my class notes

[ameygirl]

A good improviser has 1/2 an idea

Initiations

*A good improviser has half an idea. Coming out with half an idea is better then a full idea. Because 1/2, the time that idea can not be fully communicated.

*You can have a formulated idea of where the scene can be funny but you have to give yourself over to your partner(s) interpretation. Half of an idea leaves more room for your scene partner to participate in the scene and add information. Build together, you can't let people know what you're thinking.

*If you are socrates then alter your form, speech etc...give what you want to give. Be the character to the best of your ability.


1st beat of each scene

Every scene that you play comes back a 2nd and 3rd time. You have to be super disciplined in these scenes. You can't mess around and play any scene you want, you must have a focus with your scene partner. You both should have a good idea about what the game is. What's the focus, what's making the scene funny (the first unusual thing). This is where the game is developed.

---3 line scenes--
who, what, where (this exercise is great practice for your initiations into your scenes) The three lines should be strong begginings not the beggining and end of a scene. {1st person delivers an initiation, 2nd line is in response to the 1st line. 3rd line comes from the initiator.}

*Every great statement needs a justification {He deserves to die! why?}

Statements always rule over questions. You ask a ?, you become a theif, you make statements and you become santa clause. Gifts for everyone.

Don't spend time talking about objects or what you are doing.
--Scene work--. It's not about the "thing" it's about what the "thing" represents. Once it's served its purpose (the thing) move on...start painting more. The thing should bring us to another place and tell us something. if you end up talking about (the thing) Change the subject, scenes can go a million different places. Try something else, you can use nouns....Nouns are your friends. Really speak to things...if you're to tired to eat, explore that...really take it far.

Make positive choices if you talk about objects and people who aren't there then bring them back. Branch out and explore, you have to justify why it matters to bring them or it, into the scene.

**Talk about what you really want to talk about. Have your conversation. Speak to a condition right away, and we will buy one unusual thing a scene. If your stomach hurts...then why? If it's because you eat demons, then fine but everything from that point on should be real. Justify demon consumption then move on. One justification is enough and then give him realistic diet choices.


....next time

-The game
-abuse in scenes
-ideas
-philosophy

 

[ameygirl]

Respect what is being created on stage...Be Cool

{One thing Delaney says over and over....Is and i would like to insert it here because it applies to the opening, life and the rest of HAROLD.}

"BE COOL WITH EACH OTHER"

{This is usually in reference to scene work but it translates into every day life...or atleast it did for me. To all the control freaks out there...Me being a recovering Control Monster...this is a mantra for me in life and with Harold.

I had to use this mantra in everything I did...to simplify that to HAROLD...(and not bore everyone with my life...) what I had to do was give up my ideas to interpretation, and be cool with that....I had to have patience in my group games...this was not an easy task...I had to trust that something would happen in a scene and not try to make something happen...I had to be cool with that. I had to try and avoid abuse scenes or fights.....JUST BE COOL YES IT, YES them.}

{This is one of the hardest things to do as a performer...to trust...have some faith and try to see the funny in the truth}...allow the structure to guide you, not lock you in. Respect what's going on during the opening, scenes and group games... Maintain given information with out turning it into something of your own. Group mind is a wonderful freeing expereince...Be cool.

{An exercise that actually stems from basic acting exercises and is also helpful in improv is Red Ball, Yellow Ball.}


Red ball, Yellow ball

1.) Circle up...a true circle all toes lined up.

2.) One person begins by physically showing the group the size, shape, weight of the 1st imaginary ball...we can associate which ball is which by giving it a recognizable name...red ball.

3.) The first person passes the red ball and another person accepts it...You can bring the "yes" game back by making that connection with someone through eye contact.

4.) After this red ball has been passed around the group and maintained, you can then move onto another ball with a different shape, size, weight and color.....yellow ball...keep red ball moving as well.

5.) Concentrate and rely on others to remember and pass that information along...when this has been maintained move onto another ball...blue ball....and another...green ball. Keep all Four balls moving in the circle. Respect what is being given to you.

*THE AUDIENCE SEES AND REMEMBERS EVERYTHING

be aware that you are creating together and adding 1/2 an idea or 1/8 of the information in a group game. Be truthful and respect what is being created and try to generate ideas through other peoples ideas...trust that something will happen.

Be Cool Delaney!

 

[ameygirl]

I'm organized

Okay, so here are the thing I missed about the opening and other things pertaining to the suggestion relating to HAROLD.

Single suggestion: IT SHOULD BE HONORED! You are trying to engage the audience For the opening you should use it to inspire. What's the use of having an opening if you're not going to use it.

OPENING: pattern game

In the pattern game you have to make an active choice, stay focused. When the opening is not focused and they move real fast then you can berely look back and remember any of it. To many bits and pieces, to small no real focus. When you do emphasis things and you stay on them for a little while, create specific things, Then you will remember.

You want to survive but it's there to create and generate information, to create the Harold. Try to get specific so you can come back to the themes early, and connect them. A shared theme is easier to play.

Within 5 minutes of your opening you should find a game and get away from it. When you find a game lets get real specific with it. Don't stay in the general. Explore one type of person not all types.

It's like an overture. If the audience sees main themes they will come back later in the perfect Harold...That's what we are shooting for.

*Stuff you use from the opening in scenes: You can reference stuff but until you explore it, it isn't really a theme yet. Unless you are specific or explore it hard enough, the audience is not going to see the connections.

A great Harold is an economic Harold. The more you borrow from the opening (where people can see the themes) the better. You should use as much as you can from the opening...Pull things from the opening that were memorable. Create Truths! Pick up the volume, energy...intensity.

The opening energy has to do with pace. You can be morose and still be intense. Dynamics are about change. Low points strengthen your high points. So if you bring it up be sure to bring it down also....but don't loose the energy and intensity.

There is also something comediens do with their voice, the way they say things. It could be as simple as the word "cereal" which is changed by the intentions of their voice. This tecnique is better suited for standup...It's a really bad way to attack openings. It shouldn't be about the laugh.

*JUST BECAUSE THEY ARE LAUGHING IT DOES'NT MEAN YOU ARE FUNNY!
{This is one of my Delaney Mantras...}

 

[ameygirl]

Scene Work Part I

**Note from Delaney: These notes sometimes only pertain to the scene work happening in class, in the moment. These notes are not rules written in stone..they will change. He does not see the notes as definites...even if they are his own notes.


{The majority of these notes are the basics...but there are also very specific scene work notes that I will also include, because if they come up in class they are likely to appear in some form on stage....You can never know too much...can you?}

Scenes and more scenes....

Say yes, trust and the game

Find a way to communicate. Be cool to the point that you can communicate. Try not to give yourself obstacles.

example: "Let's go to the store." "Oh, the store is closed."
You didn't know what was going to happen once you get into the store. Trust something will happen once you get to the store. Move your scene forward, say yes, be cool to your scene partner and prosper.

A few Delaney tips for scene work in HAROLD (applies to other longforms as well):

1.) Beat work (basic guide to 1st beat): 1st beat should be two people doing a three minute scene. Strong initiation in the opening of your scene. Don't think about where it's going to go. Speak to the unusual. Find game and play it out.

2.) Add to what is going on with statements. Be careful about questions in your scenes.

3.) Think about where to go next after the 1st beat is over.

4.) Get really specific.

5.) You know why you're together and where you are so have a real conversation, the one you want to have. The kind of conversation you have in life, dig in and find out about each other.

6.) Find the game and keep it, own it, play with it!

7.) Start scenes in the middle. If you are on vacation you are in the middle of it...Flash forward ten minutes from the beggining of the trip and start there. Scenes about planning things are never in the spirit of doing. Be on vacation and be some where specific. Start into the action.

8.) Ground your scene so you can play within the boundaries.

9.) Never start a scene w/ "Hey"! Hey is my least favorite word in improv, you can't get any more vague and "begginerly" then "hey".


THE GAME

The game is what the scene represents. The game is never about the "thing", it's about what the "thing" represents. Don't get bogged down by particulars. Play at the top of your intelligence until you find that unusual thing in the scene. Don't spend time talking about what you're doing or objects.

The games are what's fun in the scene. That's where the games are.

Finding the unusual thing:
Speak to a condition right away. We will buy one unusual thing in a scene. Explore that one idea for awhile, play it hard.
Bring in truths in the beggining. When the out of the normal happens, it's recognizable. With no justification people can get lost. Play at the top of your intelligence.

Sometimes the unusual thing is there and we just have to treat it as common place. ex.) If I messed my drawers and my wife is cleaning them, the last thing I would do is ask her how it was going. Especially if it was a norm in the relationship. I would probably ask her if she needed me to get her anything at the store.

**Do dogs talk? No! Do I want you to play talking dogs? Absolutely! Follow your insticts, be truthful.

Types of Games
Role reversal, opposites are a good thing. You can play beneath your intelligence as long as everyone is aware of it and emphasizes it. Be ok with being that guy, and be ok with your partner playing hyper real to emphasize what's going on in the scene.

Philosophy in the game: It's hard to play a philosophy...Plato's cave....but it's good to have a philosophy as a character. One thing you can't assume is how your scene partners are going to react. Be ok with trusting their interpretation and the change the scene may take.

Conceptual plane scenes: These scenes are ok it's a concept that you have to continue. Ex.) Giving someone your virginity in a box...it's a concept. When you initiate a scene like that you have to continue on that same plane. Explore high concept stuff don't go all over the map. One outrageous idea is enough for a scene.

Environment/Philosophy: Reality is something we all know and recognize. Try to create reality. Be in a real place, once reality changes or gets bent you will know. As soon as something is getting out of that realm you are going to be aware of it.

ex.) We know what 3 year olds are capable of...if you are speaking like you are thirty it's unusual and we have to speak to it. When you're in a different world you have to wrap your head around that. Get used to all kinds of different worlds, being in different peoples skin, different times places and planets.

ex.) If the planet you live on has turkeys and tigers as endangered species that you can't buy at the supermarket then what are the ramifications of that. Do you have to hunt for these endangered species? What things do they have in the supermarket? Wrap your head around this concept fast and play it.

Teaching scenes: and "show me" scenes generally stay in the same place and they are very much about the "thing", we want scenes to be about what the thing represents. Stay away from teaching scenes.


Abuse
Blanket abuse in scenes is not enough for a game...It's to easy...abuse scenes are beneath you. Trust each other and go for the more unexpected things. Don't fight...get out of an argument as fast as possible...move on. Whenever you are in a fight with someone in a scene let them win instantly, something will come out that's even better.

Be specific
Make healthy assumptions, if you have ex.) a music box then what else do you have...don't go for the crazy, over the top heightening because it becomes too much...think specifics; what else would this person have? Once you've discovered something, really explore it and have the ideas occur in succession and move on.

*"If you have a pie and it lands in a pile of shit and then a fly lands in it, no one cares." Where do you go from there? It's so far beyond edible that no one cares.

Obstacles in scenes: Your justifications don't have to be over the top because then you have these huge pillars in the scene. This makes your scene less grounded. It's too easy to put an obstacle in your scene, but coming up with cool ways to get out of it and move the scene forward is better and funnier.
Conflict oriented scenes, like competitions...we know how that goes and we already know the rules in that situation so don't speak to it. Move on and be ok with forwarding the scene.

OBJECT WORK: attention to detail

Phone prop, hold it like a real phone...how it's supposed to be held by a normal person. Real objects...cups...guns etc...attention to detail.

Take an activity and really do it. Get into the activity physically. Be really specific about what you are doing. Keep speaking to it, addressing it, so by the 2nd and 3rd beat the scene will really pay off. Try not talking about what you are doing...just do it.

Don't walk through your fuzz ball table....No detail is too small. Really think about the objects around you that you have established and that others have established. Treat things with respect.

Try to keep it real...and keep your eyes and ears open....

 

[ameygirl]

Scene Work part II

**A note from Delaney: These notes some times pertain to the scene happening in the moment....although they are all goog guidelines they are also not rules written in stone. These notes are not definites.


Invention

Improv requires a a good bit of invention. The least important thing is coming up with funny ideas. We need to use a little bit, simple things...small ideas. Funny or strange stuff that enters the scene is inventing.


Categories

1.) Circle up, true circle, all toes lined up. hands slap legs keep the beat.

2.) 1st person shouts out a catagory ex.) breakfast cereal

3.) Each person one after the other shouts out the name/brand of this catagory. ex.) Lucky charms, grapenuts, frosted flakes, etc.

4.) If someone skips a beat by waiting too long to speak or repeats someone else's then the whole group says AAAHHHH and you begin again with a new category.

5.) When you can go all the way around with your group then you all throw your hands in the air and shout yea!

Crazy ideas: When you are doing your scenes and you throw out crazy shit, unusual funny ideas...3 to 4 are too many.....create a reality. Emphasize a slight deviation and be very specific.
Justify and Heighten your scenes.

What's the 1st unusual thing in your scene?

You have to be really aware of your partner and their reactions to make sure they are also absorbing what is going on in the scene and the game.

*Play the shit out of the specifics

STAKES and HEIGHTENING

What has bigger stakes? If you start at 8 and then move onto an 8.5, or 9...go up rather then back. Ex.) If you can slow bullets with your mind then maybe you can stop a cross bow or a train that is right outside the door.

Follow the pattern, if you don't know where to go with your scenes always think back to the beginning of your 1st scene. Do a variation on the first move.

Find your games and really explore the shit out of them. Find the scenes you like and break them down, break it apart, turn it inside out.

If you play close attention then little specifics can carry you through your game.

*Take a particular and make statements about it.

Pick a pattern, find connections, come out of the scene having a clear idea about what happened in your scene.


Philosophy of characters

The best thing you can do in a scene is give your character a philosophy. Get it out in the scene. A philosophy is something you can always go back to throughout your whole Harold. When you don't know where to go in your second beat it's something that will get you right back on track.

Specifics you need to speak to them. Use the ideas to take you to greater places. What do these things represent?

Play at the top of your intelligence. Know everyone you are on stage with and try to avoid being mean...it's not cool. Be a smart waiter and a good child. Yes it all.

Be economic in your 2nd beat....Look at your 1st beat, your answers are not always over the horizon they are right behind you where you began. You may not know where you are going but you know where you've been, and where you came from.

So pick specifics from your 1st beat to explain or find where you would be for your second beat.

Walk-Ons

Be careful! Try not to walk on in the 1st beat of a scene, if it's a good scene they will find the game. Everyone on the wall will have an idea if it's a fun scene but trust that they can find the game themselves. You have to have some control to let those first scenes play out and let these people make their choices. Keep it simple, that way when we get to our 2nd and 3rd beats and we feel like we need an ensemble it's easier to find your way.

Walk-ons do two things; Heighten and clarify. If you're not helping by heightening then do not go out there. If something has not been clarified then help out...walk on and walk off.

** The trick to the Walk-on is Walking off!

Editing

Focus on editing strong...don't saunter out in front of a scene. If there is a soft edit try not to bring attention to it. If someone steps out for a scene they should not be left out there for long. Scene partners should enter the scene together.

"If you're in battle and someone charges you and you're all alone...You will bring great shame to the batallion."


Scene work part III coming soon...

 

[ameygirl]

Scene Work Part III: Back to Basics

{Note from Delaney: Take the spirit of these notes as a guide to better scene work with your partners on stage. These notes were from a class and the notes are specific to certain scene work but it does not apply necessarily to all scene work.}


2nd Beat

In your second beat you want to stay away from repeating the same scene. You want to take the spirit of the 1st beat to create your 2nd beat. Do something really new with it, really fresh.

When you repeat something then you are doing it for a reason. Put the microscope on that, and explore it with your partner. Always speak to any unusual thing in the scene. If you are confussed in a scene, it's okay to just get that out there instead of going along with something you are not sure about. You want to support the idea but if you have to say hey, what are you doing? It's okay....

You shouldn't start your scenes with just an action even if it's super specific. We still need to know what's going on, just get it out it helps the audience.

Don't get bogged down by doing something in a scene, just do it. If the scene becomes about that action then it's fine, but really go through the steps, make it have meaning.

If you are buying something and someone says "yeah, that's fine you just have to fill out this form." Don't let the scene be about filling out the form so you can get the thing, do it and get to the next thing.


THE GAME IN THE SCENE

Usually that first big laugh is the key to the scene. You have to look at that and see how you want to present that.

*The game has got to find you. It's something you have to leave yourself open to. You have to make active choices and keep the words connected and the game will find you.

Once you have the game, you should stay on your game and play it...really stretch it out. Really stretch the boundries of the game to try to not give the audience what they expect.

*Play the shit out of the specifics until you find your game then you do whatever the game requires.

**Conflict is your enemy!

Some of the best sketches are conflict oriented, but they always have a game. That conflict is played out with a very specific arch.
As long as we are not playing the conflict, and we are allowing the conflict to fuel the game.

*Try to connect with the people you are on stage with. It's also really important to not force the connection in Harold. You shoot for something that organically comes together either thematically, conceptually or environmental.

Environmental connections are the easiest ones to make....You have people walk through each others scenes...it takes no mind work. That is not what we are after, It's not earned.

The connection should be so strong that it is pulling you in like gravity. Once games are really clear and clean then you can start fucking around and going into each others scenes.


Questions to ask yourself as a performer in Harold


1.) What are other peoples games? Really digest them....

2.) What do all the beats have in common?

3.) Where can there be a cross-over?

4.) What information or concept might fit with someones character/game/relationship?

***IF THIS IS TRUE THEN WHAT ELSE IS TRUE?***

 

[ameygirl]

GROUP GAMES

{Note from Delaney: Take these notes as guides to better scene work not the law by Delaney.}

GROUP GAMES: This is a compilation of any time group games were mentioned in class. I tried to organize them a bit...

**Dynamic in a group game is the same as a scene. Be okay with being simple. A simple and beginning level way to attack group games is to all start in the same place. You should involve everyone from the get go...However you do it.

Does the group game have to have three beats? Not necessarily or specificly. When we get to the finale scene or last group game, it would be nice to have a progression because then it fuels each scene. But Group games can be anything...anywhere...anytime....

The larger the group, the harder it is to find a group mind. You have to be okay with your participation happening in a less direct way. But, still be confident that you have an affect on the group if you make smart choices and active choices.

It's real important to let people know who they are. You should spend more time setting other people up in the initiation then yourself. It's your job to let everyone know who they are and then they have something to do (in any scene in the Harold). You're not your problem everyone else on that stage is your problem. Whenever you are stuck, give your attention to the other guy.

When initiating a group game: Give as much information as you can in the beggining. Start by Editing hard, and be clear to tell people who they are. When you initiate a scene you are taking on the responsibility. You are sort of the group leader were you give the premise of the scene. Don't let your team mates stay on stage as blobs, give them something to do or be.

The group game leader takes about 50% responsibility for the direction of the game. When confused, refer to your group leader.

Try to have something happen within the first minute or so...
Ex.) [from class scene]: If someone is supposed to fall asleep then let them fall asleep and let something happen.

Make sure everyone on the backwall can see what you are doing on stage. If your back is to them , then don't do something really small that only you and the audience can see. (this applies to all scene work.)

Try to keep people in the game, don't let them leave if you can help it. Try to find a solution for them to stay.

*Find reasons to yes the shit out of everything right away. If that's the world then what is your take on this reality?

Once you have been given a game it's a present. Take on that responsibility of being those characters given to you.

**In class note (group game): Be the people you want to be on the bus with. Be cool with each other, be nice, intelligent people to each other. Play shit that you can move forward. Don't fight but be truthful.

 

[ameygirl]

MORE DEFINED PLAY

{Delaney note: Please view these notes as guidelines...not the letter of the law....}

THESE ARE RIDICULOUS SPECIFICS THAT HELP GIVE AN IDEA OF IDEAL PLAY IN THE HAROLD....

Types of scenes:
Planning scenes, stay away from them. Do the thing, deal with what you're doing very simply. Get to the nuts and bolts, be really specific. If you talk about a plan to do then do it.

Playing an occupation, really be confident when you are playing any occupation. Be okay with giving information and using any tools you may know about that job you are playing.

Decide if this then what else?

Don't try to come into scenes with plans, come in with very specific stuff and give yourself over to ideas. Don't go into a scene thinking you know what the middle is going to be. It's essential to always be open to the discovery in a scene.

Be practical: If you start your scene on horses then you could get stuck on them your entire scene. Try not to reference that you are on the horses directly.

Conflicting ideas: It's ok if you come into a scene where you have a conflicting idea with your partner. It can work to your benefit.

Being Truthful: You can be truthful and still be terribly dull and fantastically boring. Truthful, yes but you've got to take chances at the same time.

Buisness: Is good but try not to have it be just an activity. Connect an activity to something you're doing, that would be great. Really try to give your scene partner something specific.

Being Physical: In a scene if you're doing something physical you should still have the conversation you want to have. Make it simple to move forward. Play at the top of your intelligence, find out stuff, make statements about each other and keep it simple.

To much information: if you have to much information to deal with at the top of your scene you won't be able to move forward with confidence...because we haven't cemented down the facts. Who are we? Where are we? Then you can take chances and not have to think about the consequences. Explore the ordinary, every day things.

Questions: When we have those impulses to ask questions then try to turn it into a statement. There is nothing wrong with having those impulses to ask people "How are you doing"? Choose to make statements. You can start painting your partner, making them dimensional. Instead of asking where they work, tell them "You're the window washer guy." The response should involve a yes and statement.

Guns in scenes: If you pull out a gun in a scene then it should go off at some point. It should be used by the end of your scene.


***my favorite Delaney quote: "If you do pull out a gun in your scene then you should absolutely be masterbating."


2 more delaney enries and then it's onto Mullaney the man with the master plan......

 

[ameygirl]

a little left-over delaney

{ Delaney note: Please view these notes as a guide, not the law of how to do the perfect Harold.}

EMOTIONS

You have to justify all your actions. If you are communicating through snaps and whistles then we have to know why, what's the justification for that?

Hate is not a motivator.

The two chief goals for improvisers are fear and joy for exploration. What's playable is fear or what you fear. Playing that fear and not shying away from it, comfront the fear.

THE BACKWALL

When someone is initiating a prop (i.e. guitar) the backwall people can simulate the sound. Just don't let the scene become about the guitar and what noise it's making. If you as a backwall sound maker messes up then you'll get a laugh but where do you go from there?

No chatting on the backwall. No conference edits. If your talking about editing then you already have, because you have drawn focus from the scene.

As an ensemble, be the bomb that blows up...be the bullet that hits someone. Don't let the people in the scene have to blow up things themselves. Help take care of each other.

 

[ameygirl]

{Delaney note: Please view these notes as a guide not the law of how to do the perfect Harold.}


HAROLD REVIEW: (Random Tips)

Pattern Game: You're not going to lose the audience no matter what you do. Be aware of that at all times and know that it's ok to move onto something else. Give yourself the freedom to move around, but try to stay in the formation. A big movement could indicate a false edit to the group, and you might not be ready to go. Some things won't fit in the Harold, it ends up working better for short form or other types of improvisation.

Environment: When you're in your environment then play it honestly. Play as smart as you can play it.
Be where you are! Rules Change and reality's change, so you can't get stuck on one idea. We can move around in time....remember that.

The Unusual: Once you find something unusual then you have to yes it and follow it through...heighten. Don't get to literal. Be open to accepting responsibility for your actions.

X Amount of Time: Your scenes are about (2-3 min.) so get to the action as soon as possible. Don't waste time. Have the converstion you want to be having.

Truth: Speak truthfully to the real situations. Be aware of the issues you bring up and put out there in your scene work. Always follow through and continue your philosophys.

Specifics: The 1st thing that comes up is usually specifics, so continue that and see where it takes you. When you have something that really affects the scene then you need to go for it. Then you will have something to play with and a bridge to go somewhere else. If this is true then what else would be true.

The Simple: Be simple and mundane and find normal things to do in your scenes. Spill a drink and see what would happen with these characters on stage. Simplify, keep everything really simple. Yes is so powerful, trust that you can find stuff to do through yes.

No Idea: If you don't have an idea then just play out your beat and continue the scene...commit.
Sometimes you don't know what the game was until the Harold is over. It's not always something that comes about right away in the 1st beat.

Pattern: Once you've established a concrete pattern then you really have the game...It has to be a pattern before you can really say you are playing the game. Always look for a fresh way to heighten.

Relationship: Explore the relationships you have on the stage. Try to do things with each other rather then just talking about things. Make it about yourselves not someone like a son, boyfriend, mother....keep it in the scene.

Don't let form Hijack your Harold: What is essential is really being involved...1st beat, 2nd, 3rd, group games and openings. Be in the moment. Be connected with the people you are on stage with. The meat of the Harold is made up of 90% straight up scene work. The other 10% is the form you are actually doing. The form is there to serve you. What we can do is be on stage and be an animal.



My perspective: At one point i was so distracted by the rules that I became very frustrated with myself. In class I would become very frantic because I just wanted to get it. I was trying to follow the rules to frustration. I could only concentrate on the rules or elements of the last class were still hanging over my head. It inhibited my play and approach to "the game", as a whole. I had to have more confidence to explore my gut reactions and take one for the team if someone needed to...maybe it should be me.

This is when the tapes became very helpful to me as a student. I was able to go back and listen to the class that I had such a problem with and analyze it for what actually happened. After listening to the class again i saw my raw...vulnerable self hanging out there and reacting out of fear. It was painful but I see now that it was all part of the training because the moments of joy came out of just trusting myself and others. You have to allow yourself to be vulnerable and you have to allow yourself to not be right all the time.

The first four weeks taught me to accept all given information in a scene as useable and to also stay positive in life and in performance. The last four weeks of class taught me that Harold was now going to be my bitch whether he liked it or not.



Mullaney Level 3 is next....get your note pads ready.....This ones gonna be a ride. After Mullaney will be notes from the following coaches: Chris Gethard, Ptolemy Slocum, Jackie Clarke, John Bowie, Paul Scheer, Dannah Feinglass, Brian Huskey, Ari Voukydis, Brian Berrebbi, James Eason, BoB Wiltfong.

 

[ameygirl]

My 1st Mullaney

LEVEL 3 WITH MULLANEY

Mullaney opened up the class by first saying there are a few things that people don't do in general that are important for scene work. Then he passed out a work-sheet of important things we should be aware of as improvisers.

1.) Agreement (Yes...And) being agreeable at the top of the scene. If someone is painting then join them immediately. To many scenes have opposing stances...join the activity.

2.) Respect...Trust...Yes Anding. Put people in situations where they want to yes and the scene.

Mullaneys worksheet he gave to the class included:

*The Fundamentals of Agreement
*Yes Anding
*Other Facets of Agreement
*Higher Levels of Agreement
*Diffeneces of Opinion
*Respect...Trust...& Yes Anding

As These notes progress I will include the worksheet sections that correspond with the lesson. When I am including the worksheet the notes will begin with (wsheet)

All of Mullaneys exercises and notes connect to develop your long-form capabilitys. In the middle of your 8 weeks of class with Mullaney you should be able to notice all the unbelievable connections he makes. The best part about it is he is in no way coy about improv, you really can see what you are learning as it's in front of you. I commend him for being a very organized and precise teacher. Most of these notes would mean nothing without seeing the flow of the exercises with-in class. Mullaney has graciously allowed me to include anything from my tapes...So everyone is in for a treat.

 

[ameygirl]

Patience is the key to happiness

Mullaney notes Class #1 part 1

*All of these exercises apply directly to your group games. Group games are really what set's Harold apart from other forms. There's a lot to learn about how to support and be a group.


WARM UP: A simple version of Super-Heros

1.) Circle up
2.) Say your name one at a time and do a gesture
3.) Right after each person says there name and does the gesture, everyone should repeat in unison
4.) Once everyone has gone then someone will begin by doing there gesture and someone elses.
5.) The persons gesture that was done then does there own gesture and another persons in the circle.
6.) This should move along quickly.


WARM UP: The Alphabet or Counting game

1.) Circle up and you should be so close you are touching shoulders and close your eyes.
2.) Try to say the alphabet or count as a group. Not in unison...one at a time.
3.) If two people say the same thing then the group has to begin again.

Note: When there is 10-11 people in the circle then each one of you is responsible for 2-3 letters or 5-8 numbers. So you don't have to participate much to be successful. Also take it slow and be patient, temper your amount of participation you use in this exercise. {This is a great exercise to put your mind around group games}

*With the pace of the last exercise in mind do this next exercise


DESCRIBE A DREAM: Describe a dream in the 2nd person. Each person should add a little bit to the description of the dream. Pay attention to the senses (hear, smell, feel, taste) Visualize in your head the dream being created. Where are you? What are you wearing?

1.) Circle Up with your shoulders touching and eyes closed.
2.) Describe the dream adding information one at a time.
3.) Each thing should support the last thing talked about.
4.) Directly build off of what was said before you, focus on the last thing established.

Note: When you really build from that which came before you then you get to cooler things faster. Plus it makes sense.


*Some pricipals of these exercises are:
1.) Contribute 1/8th to the group game. Mostly following and only leading 1/8th of the time.
2.) Everyone always has to be doing 8 things but paying attention and relating to others.
3.) Pay most attention to that which came before you.
4.) Be patient and willing to only contribute a little bit in the scene.

Note: When you're in a group situation you want to explore things till you've finished building and have exauhsted the subject, then move on to the next thing. Build that up!

 

[ameygirl]

Agreement w/ Mullaney

CLASS # 1 PART II MULLANEY: FUNDAMENTALS OF AGREEMENT
**Worksheet notes


FUNDAMENTALS OF AGREEMENT

**An actor working with a script knows a lot about the scene they are about to perform. They know the setting, who they are, the relationship between characters and most importantly they know what they are going to say. They should also know what their character wants and what action they will do to try to get it.

An improviser knows none of these things. The stage can become any setting they can imagine. They can be any character they choose and so can their scene partner. So at the beginning of a scene, the most important thing they must accomplish is to decide on the circumstances of the scene. The most important tool for deciding those circumstances is agreement.

An improviser must agree to all facts and circumstances that their scene partner establishes via dialogue, behavior or action. Agreement doesn’t just apply to indisputable facts. It also applies to those things that might not be said, but are implied in our action or our words. Whatever the players add to this scene, they need to add information which fits with everything they have established and implied.**


EXERCISE: THE ART INSTILLATION

7 people up to create a room. This room is full of a theme/Art with certain music, actors, animals, smells. Create a whole environment for people to go into. Start off with an idea behind the dream exercise, adding one thing after the other. You’re looking for patterns to focus on throughout the exercise. Build as many details as you can.

EXERCISE: LA ROUNDE

7 players up the 1st person begins a scene or a character based off the suggestion and then someone form the backline joins them. Once this 1st scene comes to fruition then the first person who began the scene leaves and another person enters from the backline playing a scene with the 2nd character that was established in the 1st scene. Everyone remains the same character in both of their scenes.

Questions to ask yourself during a La Rounde & Helpful Hints:

Where would I put this person?
What don’t I know about this person?
What character would be fun to play against this other character?
You want to go somewhere where you don’t know what’s going to happen to them.
Don’t talk about things you already know.
Develop something new but stay consistent with the point of view of the characters.
You want to see these characters again but in a different situation.
Let the scenes breathe a little bit, don’t rush them or tag to many people out.

People like to use this exercise in different ways. I like to use this exercise to attack scene work. When you do this form you need to think about what you don’t know about these characters.


YES ANDING...

**Beyond simple agreeing with their partner, players should add information to the scene with each action or line of dialogue, at least at the beginning. This is often called “yes anding” your scene partner. Yes-anding is crucial to creating interesting and unique scenes.

A good visual analogy is that of a ping pong game. One player serves the ball with their first line of dialogue or their first action. The other player returns the ball by responding to it. Each time the ball crosses the net, a new piece of information is added which makes the scene more specific. A scene shouldn’t begin with one player establishing everything by themselves.

If you want to initiate a scene about a father and son pirate team with a whole plot line then save it for a written sketch. It’s to much information for one player to establish without the input of their scene partner. It’s like refusing to serve the ball. What’s the point of improvising with a partner? Instead establish one or two things with your 1st action or line of dialogue and wait to see what your scene partner will do with it.**

*Note of the day (for amey): Don't come into a scene with a big agenda. Just throw your partner into a new situation. Once you've gotten what you wanted, move on and be satisfied.

 

[ameygirl]

Higher Level of Agreement

CLASS # 2 MULLANEY: HIGHER LEVELS OF AGREEMENT
**Worksheet notes


HIGHER LEVELS OF AGREEMENT

**If your scene partner initiates with a problem like “I’m hungry”, Don’t solve the problem yes and them by saying lets go to the restaurant we passed a few hours back. Now you are saying “Yes you are hungry and you won’t be eating any time soon.”

Creating problems and making them worse is a great tool for making interesting scenes. Discover a zit on the face of a character who is vain. If someone is looking for their lost dog, tell them you saw one get run over. If someone asks if their wedding dress makes them look fat, say yes.

Another common mistake players make is to defend themselves. It’s a natural tendency to do this in real life. But it doesn’t help you in an improvisation. If someone accuses you of something or establishes that you have a negative character trait, don’t dispute it, agree to it. If they say “you’re always mean to me” then be mean to them. If they accuse you of cheating on them then admit that you have and be proud of it. If someone makes your character a racist, embrace that trait. It is fun to be an asshole on stage and if someone establishes that about your character treat it as a gift.

What if your scene partner establishes something absurd or crazy? Do you agree with it? That depends on what exactly they initiated but there are two different general ways to deal with it. The first way is to treat the initiation as absurd. ex.) Say you’re in the stands of a little league baseball game with the parents of another child. Suppose they tell you if their child loses that they are going to kill the child’s dog.

Obviously they have established an absurd character, an exaggeration of an overzealous little league parent. If you were to simply say “Oh that’s nice”, then you aren’t yes anding the fact that they are crazy. In a way you are ignoring it, and thus denying them. Your job then is to be the “straight man” in this situation and to treat them as absurd. The second way to deal with the initiation is treat their absurdity as if it is the most normal thing in the world. Say to them “ I hope you kill it in front of them. That will teach them the importance of good sportsmanship”. In the first example you are taking their initiation and making them an absurd character. In the second example you are making the world of the scene into an absurd world.

At first glance, agreement is a rather simple and straight forward concept, one basic rule among many that every improviser must learn. But it is far more pervasive than that. Agreement is the very foundation of improvisation and it affects every aspect of your theorem. Agreement will never be something you master and then move on from, it will continue to guide you and challenge you with every scene you create.**


EXERCISE: FLOCKING

Form a backline then someone jumps out and starts doing something. Immediately two people jump on either side of the person and start doing what the first person is doing. Then two more people come out and mimic as fast as you can. Eventually someone should break off and start doing something new and the flocking begins again. Two things can be happening at once but not three.
Ultimate flocking; is having two flocks turn into three and then back to two again, repeatedly.

You want that flocking mentality in your openings but also in your group games, games in your scenes. Just don’t ask questions or try to puzzle things out, “what’s going on?” “what am I supposed to do?”. Just follow the really simple rules. Whatever someone is doing around you then do that thing. Just commit to it, and don’t feel self-conscious about it. And if everybody does that then it will look like you are a unit and everything should take care of itself.


EXERCISE: BIG BOOTY

Circle up choose big booty then give everyone a number besides big booty (1, 2, 3...). Big Booty then chants to begin the game “Ah huh, big booty, big booty, big booty, Ah huh”. Then big Booty says “ Big Booty #2” and #2 then says his own number and another number (or big booty). When someone messes up they then go to the end of the circle and the numbers shift from the person you messed up. Everyone from the person who messed up should now have new numbers...You must remember your number and your place in the circle so you can always be listening to when it is your turn to speak (or your turn to yes...and).