All right

All right, all right. So the second Groundlings class was much better. Yes, I judged too quickly, but at least I acknowledged the possibility that that was what I was doing. So far, the standouts seem to be: Julia, Greg, Chris, Beth, Piper, and Steve. This may change.

Yesterday we had a substitute. She was a rotund lady who introduced herself a "mean bitch" and a "whore." Apparently she does the voices in Bear City on SNL. In reality, she wasn't bad. The class is starting - slowly - to gel, and I think that that is a process that will continue. The "fearingly" guy (see previous post) is still so dumb it is difficult to watch him, but the rest of the team is starting to grow on me.

Yesterday we focused on "space work" which is what you do on stage, the 'props' you imagineeer, and the places you create. It's tough. Try seeing a ball in your hands. Now play with it, bounce it, feel it, smell it. Let the weight of it sink into your hand. To make space work realistic is a very difficult skill, but clearly a necessary one.

The second half of the class was a lecture, and I thought I would share my notes:

Information

• Information is the life-blood of every scene. Information is made up of the who, what, where, & why.
• Get this information established as quickly as possible.
• Make relationships interesting and detailed.
• The most interesting whos come from your own life.
• Try to establish real relationships

What

• The rudimentary activity we are engaged in.

Where

• Think in terms of arms reach (ie. not just 'in Paris,' but 'in a small studio apartment in Paris, by a window overlooking the Sienne.")
• Details: Hot? Cold? Dusty? Rainy?

Why

• "The fickle mistress of improv," the 'why' can be hard to pinpoint.
• Why does what is happening to the characters matter? What is at stake?
• Why does it matter emotionally? --> Anything can be made important.
• Make these choices quickly and add to them (like lego pieces).

Getting Information Out

• Space work
• What you do. Should often be performed on the 4th wall in order to keep the scene uncluttered.
• Emotional Adjustment
• Character
• Who says it. The only part of improv that you can prepare. It is advisable to have a few (or more) characters in your back pocket that you can draw on at any time.
• The character 'adds fuel to the fire' and makes scenes more interesting.
• Stage Movement
• Best done with something in mind, Also conveyed in what you don't say --> body language
• Movement should always have a purpose.
• Dialogue
• What you say. This is the cleanest, clearest way to put out info.
• It matters how you say what you say.

Donts

• Do not say "no" or "but" --> never negate
• Don't play strangers.
• Don't start with "hey" or "what's up?"
• First line out wins...roll with it.
• Accept what is going on...let it be your reality.
• Don't talk about money.
• Do not control, instruct, or teach. Enjoy giving up control.
• Don't ask questions --> keep the scene moving forward.
• Don't play crazy or label you scene partner as crazy.
• Don't plan or talk about things that will happen in the future.
• Don't try to be funny. Don't go for the joke that is rude, foul, or stereotypical.

Dos

• Listen and respond --> "yes, and..."
• Constant eye contact. Whatever you are doing, you can do while watching your partner.
• Commit. If you don't commit, you fucked it up. --> don't break, don't laugh or give up.
• Be your best actor.
• Trust, relax, & have fun.

That's all for now.

- Brad