Here's an excerpt that was posted at YesAnd.com. Just thought I'd reappropriate it. It seems like really good advice.
Being a Director and Performer: Excerpted from Directing Improv: Show the Way by Getting Out of the Way by Asaf Ronen
Written by Asaf Ronen
How does one wear both hats without either role lacking? Is it even possible?
You cannot choose to direct the group because no one else will direct it. You have to choose to direct the group because you want to and you have to be the kind of personality that can deal with the fact that you’re not always going to be everybody’s buddy. —Mark Sutton
Sometimes the concept behind a custom-made project is so personal that you cannot help but be involved on both a directing and performing level. Those of you in smaller improv communities have no choice but to wear both a director’s and performer’s hat simultaneously. In doing so, you are running into more issues than those who have avoided that overlap. The easier dynamic is to not do both, or to at least allow the project to develop some momentum of its own before entering as a performer. Even then, there are complications that come from doing the double duty. The primary concern is in distinguishing between the two jobs so that they don’t bleed over and overcomplicate an already complicated situation.
There is a reason why this chapter is one of the shortest in the book. Many of the directors that I spoke with avoid performing with the troupe they are directing. This is what their years of experience have shown them. There are good reasons for this and there are few safeguards that can be offered. For those of you who are limited in options or gluttons for punishment, here are some things to consider.
WHICH HAT WHEN?
When you are in charge of a group of people, it is hard to let that leadership role go, but this is what you need to do when you are performing with them. I have seen many instances where the director becomes the most ubiquitous player, popping up in more scenes than necessary to “fix” them. Rather than playing from their instincts, they are playing from their knowledge. Rather than attacking a scene organically, they are attacking it surgically. They have trouble concentrating on just being a performer and end up being an outsider in the improvisation.
This is tiring to keep up. An improv scene is a shared responsibility and when you take it upon yourself to fill in everyone else’s gaps, you are doing more than your share. Furthermore, it is intrusive. Players can become irritated when they are not given a chance to participate.
Good directors do not direct from within the show. If you were in the audience, watching the performance with your notebook, you wouldn’t suddenly jump onstage to fix something. You need to show the same restraint when you are performing. You cannot fix the show from inside. You need to trust that the cast is strong enough and let the show be what it’s going to be. This is that margin of error I commented on early on in this book. It is a necessary evil of improvising.
This is why you need to give every rehearsal a chance before you interrupt with a performer’s hat on. Taking your turn in scenework when certain ideas are still being absorbed by your troupe will work against it. Let exercises develop their own momentum before you try it. It will look like a compliment in that you want in on the fun that the others are having. Your participation as a performer should be the afterthought. You need to sacrifice your own progress rather than that of the show. The group will feel more taken care of and will be able to better take care of you when it’s your turn.
When that time comes, check yourself before getting out on stage with your group. All performers need to have a bit of the director in them, particularly when it comes to editing scenes, but it requires an equal balance with the parts that are writers and actors. As we discussed in the chapter on notes, issues are best avoided when we are distracted from them. When you are one of the performers starting a scene, make a strong choice that you can hold on to. Your best bet is to focus on emotionally- or character-based choices that will affect your perspective enough that you will stay in the moment.
If you find yourself entering scenes and overtaking them, then you need to shorten your stay. Quicker appearances will limit how much you allow yourself to add and gives your players a chance to build on their own. Sometimes, however, that stage can be like quicksand and once you step out into it, you find yourself stuck and sinking in further. It helps to make the choice to add from outside rather than inside whenever possible. Soundtracking a scene to help the moment, adding a special effect, or calling a narrative cue (such as “later that day” or “meanwhile, elsewhere”)are good ways to offer a scene a push while still keeping a distance. It becomes an extension of your sidecoaching. Once you experience this mindset often enough, you will find it easier to do scenic entrances and exits quickly without overstaying your welcome.
Some directors get thrown in the opposite direction—that of hanging back and not directly participating for fear of overstepping their bounds and not giving other players a chance. There is only so much responsibility you can take for other people’s stage time. Making a choice to not do something out of fear is not a healthy way of thinking for any player, particularly a director. If this becomes the case, try some initiative challenges where you focus on endowing those around you in the scene. This will help you to be more involved in the action without guilt.
GETTING AND GIVING NOTES
Many inexperienced directors who I have seen perform suffer from what I call “director’s disease.” Without anyone to look after them and guide them, their performance skills tend to suffer. It is difficult to grow artistically without any outside direction. Applying challenges to distract yourself from being a director is only part of the solution. Because improvisation is such a personal artform...
Read more at http://www.yesand.com/articles/index.php?ArticleID=100 or Buy Asaf's Book
Being a Director and Performer: Excerpted from Directing Improv: Show the Way by Getting Out of the Way by Asaf Ronen
Written by Asaf Ronen
How does one wear both hats without either role lacking? Is it even possible?
You cannot choose to direct the group because no one else will direct it. You have to choose to direct the group because you want to and you have to be the kind of personality that can deal with the fact that you’re not always going to be everybody’s buddy. —Mark Sutton
Sometimes the concept behind a custom-made project is so personal that you cannot help but be involved on both a directing and performing level. Those of you in smaller improv communities have no choice but to wear both a director’s and performer’s hat simultaneously. In doing so, you are running into more issues than those who have avoided that overlap. The easier dynamic is to not do both, or to at least allow the project to develop some momentum of its own before entering as a performer. Even then, there are complications that come from doing the double duty. The primary concern is in distinguishing between the two jobs so that they don’t bleed over and overcomplicate an already complicated situation.
There is a reason why this chapter is one of the shortest in the book. Many of the directors that I spoke with avoid performing with the troupe they are directing. This is what their years of experience have shown them. There are good reasons for this and there are few safeguards that can be offered. For those of you who are limited in options or gluttons for punishment, here are some things to consider.
WHICH HAT WHEN?
When you are in charge of a group of people, it is hard to let that leadership role go, but this is what you need to do when you are performing with them. I have seen many instances where the director becomes the most ubiquitous player, popping up in more scenes than necessary to “fix” them. Rather than playing from their instincts, they are playing from their knowledge. Rather than attacking a scene organically, they are attacking it surgically. They have trouble concentrating on just being a performer and end up being an outsider in the improvisation.
This is tiring to keep up. An improv scene is a shared responsibility and when you take it upon yourself to fill in everyone else’s gaps, you are doing more than your share. Furthermore, it is intrusive. Players can become irritated when they are not given a chance to participate.
Good directors do not direct from within the show. If you were in the audience, watching the performance with your notebook, you wouldn’t suddenly jump onstage to fix something. You need to show the same restraint when you are performing. You cannot fix the show from inside. You need to trust that the cast is strong enough and let the show be what it’s going to be. This is that margin of error I commented on early on in this book. It is a necessary evil of improvising.
This is why you need to give every rehearsal a chance before you interrupt with a performer’s hat on. Taking your turn in scenework when certain ideas are still being absorbed by your troupe will work against it. Let exercises develop their own momentum before you try it. It will look like a compliment in that you want in on the fun that the others are having. Your participation as a performer should be the afterthought. You need to sacrifice your own progress rather than that of the show. The group will feel more taken care of and will be able to better take care of you when it’s your turn.
When that time comes, check yourself before getting out on stage with your group. All performers need to have a bit of the director in them, particularly when it comes to editing scenes, but it requires an equal balance with the parts that are writers and actors. As we discussed in the chapter on notes, issues are best avoided when we are distracted from them. When you are one of the performers starting a scene, make a strong choice that you can hold on to. Your best bet is to focus on emotionally- or character-based choices that will affect your perspective enough that you will stay in the moment.
If you find yourself entering scenes and overtaking them, then you need to shorten your stay. Quicker appearances will limit how much you allow yourself to add and gives your players a chance to build on their own. Sometimes, however, that stage can be like quicksand and once you step out into it, you find yourself stuck and sinking in further. It helps to make the choice to add from outside rather than inside whenever possible. Soundtracking a scene to help the moment, adding a special effect, or calling a narrative cue (such as “later that day” or “meanwhile, elsewhere”)are good ways to offer a scene a push while still keeping a distance. It becomes an extension of your sidecoaching. Once you experience this mindset often enough, you will find it easier to do scenic entrances and exits quickly without overstaying your welcome.
Some directors get thrown in the opposite direction—that of hanging back and not directly participating for fear of overstepping their bounds and not giving other players a chance. There is only so much responsibility you can take for other people’s stage time. Making a choice to not do something out of fear is not a healthy way of thinking for any player, particularly a director. If this becomes the case, try some initiative challenges where you focus on endowing those around you in the scene. This will help you to be more involved in the action without guilt.
GETTING AND GIVING NOTES
Many inexperienced directors who I have seen perform suffer from what I call “director’s disease.” Without anyone to look after them and guide them, their performance skills tend to suffer. It is difficult to grow artistically without any outside direction. Applying challenges to distract yourself from being a director is only part of the solution. Because improvisation is such a personal artform...
Read more at http://www.yesand.com/articles/index.php?ArticleID=100 or Buy Asaf's Book
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