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When I studied acting in college, I tried to get my performances “just right” by making lots of little choices and adjustments. As a result, I was frequently stuck in my head, unable to feel impulses. Then I became a clown with the circus. Suddenly my choices needed to be larger than life. Playing BIG left no room for me to get stuck in my head. After a season with the circus, I returned to the stage. To my surprise, I discovered that I could let go and feel impulses with ease, even when playing in a realistic fashion.
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going further into something already present instead of looking for something new
When improvising a scene, sometimes the internal question of “What’s next?” arises. At times like this, it’s tempting to look for something new—a new idea, a new action, a new scene. The problem with looking for something new is that it puts you outside the story. You’re no longer living as the character, you’re thinking as an author. This disconnects you from the present moment, and worse, disconnects you from the spect.
Exercises
Play a scene until directed to “Go deeper.” Then explore the details, thoughts, and feelings related to the moment you are in. When directed to “Continue,” move ahead with the progression of the scene into the next moments.
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a spect who doesn’t like playing in the unknown
Guarded spects want everything explicitly spelled out before they’re willing to engage in the fiction. Your best approach is to remain friendly, clarify ambiguity with defined offers, and reinterpret the subtext of their offers to fit the context.
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scolding the spect in a good-natured way to get them to do something
When you need to get spects physically activated, a little good-natured guilt can get them to do something without instructing them.
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Focus on the present moment. Attend to what’s happening in the immediate location between the characters who are present. Keep the scene about what’s going on between you and those who are with you.
Exercises
Players play a scene that focuses only on the here and now. No referencing off-stage characters, No observing off-stage action.
Exercises
A faller stands on a chair or table with arms crossed over chest and back to the catchers. The catchers stand in two lines facing each other, with interlaced arms outstretched. When ready to fall, the faller calls out, “Ready?” When they’re prepared, catchers reply in unison, “Ready.” The faller says, “Falling.” Catchers respond, “Fall on!” The faller falls backwards into the arms of Catchers. The process is repeated, giving each player the opportunity to fall and catch.
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