Blog 15 december
Dear all,
In the following you will find my summary of what happened during December the 15th, the last day in December 2011 with Tim.
I hope it will be useful and gives you a proper impression of what happened and how to deal with that.
GAME: 1 IN THE MIDDLE
Game space in a rectangle. One is in the middle.
In every of the 4 corners there is 1 person.
Objective: those in the corners try to change positions with someone else in another corner. This is only allowed AFTER eye contact (mutual agreement) with the other person.
The one in the middle needs to reach one of the 4 corners before the position changer going to that corner reaches it.
Longer sides are more ‘valuable’ than shorter sides. The king jackpot is changing over the diagonal.
Addition: all 5 positions now with 2 persons, hooked together with the elbows, which are not allowed to let go during running (then hook on at the position where this happened losing valuable time).
Addition2: all 5 positions now with 3 persons, hooked together with the elbows, which are not allowed to let go during running (then hook on at the position where this happened losing valuable time).
Addition3: all 5 positions now with 4 persons, hooked together with the elbows, which are not allowed to let go during running (then hook on at the position where this happened losing valuable time).
RHYTHM EMBODIMENT – PROSE AND VERSE
Dividing into groups. Individually every one names a figure 1,2,3, which will be the group number.
In groups dividing a prose text.
The person who celebrates his or her birthday the soonest in the calendar year decides, the others have to listen to that person.
After the prose has been divided into pieces, a speaker is selected for each piece. This does not have to be in equal parts. Every piece of text has its own speaker. Together with the group a rhythm is embodied. This may be done on your own way by for example hissing, whistling, singing, humming, tapping, hitting a heating tube or knocking.
This morning during the “1 in the Middle game” me having strained a muscle in my right leg I was provided by Daniel with a plastic dish bin of water and a dishcloth. These were at once taken by respectively Amber to make the sounds of the Oyster (fingers tapping on the water) and Barbara (hitting with the dishcloth a carton box.
This to underline anything can be used.
Separate elaboration is choir (multiple voices together). This gives an extra enhancement of energy.
VERSE – Always the same rhythm, not dominant
PROSE – Always changing and clear rhythm, dominant
GROUP DIALOGUE: with the group together embodying the rhythm in ‘contest’ with another group, so 2 groups facing each other.
Especially worth mentioning Claire (light as a feather) being lifted by her group and even being carried around. The other group of Bart also reacted to that, coming together in the dialogue in exchanging some intimacies.
Addition group dialogue: later alone (without the group).
Try to keep the same energy (of the group, together with the group).
POSITIVE COMMUNICATION:
It is not necessary to be close to the other, far away is also possible. Sending your voice through the space.
It is about the energy.
Still: don’t be a twat.
No ‘acting’: put ALL of the energy back on the other.
Tell the other something he or she DOES NOT WANT to know, but NEEDS to know.
Relax, it’s just the truth.
Fantastic line, this might become a new parole !
GAME: WINK MURDERER
Selecting the Murderer.
All seated in a circle with their eyes closed. Murderer is tapped on the shoulder by Tim.
All walking through the space. The murderer winks and the person winked at dies in a horrible manner, as much as possible ‘over the top’. There is a ‘prize’ for the most original way of dieing.
All are allowed to unmask the supposed Murderer by calling ‘J’accuse’. The person being accused either confirms or denies. If wrong the accuser dies of course dreadfully.
If correct the Murderer dies in great pain, making the world a better place.
Somehow starting this game Tim mentioned Maureen as the example of the impersonated Ninja. After several people having died, Fortune’s State pronounced Maureen to be the chosen one to save the world and unmask Jo.
PUPPETERY
Puppet seated in a chair. Head, arms and legs relaxed. Arms and head would fall down if unsupported, so that is necessary.
1 puppeteer standing next to the chair manipulating the head and one arm.
The puppet speaks lines of his or her own chosen monologue. The puppeteer chooses at each line a position for both the head and the arm (hand).
Addition: with 2 puppeteers.
Addition2: Puppet during text STANDING in the circle with 1 puppeteer. Puppeteer manipulates the head and 1 arm.
REPETITION. The puppet repeats the movements without the puppeteer. This AS IF you mean it (and do so).
REPETITION2. The puppet repeats the movements without the puppeteer. IN THE SCENE (with the scene partner). This AS IF you mean it (and do so).
Addition3 (after addition2 completed): Puppet during text STANDING in the circle with 2 puppeteers. Puppeteer 1 manipulates the head and 1 arm. The other puppeteer manipulates the other arm.
REPETITION. The puppet repeats the movements without the puppeteers. This AS IF you mean it (and do so).
REPETITION2. The puppet repeats the movements without the puppeteers. IN THE SCENE (with the scene partner). This AS IF you mean it (and do so).
SELLING of movements.
Imagine AS IF it is the best movement of the whole wide world. This concerns every single movement, whether or not seeming at first silly, crazy or illogical.
It is possible to use every movement so sell it !!!
Addition4 (after addition3 completed): In self selected groups: The puppet does text STANDING with 1 or 2 puppeteers IN THE SCENE. Puppeteer 1 manipulates the head and 1 arm. The other puppeteer manipulates the other arm.
REPETITION. The puppet repeats the movements without the puppeteers. This AS IF you mean it (and do so).
REPETITION2. The puppet repeats the movements without the puppeteers. IN THE SCENE (with the scene partner). This AS IF you mean it (and do so).
Addition5 (after addition4 completed): In the circle scene by both puppets STANDING without the puppeteers.
Positive: this exercise relaxes the voice.
Puppetery relaxes also how you listen.
DOING IT WELL
Doing it well is often associated with strain.
Relax the voice, relaxation is also ‘doing it well’. For example remember Cesar Millan with ‘calm and assertive’.
NO expression is sometimes even the most expressive.
SURPRISE
A ‘moment of art’ may occur when you do no expect it yourself.
PURE is: ‘I loved it, don’t do it again’.
Jet & Bart (Taming of the shrew): Unexpected movement of Jet (hanging, head falling in Bart’s hands).
Peter & Jo (Taming of the Shrew): Starting low on the floor. Large hilarity at the gesture Peter pointing at the location of the ‘sting’. Important to mention as a puppet Peter was powerless and had to take over the chosen movements of the puppeteer.
FEEDING WITH TEXT
Feeding text: handing over the next line (if chosen at that moment).
This may be the director or another player.
GESTURE EMBODIMENT
All in the circle sitting on their chair. Scene of Taming of the Shrew.
Outside the circle standing with TEXT: Jurre & Jo
Inside the circle standing with GESTURES: Peter & Niels. They are translating the text into movements.
Rules: It is NOT allowed to move while listening.
Hands above the waist. Hands up: communication.
Moving and gestures are of course possible in position, high and low, gestures with arm, head or hands.
In gestures: expression & communication of the content of the text.
End of the speech: ‘hit something’.
If you do not know this text: embodiment is in that case maybe even the most useful in expressing movements and gestures.
ALIVE & RE-ENERGIZED
IMPULSE when you are about to speak.
You have to do ‘something’ with your hands.
At clowning even at 100 yards of distance it has to be visible who is speaking.
KEEP ENERGY. The number of movements or gestures is much less important than the energy. Do not make it too complicated. It is no brain surgery.
It does not matter how the scene is staged in production. This is an exercise.
Lack of embarrassment about holding a position.
The spectator should be able to look at everything from 2 sides.
Image – turning around – looking at it.
Hands – thinking – Create thoughts - Express thoughts.
COMBINATION
Every of the previous exercises is allowed to be used in the scene inside the circle.
Scene = unexpected.
What happens happens.
BARK: I know you got better stuff than that – respect.
BE GENUINE >>> ENGAGEMENT of the audience
Important: take ownership of it.
Especially worth mentioning, among others Jo doing the exercises with very eager and bright shining eyes like a little girl having the most fun ever on the playground.
Really nice to see people go hissing, group contesting, barking, shooting arrows and much more with great enthusiasm. This was a good reminder what to strive for in march.
TRY THE EXERCISES AND DO THEM.
KNOW THAT IT IS GOOD, ALLRIGHT, OK AND GREAT.
We have a lot of time between now and march, use it wisely. Maybe start right here and right now.
Tim also mentioned to know at least one text completely through, so that you are able to do the exercises with that text.
I will also go to work. You have fun with that too.
Very merry Christmas and a happy new year from this place.
See you all next year.
With sweet love.
Floris