Personal Variety of Energy

You're in the middle of a freestyle long form. There is no structure, so characters and scenes do not return; each scene you do is brand new. You notice that in the last two scenes you did, you were shouting angrily and standing in the center of the stage. It is time for you to do another scene. Which of the following two options would be best for you:

■ Do a quiet vulnerable scene downstage right on one knee.

■ Stand center stage and shout angrily.

Stupid question? You'd be amaaaaazed at how many improvisers repeat these patterns over and over, especially in long form. They repeat the pattern within the show because that's what it is, a pat­tern, and patterns are hard to break. Patterns are also another conse­quence of measured thinking and self-judgment, so improvisers go to the safe and conditioned place.

In light of this, I suggest making variety a choice when you improvise. If you are in a long form or other structure that invites different characters and scenes within a single show, keep a mental note of what you did in the last scene and change it up. If all of the ensemble members were to think that way, not only would it give each of them more variety in their performances, but it would also give the show more variety as a whole. It also gives you something to think about other than, "What am I going to say next?" "What should I do now?" and "I wish the lights would go out."

Here are some elements of variety to keep lightly tucked away. If ensembles just put emphasis on one of these, improvisation would be a more layered and entertaining experience.

■ Variety of Emotion If you notice that you used a certain emotion two times in a row, or that the show has had a presence of one par ticular emotion, make an opposite choice for the next scene.

■ Variety of Volume It is all too common to see everyone yelling in every scene in an improv show. Make sure you are always loud enough to be heard, but play with the volume so that it's not always at the same decibel.

■ Variety of Staging Centerstage, facing each other an arm's length away, turned out to the audience slightly is not the only position in which you can improvise a scene. It's so refreshing to see someone come all the way downstage, or downstage right, or upstage by a wall. It breaks up the monotony of talky scenes and is another way to put improvisers in unfamiliar physical territory. Notice the patterns of staging in your show and take chances to break them up. This goes for vertical height as well. Standing and talking is one choice. So are crouching, lying, crawling, kneeling, and bending over.

■ Variety of Numbers Every scene does not have to be two people, nor does every scene have to have everyone in it. Look for patterns of the same numbers and enter or exit a scene accordingly.

■ Variety of Rhythm Improvisation has its own special rhythm, especially when it is boring as hell. Recognize and rehearse different rhythms for you and your ensemble. If a scene has a slow pace in a show, come in faster, and vice-versa.

All of these things provide for a more entertaining improvisa-tional experience for your audience. The added extra bonus is what it will do for you. By letting the variety serve the show, you will be doing things that you normally wouldn't do and that stretch your range as an improviser.

Дата добавления: 2015-07-08