* BioMethod * The subdirectories (1, 2, 3, 4, 5) are not developed yet! * acting one *
Peter Brook: Preparation - «The freedom of improvisation was last week, and you can't get that freedom back unless you have mastery of the material. The spur of the moment has to come of actually knowing what is and what isn't».
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2004-2005 textbook for Acting One
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A. Situation + Characters
SummaryARISTOTLE. Anatoly? Could I have a word with you? Could you promise me not to let the new ones, you know, gods and muses, speak, please? Too many voices, my young friend. Enough of those two Russians, Teacher and Master, as you call them, enough! If Apollo and and Dionysus will talk, and the girls, what kind of class it could be? I understand, it's acting, not Plato's Academy, but nevertheless, you know... Promise?
QuestionsDid you read THE BACCHAE OF EURIPIDES?
* one act fest
NotesViola Spolin has taught it through creating gamelike exercises. The actor has certain given conditions to respond to and a goal. In performance, improvisation becomes a collaborative art of spontaneous theatrical creation.
Secrets? Hello? Ten secrets!
"Until the Actor loses all Awareness of Self; the Character will Never come to Life." - James Caan -
Improvisation for the Theater: A Handbook of Teaching and Directing Techniques by Viola Spolin
Seven Aspects of Spontaneity (games)
Improvisation for the Theater: A Handbook of Teaching and Directing Techniques Northwestern University Press, 1963 - Theory and Foundation - I. Creative Experience - Ii. Workshop Procedures - Exercises: The Workshop Sessions in This Section Can Be Used in Progressive Sequence. - Iii. Orientation - Iv. Where - V. Acting with the Whole Body - Vi. Non-Directional Blocking - Vii. Refining Awareness - Viii. Speech, Broadcasting, And Technical Effects - Ix. Developing Material for Situations - X. Rounding-Out Exercises - Xi. Emotion - Xii. Character - Children and the Theater - Xiii. Understanding the Child - Xiv. Fundamentals for the Child Actor - Xv. Workshop for Six-To-Eight-Year-Olds - Formal Theater And Improvisational Theater - Xvi. Preparation - Xvii. Rehearsal and Performance - Xviii. Post-Mortem and Special Problems
[ see GAMES page ]
LESSON 1: Intro to improv. LESSON 2: Improv for vocal responses. LESSON 3: Improv for movement. LESSON 4: Improv for character study. LESSON 5: Improv for sensory awareness. LESSON 6: Improv scenes.The ancient art of improv has two uses in modern theatre. One is an exercise, used in acting classes or during rehearsals. The second is performance, when imaginative actors make up storyettes on the spur of the moment, often starting with key ideas from the audience.
Improvisation for the Theater: A Handbook of Teaching and Directing Techniques: Viola Spolin, Paul Sills. If you're going to learn improv, best do it from experts. Viola Spolin, in many ways the mother of modern improv, certainly is one; and Paul Sills (her son), known for his Story Theatre, is another. They have the credentials to make this one of the primary books for improv.
Must for ANY Impov: Character and Situation (see DramLit for definition).Go to theory directory! Yes, on acting! 24hour-act, acting, audience, auditions, directing, director, rehearse, system, warmups and more!
Do the comedy first. Must have a conflict (objective and obstacle). "The Drunk" exercise: "being drunk is a primitive" characterization. Objective -- to get a bootle (example) at other end of the room. What is the obstacle? Being drunk. Normal tragectory of motion -- a straight line. (Watch Chaplin's silent movies for physical comedy).
Can we add new colors? Age, nationality, urgency and so on. Keep enlarging the conflict: dark room, trying to look sober and etc. Prop? Hat and walking stick (Chaplin) -- what are yours? Can we make your costume work?
How to use 5Ws in ImprovRemember our "what, when, where, who, why, what?""Creation begins with the magic 'if.' Put this question to yourself: if I were in the character's place, what would I do? Notice what I said: What I would do, not what I would feel!" Stanislavsky 
Let apply the "who-what-why" formula to development of an improvisational scene:
Situation: What happened?
Characters: to Whom did it happen?
Locale: Where did it happen?
Motivationa: Why did it happen?
Atmosphere: When did it happen?
Take one task at the time:
Situation = "What" (conflict, exposition)
Character = "Who" (age, traits, etc.)
Character + Situation"When"? -- try, improvise, add to what you already developed. "When" = time of the day, day of the week, season ... take whatever could help you to move the scene/character ahead.
Conducted Story: The goal of the conducted story is to have the players tell a story that moves seemlessly from one player to another. The goal of the conductor is to make the story flow as well as possible. If the conductor moves from one player to another the new player that is speaking must continue on as though there was no pause. For instance, moves from player Eh who said, "many children were afraid of Carl for he was known to ha.." to player Bee, who would continue seemlessly "..ve piles of library books that were overdue." The key is listening. It is a listening exercise. The four players that are not speaking must be listening. They all must have the next word ready to go, and only if they are listening will that word make any sense. The players must also be accepting of what is happening in the story. Forcing their own agenda will show up quickly. Words like, 'but' and 'instead of' reflect someone denies another players offers.
Improv methods for rehearsals: development of character, shaping the situation.
Improvization and BM. In classs: animal intro games
All I can do for now is to send you to my old page Improvization in Method directory and to Theatre Biomechanics pages.
BioMX (Theatre Biomechanics)Emotional Symphony: Five of the players are lined up in a performance fashion. One person is chosen to conduct the players in the symphony. Each player is endowed with some emotion. It is good to get a range of contrasting emotions for the players to use. Once each player is given their emotion the conductor points from one player to another. The players do not speak, but express their emotions through physicalization and noise. The intensity of the emotion is increased as the conductor raises her hand while pointing at the player. The conductor moves from player to player conducting an emotional symphony.
2008 - acting2
Lesson #60 or 90 min
3. new key terms & definitions (see dictionary)
4. monologues & scenes
5. issues & topics
6. questions, discussion, analysis
7. in class work
9. improv & games
12. online, journals
** Samples: learnimprov.com
Check the Spolin's book.
How do we use improvization for "script development"?
Directors, Writers and Actors
Combination of text-based and improv rehearsals, including the cold readings.
Once in the circle the one of the players turns to their left and greets their neighbour in a gibberish tongue. That player responds with a gibberish 'hello' that mimics the other player. That player turns around and greets the next in the circle and so on. Once the gibberish greeting has gone around the whole circle the gibberish gets embellished. For instance, all the gibberish could be sad gibberish, or happy gibberish, Italian gibberish, Scottish gibberish, Cantonese gibberish, Computer gibberish. The gibberish can also be used to communicate intent like, 'used car sales' gibberish, 'pick up line' gibberish. The goal is get people communicating emotions and concepts without depending on words. If going around the circle gets boring the exercise can be combined with the exercise Cross Circle to get the players moving.[ Translating gibberish has one person assigned to translating another's gibberish. ]
Machines: A machine that does not exist is called for and the players create the machine by each adding an essential part. There is no discussion amongst the players before starting. The first player starts with a repetitive activity and an associated noise. The next players add to the machine with some activity that fits into the previous player's activity. This continues until a machine is created. The machine is sped up and slowed down. Certain players can be asked to malfunction, and the whole machine must respond. There is no leader in the creation of the machine. It is important that all the players reflect the changes in each part of the machine.
Long Distance Telephone: 5 - 10 min.
(to reinforce names) Decide on a phrase (ex: bring a pencil to next class). Tell it to student #1, who will go and whisper it in the ear of whomever's name you called out and sit in that student's (#2) spot. Call another name and student #2 will pass the message on to them. Object is to not garble the message. A good variation of this is to have a student do the calling, if they make an error, a new student is chosen to call. Если вы хотите попасть в действительно новое место, вы не можете знать, куда вы идёте. -- Стив Пэкстон (основатель контактной импровизации)
Method & Biomechanics: From Gestalt perspective body is a personification of inner life; it is materialized contact-boundary between inner world and environment. Body and its gestures are what another person can experience. We can look at body experience as a key to awareness of feelings, needs, and wishes. Idea of wholeness of spiritual and physical dimensions were presented in actors masterpiece school of Stanislavsky and M. Chekhov.
Film-North * Anatoly Antohin * eCitations *
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