know where to go with it...and you must find the words.

You have to find a way to show that attitude and heighten, explore it and care about it. If you care about it then it will motivate you to take action in the scene and heighten the game. Try verbally heightening a statement...it becomes controlled because it is one simple idea you are working on. This creates it's own momentum, and it just starts coming out of you.

*When people get emotional it opens the scene up, by bringing it to another level a higher level because it affects you more so you have to fuel that emotion with some sort of logic or reason.
Use your environment, emotional reality and physical reality to help heighten verbally.

*All these elements can be used to heighten your scenes.


using analouges

You could find other angles to things like analouges, or reasons why you have this attitude about things. Once you figure that out, the why...you then can figure out the psychology behind it. Then it becomes easier to play the attitude, or an emotional stance or a physical relaity can contribute too.

*You have to have a personal feeling towards the idea. You have to have an opinion about it an honest opinion.

*If you are in an environment then tap into an experience you might have had in that location.

*Personal ideas are better because they will lead you towards another path of exploration.

 

[ameygirl]

OBJECTS

objects have information all ready built into them. If you realize that any object that someone creates has a personal meaning for you then you won't run out of ideas. Make objects mean something. Respect other peoples object work.

You can discover something that gives information about your character, or you can create an object that is an extension of the game.

Why is the object important to you? If you question yourself on how you feel about the object and practice it, then you have begun to flesh it out.
**IT'S NOT ABOUT THE THING, IT'S ABOUT WHAT THE THING REPRESENTS, HOW IT MAKES YOU FEEL, THINK AND ACT.

You have to be able to mime an object well enough for us to recognize it. Really commit to making your object work recognizable to the audience and your team mates. Come up with personal memories of the object instead of telling us what the object is, tell us why it's important.

1.) Take it personally
2.) Find out why the "object" is important.
3.) What's significant about the "object"
4.) Tap into those memories that you might have had about the "object", raise it to that level you'll find something funny.
5.) It has meaning opposed to just being an object.
6.) Keep momentum going and exploring the idea.

 

[ameygirl]

Armando

THE GAME

1.) If you can't think of what to do next then go back to earlier scenes and explore them. This will then make it thematic throughout the peice.

*Repeating scenes is a great idea because they are funny, every time you bring that game back. It brings about anticipation and excitement.

IN THE HAROLD you use these tecniques of bringing back scenes. But other longforms use these same tecniques.

*When you have discovered something then go for it. If it's an idea or an image or a philosophy or an opinion then commit to it and find what's funny then you got it.
* As far as initiating scenes you are "being" in a reality, YOU'RE BEING YOUR IDEA. You have to show us don't tell us.

*You are affected by your idea and other peoples ideas.

Sometimes w/ the Harold we kind of think to much about the game in the scene. It's sometimes better to just loosen up your mind and listen to the story and think about what you would find interesting "What if this happened to this person...?" Find out! It's better then trying to think about the 1st scene and what the game was or is. Play what's funny, whatever inspires you and makes you laugh.

*HAROLD sometimes becomes to formulaic and you have to just let go and imagine what you would want to see happen to this or that person.
It's more interesting to see a relationship between characters and how that personality would react to certain situations.

*We're playing each others games....You're just trying to get that person to act how they did before and that's the game. It's on a very simple level, just trying to get the person to repeat that thing...that behavior. Find ways to make each other act in that funny way.

**It's a gut thing. You think this is how this person acts or they're this type of person, so they would probably do this or that. Use what you know, take from your own life experiences or ideas. Make it personal and you will find meaning in the suggestion.

It's not a bad thing to make emotional choices sometimes. In other words just react sooner.

Often times you react emotionally to something and you have to justify it. You have to hold onto the emotion. It makes you think about your motivation. You have to fuel that emotion and continue to heighten. The more you know your character then the more you'll have to explore in the scene.

Sometimes it's difficult or uncomfortable to do emotions. Because it's as if you get out of control. It's a good thing to play around with.

Happiness is the hardest emotion for most people to do. Some times people can't do anger. But you have to play around with different emotions, because it puts you into a whole different world. You put on a msk and wear it as well as you can.

**Always just initiate, just go! Don't wait for your scene partner.

Lots of time people defer to their partner too much to continue the scene. Sometimes the person has such a strong idea that you tend to follow and let go of your own ideas. Don't drop everything and go with their choice try to maintain and drive your own idea in the scene.

*Always be ready to begin the scene and continue your own idea. You don't want to lose who you are. If you have a block in the beggining of the scene, then you're not going to let that go even in extreme cases when both things are extremely different. You can both follow up on the discussion each of you are having and you can continue the scene. If you don't hold onto your idea then the scene will probably die because you won't have anything else to explore, no more fuel of your own.

 

[ameygirl]

Spoke to Delaney about his notes....

We have about 5 more armando entries to go and hopefully within the next few weeks he will have checked them and give us the thumbs up on the notes....and maybe even add a few things....

Delaney and I spoke about his notes and he is also on board for checking through them and maybe making alterations to things that may have only pertained to the moment....Plus his notes are the longest....expect about three times more.

Then Mullaney the ultimate comedians teacher teacher. You will be very impressed by the Connections, call backs and organic notes he has graced me and now all of you with...haven't spoken to him yet...but he does have the copies of my first four weeks of class so I'm sure posting those notes will be fine and then the final four weeks will be released.

After that see how we will track the notes of different coaches...to see who taught them and what things stuck out as must know items.....Also my take on taping classes, the advantages and disadvantages
Monday night....
next entry...
look out...some pictures coming soon...see how classes affected my attitude in life and hair length....juicy stuff....
hope this is helping some of you....just letting go of them is making me feel better...oh journal

 

[ameygirl]

words will betray you...

Armando Diaz

Words will betray you and behavior will get you back into your character. When in doubt go back to the behaviorand or the raits of your character.

Always think about your tone at the beggining of the scene. Think about what your relationship is and the consistency of it in the scene. You have to bring that back. Repeat...repeat...repeat...Don't change your tone...characters shouldn't change...it's not a sitcom..."we should have never opened this pizza place."

Once you pop into a behavior you can always remember the sound of something you did or where you were so you can go back to that.

The screwy thing about game playing is that it really has to do with our body and doing the same thing over and over again. There's a reason for that, because our relationships tend to stay the same in life. You'll always behave the same way with your parents. You'll go home and get in the same arguments. Even though you're older you still will have the same relationship with your mom (You kind of become a kid again) and there's something we as a whole recognize in that.

example: That person you're friends with who you always get in trouble when you're with them. It may change a bit but it's always the same game.

Tone will always bring it back because otherwise we start thinking about plot stuff which is fine but you can lose the game. If you can find a way to expand or increase something it doesn't necessarily mean you're heightening or exploring the game, but you are supporting the dynamic of the scene by using tone.

Tone: You recognize it and it becomes familiar, but it's got to come within your "character". If it's not in your "character" to do something then don't do it, you haven't earned it.

**Forget Logic, react in the same tone and that's how you get right back to it.

Part of performing, especially in improv, you have to play a lot of speeds and you have to make those connections right away because if you can make those connections in 10-15 seconds or first three lines, then you can do it for 3-5 minutes in a scene.

That beggining of the scene is action and reaction. Either you make a relationship at the top of the scene or you will have to work at making that relationship later on in the scene.

Question someone asked in class: With Harold should you have an idea going out to do your scenes?

stay tuned for the answer.....

 

[ameygirl]

the notes will be erased

just for you IRC people...wink...wink...pass um' along...what ever you find to be helpful...:blush:

 

[ameygirl]

Harold

Class ? with Harold: Should you have an idea going out to do your scenes?

Absolutely, with Harold you tend to have an idea going out there because you have the opening to work off of. After the edit you have about 2 seconds to start your scene. Between you and your partner you'll find some connections in your scenes in the Harold. But they should be out there already because there's the suggestion, the opening and the other scenes.

Harolds opening

There is an opening so you are promising the audience that you'll explore that suggestion with scenes that are thrown out in the opening. Therefore you should use that stuff and you should have ideas from the opening. If not then it's not a very good opening or your not approaching the opening the right way.

Deconstructing the monolouge/opening: It's all about finding a moment, bring it out. Bring out what's funny about the moment, the essence. That tends to be a moment from life, our own life experiences. Find what's interesting in everything and entertain yourself.

Here's the key to initiating ideas: What happens a lot, is people will have an idea like; what if you tickle a soldier in battle? Then there's the long set up and exposition like: How to establish war? You can start on the idea. Start by tickling someone and try to get to the war idea. The UCB style Harold really demands that you make a joke happen and then come up with a big idea in the scene. The skill you're trying to develop is how to do that in such a way that the audience and your partner get it. So it's a matter of really cutting to that middle moment and the risk is that someone will interpret it a different way. Be prepared to have your idea change and be ready with infromation from the suggestion and the opening.

2nd and 3rd beats coming soon....2 more armando and then onto Delanster let the games begin...

 

[ameygirl]

2nd and 3rd beats Armando d.

2nd and 3rd beats

Think about the Tone of the scene. What you're doing in Harold is trying to bring back your game from the 1st scene a 2nd and 3rd time, generally.

In order to bring that game back you have to look at the relationship. How do you guys interact with each other. Action and Reaction. If the nature of that relationship changes so does your game.

"The way I explain it, in tone is if the 1st game in the scene has a tone of, Argh...eeee. Then the 2nd beat should also start out like Argh...eeee. So listen to the sound your own scene has."

Find that attitude/tone again a second and third time. Don't get hung up on refrences or places. The scene has to do with the human nature the behavior. Find that psychology again, because it actually has to do with the visceral more then the actual refrences or the words.

If you play the scene in terms of relationship and character attitude then the scene will take care of itself. If you approach it with a structural view like "the game of the scene is, everytime this person does this then I do that" then the game will escape you.

If you don't get the set up then you tend to drop your own thing when all you have to do is react within your character and listen to the sound of your character. 9 out of 10 times you'll get the set up if you keep your character and react within that.

You can bring out a big concept idea but when they are funny is when we explore them in a human way. Take them for real, humanize "it" with a feeling, some human behavior. We can identify with that.

1.)BE YOUR IDEA!
2.)Start from something that's a bite size.
3.)Be feeling driven, emotion and animal instincts.

The Analytical side will be there when you need it. You react to what "it" is. React to the way it feels, the thing that affects you. Don't try to remember facts or numbers. Don't take notes in the middle of a performance Just relax into it.

*That last comment was said directly into my mini tape recorder..hummm yes...as i write it down in my little fire book.

 

[ameygirl]

Green Acres Rule...agree to agree

Green acres rule agree to agree: Armando Diaz

Don't be the one person who tries to disagree with everyone in the scene. Try to yes everything you can. You do want something, you do like things etc...

It's not a definite rule to agree but it's a GUILDELINE that helps. Go places people don't want to go. In art why would we want to see something that people have already explored. Sitcoms are "No" humour, everything is "No, you can't do that..."

If you are into an idea it will open things up for you, if you're not into it, it kind of closes things off for everyone else. Get used to playing positive. It opens new worlds up, crazy worlds. The reality is when something is absurd or weird it catches on. example David Blaine, snowboarding.....

**It's always better to be into things.

The purpose of yes anding is that you can build together. The characters are both agreeing to the same apace. We may have different attitudes toward something and now you have to support your own thing. DON'T LET THE RULES TRIP YOU UP. Think of behavior and how that affects you in the scene. What kind of person am i playing.

You can show us you don't like something but the balance of acceptance has to be played until you figure out what type of person you are in the scene. You take on an attitude and you don't know why, but that's the reality of life so you have to discover what this person is like in situations...

You can always reveal things in your scene about your character. The game expands from itself and you have to find the core of it and bring it back and repeat...repeat...repeat...

*With acceptance you are more comfortable on stage and then you can just follow inspiration.

It's important that each character has there integrity throughout the scenes. If you're doing it right, each character has there own world to explore. It's great when you have 2 very complimentary characters they can have a fun game together and work with each other. You realize it's an equal partnership and sometimes you might have to take off one of your parts, to get to the point where in a scene you get to the core of your own world because it's motivated, because you know who and what you are, what your life is like.

If you know what your character wants in life it becomes easier to play a 2nd and 3rd beat. Even though it's a scene conveyed in words it's also a feeling an attitude and a sound. You can't confuse sound, that's why you need to listen to the tone of your scenes, Your voice!

Hot seat is next...the world of comedy collapses in front of me and i have to pick up the junk.....

 

[ameygirl]

The hell of Hot seat

HOT SEAT: Exercise

Everyone has to be a character that is different then you usually play. The class sets you up with a character they have never seen you play before. After a short interview with the character the class should initiate scenes with the character.

This exercise is supposed to take you places you haven't gone before. Challenge ourselves by doing other characters and letting people get to a different comfort zone. You don't always want to revert to your old standby characters. Use those tools to let yourself go places you normally wouldn't go. Take on a different psychology.

*So amey plays a lot of high status characters, someone who is always in control. A person who more often then not has one up on someone. So amey will play the opposite of that...low status, meek, not that clever, insecure and not in control at all....

**Amey note: So this was a painful experience...here's where the problem is...if you are truly free on stage you can play anything or anyone. I always thought i wouldn't have a problem with any kind of character on stage...I didn't have to go through the regular character changes that others did like...you never play men, or women or children....I always lean more towards the abstract anyway by playing things like a transformer, or a string hanging off of a lunchbox...so this exercise was almost a shock to me...lets think about what you don't play....huh...i thought i played everything...to a point...but the only things i was not playing on stage was myself....so trying to play yourself is the most difficult character...because it is personal...it's your own psychology...Do we really want to reveal ourselves to an audience...fear hit and i was practically motionless up in the hot seat....but i faced my fears and just did it...i didn't do a very good job but i still did it...I also went first which just goes to show you how confident i was that i would play someone i have already played...Not even close....

*This game is easy for some because it's just a matter of what you have'nt done in class and it's already inside of you so you can play it....it becomes harder for the people who try to play everything....my suggestion is to play anything you've ever seen and experienced and try not to do the same character twice...you can use similar tools...attitudes and parts from characters you've played before but try to stay away from characters you think you do best....because they will show up somewhere within your scene work anyway so you might as well surprise yourself and go for the unknown...that is when you will be truly free!

 

[ameygirl]

Last Armando: Emotional responses and improv is like a religion

Emotional responses

When you begin a scene with an emotion then we want to see you explore that emotion to death. Both of you, you and your scene partner should be helping to explore that emotion. Use that emotion to fuel the idea, but maintain your chosen emotion.
Emotion puts stakes into the scene, naturally. The emotion becomes very important in the scene. You have action and reaction and how ever your scene goes, what ever direction it takes you'll still have that emotion to play off of and heighten throughout the scene.

Action and reaction is where the game is because you're forming a relationship w/ your reactions and actions to each other in the scene.

*Agree to Agree

Emotional responses causes you to take action as opposed to just sitting there and talking throughout the scene. You start playing the game, you start taking action, you're driven and you're not in low gear anymore. You want something. Emotion is a very important part of improv.

***Improv is like a religion....

Improv is like a religion, it's like christianity it's interpreted many different ways based on how it benefits you. There are very strict interpretations of religion and very loose interpretations of religion. With improv there's some people who will tell you not to go out there with an idea. Some teachers will yell at you if you come out with any little tiny idea, they want you to come out with nothing and slowly start an idea. If you take class with others you may have to always come out with an idea (What was the game? Why did you bring that game out?)
Del's version of the HAROLD was very idea driven and less about scenes. He liked weird surreal scenes, non-improvisers, intelligent play.

My point is that it is up to you guys if you're going to be more adventerous and push yourself. Because i think most people who perform it seems to always be a matter of taking more chances. Expect a lttle bit more out of yourself. Take more responsibility, have fun and a sense of play.

Any kind of art or comedy should have some type of enjoyment to it. It should not be painful, people forget that it's supposed to be fun and they make it hard on themselves. If it feels hard then you have to step back and think about how you are approaching your ideas. If it isn't fun then you are probably not doing good work. How you approach things makes a big difference in your success. Go out there and be turned on and excited by things. Do something you've never done before. When you try a new method you are excited and on your toes. So challenge yourself to keep it interesting.

*Comedy is a special thing so treat it as if it is a special thing not a job...relax...have fun. That casual frame of mind is what you want to strive for on stage. That comfortable state where you hear moments and strive for a group mind.


That's it folks....please experience armando for yourself...you deserve it...classes are coming up...check out armandodiaz.com let the fun begin

****Here comes delaney:exp:

 

[ameygirl]

THE WISDOM OF DELANEY

THE THINGS DELANEY COVERS

Just about everything...Harold (opening, object work, 1,2,3rd beat, group games, environment, activity, connections, jokes, basics, specifics)

A lot of delaneys notes come out of watching us perform...all the notes apply to everyone in his class...

I found everyones notes to be helpful in my search for the understanding of Harold...so i jotted down everything.

The one thing that struck me about delaney was that he says he teaches all his levels the same...in the sense that he is as tough on level 2 students as he is to level 4 students....

I'm thinking this is great...I loved Armandos level one because we were able to play and be free and try everything with not much resistance on his part...it was fun to go to class...but now i was ready for some hard core drilling action. I wanted to know HAROLD personally....maybe date him for awhile.

I was guided to Delaney...for he is the UCB philosophy that i oh so wanted to be a part of...I had a total crush on Harold and I was ready to let him know how i felt...i wanted a long lasting commited relationship...with some babys and stuff. I was willing to do whatever it took to make him happy and content because i was in love....

1st class
I walk in ready to confess my love to be shocked...but pleasantly suprised in the end. Delaney........wasn't.................................... there.......AAAHAHAHAHAHAHAHAHAHAHAH now i have to wait to confess my love.....shit.....I was starting to think HAROLD was avoiding me and that is when the seed had been planted. I was angry...upset...I felt cheap....

But Rod C. was there and he was like that best friend you call up in the middle of the night to complain to about how harold never called you. Rob was peppy and fun and made me laugh and forget for awhile...we played games....He was wonderful.

But to be serious for like a second....right?

He had some great opening exercises, he was full of energy and truly looked and acted like he wanted to be there and his teaching style really showed me how to find my own weeknesses.
The one note of his that i still find to be important is;

*Have a strong beginning!

And he lived by those words...it was a strong beginning to my 1st level 2 class...but i was still bitter...all this waiting to see the master and...kablaam...stood me up...

In the weeks to come you will see my true hatred towards Harold...My personal fits of crying and complaining after Delaneys classes and my complete and total infatuation and love for both Harold and The Master...In the end
:love:

**Ironically enough this part of the journal may be talky....and if you've had Delaney you probably know why...The personal journey you take in his class is incredible, and you leave after 8 weeks just wanting more...Okay lets begin....And i will try to avoid the jokes Delaney...and just be truthful...and honest!

 

[ameygirl]

1st day with delaney

The first things out of delaneys mouth is:
a.) Always be on time, if you're fifteen minutes early then you are right on time.

b.) Power bars should be banned from the market. (as i'm gobbling down a balance bar ten minutes early to class....)


The first game we played is still one of my all time favorite exercises to do with a group of people so I have to include it....i started doing this game with 4-5 year olds and they love it.

The warm up: "Yes"
How it pertains to Harold: [Your scene work can't move forward until you get the "yes" from your partner]

*Circle up always have your toes in line with everyone elses. Make a true circle. {This is true for all delaney warm ups}
*One person begins by pointing to someone and they have to say yes before you can then move to their spot in the circle.

1.) point
2.) wait for audible yes.
3.) walk to there spot.
4.) as you walk to your new spot, that person has to point and get a "yes" before you get to them.
5.) keep the rythmn and try to really move in this warm up.

*Once you have found your pace as a group and master that step then you can move onto pointing and walking to your new spot with no audible yes..."yes" with your eyes to each other.

*(Then the ultimate and most fascinating part of this exercise is) the next step of no pointing only using your eyes to receive and accept...pay attention this warm up cruises.

* Saying yes literally and intention wise is the foundation of improvisation. No is powerful and funny but it closes the door. YES FORWARDS THE SCENE!

Foundation of Improvisation
1.) Yes
2.) Importance of listening
3.) Being specific
4.) Honoring what's already there.


Harold Form and Idea: Trinity Harold
1.) opening
2.) scenes
3.) group games

-single point *(suggestion) May we have a suggestion?

opening--blow it up
scene 1
scene 2
scene 3
group game 1
scene 1 beat 2
scene 2 beat 2
scene 3 beat 2
group game 2
scene 1 beat 3
scene 2 beat 3
scene 3 beat 3

Editing
Edit each scene group game opening...Jog across the scene after 2-3 minutes or the third beat within each scene. Edit on a high note not necessarily the laugh. Edit diagonally across a scene if you have to. If you are being edited you can finish your thought before slinking to the back wall. Be aware of your edit. If you move forward off the wall during a scene then you have already edited. Don't hesitate...edit!


Opening
The suggestion is for inspiration. What does the suggestion lead to. Blow it up into different ideas. 3 ideas that are very different from each other.

A few games/warmups that can be used as openings

Pattern Game: Really try to connect and copy each others ideas. The slightest change is a new direction. Commitment is the key to this game and being aware of everyone else in the game. Duplicate, truly duplicate during the organic movement. Be more keen in your observations. It's a choice to hold the rythm, that's when you become engaged (your audience).

Word association games: 1st thing that pops into your head. What we do is a pattern game it's the third thought
( CAT mouse CHEESE) you can skip the middle word. The audience hears the pattern and they are engaged. Go off the third word you heard or 5th, whatever. Go on impulse it has to move. It seems like they are totally disconnected until you discover themes.
*Once you see the themes make them a bit cleaner. It takes time to reach that cohesion.
* Don't get stuck on cliches or the realm of the general, be specific.
* Tell the story without telling the story. Details will round your characters out.

{My thoughts---Delaney rules....and i'm afraid....got up once....)


NEXT

*initiations into the first beat of your scenes 1, 2, 3
*My torture
*some more fun stuff