Sunday, November 15, 2009
I continue to strive to GET OUT OF MY HEAD!!! Most of the time, I do fine, but anytime the scene gets 'derailed' or stopped by coach, I shoot back up into my head so fast. I find that when I am out of my head, I can sort of observe the scene from within without thinking about it. So my ULTIMATE goal is to be able to get back out of my head if I get thrown there.
I am having the hardest time finding a happy character that I can sustain. For some reason keeping that high energy character with a positive attitude going is 'into my head' inducing. I don't have this issue with positive children or anyone intense, depressed, or creepy. So my goal is to develop a sustainable energetic happy character.
So, I was thinking about class on Monday. My physicality was ON! I made choices to do things with my body, and I stuck with it. I had the scene where I was a child sitting alone on the floor eating fiberglass until I choked on it, and I had the two scenes where I was writhing onstage. Man that is So fun! Those were my favorite scenes. You never know what will happen. I am going to try to continue to do physical things. I think that it just MIGHT help my 'in my head' problem. Maybe I need to brainstorm ideas about different ways to move and postures to take. Also, finding different things to do with my hands/legs.
So to Recap- Improv Goals:
1. Get back out of my head once I am in there.
2. Develop a sustainable energetic happy character.
3. Develop more ideas about physical position and physicality onstage.
*Note I wrote these goals before the shows this weekend. I performed a happy, energetic character for an entire long form this weekend. She was a little evil... but hey, baby steps. :D
Tuesday, November 10, 2009
Josquin was a master of writing music, not only the motet and chanson, but the frottola. Vince mentions “El Grillo,” but he did not mention the other two frottola on the recording, “Scaramella va alla Guerra” and “In te Domine speravi.” Both are similar in style to “El Grillo;” they all are homophonic and mostly syllabic with bits of polyphony to help word paint or drive to the cadences. I was a little disappointed that Vince did not write about the double entendre that can be found in “El Grillo” as the song is about a singer that Josquin knew who could hold a note for quite a long time. He depicts this in both the words about how a ‘cricket’ can hold the notes for a long time, but also through his word painting. I enjoy Josquin’s frottola more than his motets or chansons on this recording. They are just so lighthearted and fun, it would be hard to not love them.
I agree completely with Vince that, “Josquin artfully blends his techniques so his music does not sound technical, but captures the listener through beautiful colors and varied textures.” Josquin’s amazing textures are built from some amazing imitation and polyphony woven together with word painting. I think that word painting is a completely different art form and that Josquin was one of the first composers to master it.
Vince said that he has not listened to much vocal music, a statement that saddens me as vocal music is my favorite type of music. The human voice is so versatile, and Josquin does a expert job of showing it off. I am glad that Josquin has had a positive impact on Vince, and that he now knows how awesome the voice can be. Great paper, Vince!
Not just a musician, Carlo Gesualdo (pictured) was a nobleman as well as a murderer. He married his cousin when he was in his early twenties, and that ‘love match’ only lasted two years before his wife began having an affair. She managed to keep it secret for two years, but Gesualdo soon began to suspect the truth. He set a trap where he pretended to leave only to return unannounced, find his wife and her lover in his bed, and promptly murder them in a wave of insanity. There were surprisingly little repercussions from this terrible crime, although Gesualdo did hide in the country for a short of time due to unhappy relatives. He entered into another unhappy marriage four years later, and his new wife spent most of the time on her brother’s estate.(Bianconi) Gesualdo, in short, had an extremely rough home life for his entire career, and it is reflected in his music, which is moody and perhaps even bi-polar.
I listened to the CD, Gesualdo: Fifth book of madrigals, and all the pieces reflect the tension and conflict that he felt. Since Gesualdo was an enigma of contrasts, I will highlight two of his works from this CD: "Languisce al fin," an extremely sad piece, and "Correte, amanti, a prova," a more upbeat one. Gesualdo is a master of using dissonance and chromatisicm in his music, and it is clear that he writes music to reflect the inner turmoil that he lives with.
"Languisce al fin" speaks of languishing toward the end of life, and suffering. This piece is typical of Gesualdo in that it is highly chromatic and uses lamenting to help emphasize the drama that he is feeling and wanting to convey. He uses imitative elements to help text paint, and he uses a beautiful exploration of space to help him in his efforts. The chromaticism used is revolutionary, and not seen again in such abundance until tonalities are set.
"Correte, amanti, a prova" is extremely upbeat for Gesualdo. The tempo is faster and the subject of love and beauty far more lighthearted. Gesualdo uses text painting to the extreme in this piece. The tempo is moving right along until we get to the words, "Vista dolce et acerba in cui si trova," which means, "sight both sweet and bitter which has such might." When he gets to that piece of text, Gesulado slows down to emphasize the sweet and bitter feel that the words suggest. When the text gets to ‘as it may befall’, Gesualdo uses a series of falling vocal lines. It is very interesting to me what Gesualdo decides to do with his text painting. Despite this piece being more upbeat, there is still an underlying melancholy that seems to be in all of Gesualdo’s music. It is as though he can never escape from the world that he lives in entirely.
Gesualdo suffered from depression toward the end of his life most likely caused by the guilt from the double murder.(Watkins) Gesualdo was an incredibly religious man and had himself beaten for penance daily. His life was tortured and dramatic and I think that that comes through in his music. His use of dissonance and chromaticism was unmatched for decades and I don’t think that any musician has reached his level of crazy. He was buried in the chapel of Saint Ignatius. (Pictured)
Bianconi, Lorenzo. "Gesualdo, Carlo, Prince of Venosa, Count of Conza." Grove Music Online. Oxford Music Online, http://www.oxfordmusiconline.com.ezproxy.mnl.umkc.edu/subscriber/article/grove/music/10994 (accessed November 3, 2009).
Stevens, Denis. “Carlo Gesualdo.” The Musical Times, vol 131, no. 1770 (Aug., 1990): 410-411, Musical Times Publications Ltd.
Watkins, Glenn. Gesualdo: The Man and His Music. Clarendon Press. Oxford, 1991.
Thursday, October 29, 2009
Intellectually, I have known for quite some time that you have to have confidence and that you have to shut down the negative voice. (The one that tells you that you aren't good enough, smart enough, funny enough, shaped right, etc) I have applied the clamp on this negative voice of doom in my normal, everyday life. So, when Jill talked about out running the negative voice as though there is a fireball chasing, it made COMPLETE sense! I think I was letting the negative voice catch me. Sometimes, in normal class, I am able to stave it off, then John stops the scene and has me fix something. While I'm stopped, the damn voice catches up with me. (Not criticizing John! He is amazing and nurturing, the things he critiques are valid and he is definately NOT mean in ANY way when he fixes them.) So for that concept, I was like, 'AHHHH, YES!' Along with that, Jill said to 'Think you are awesome!" Makes sense, right? Then why don't we?
The next amazing NUGGET from Jill's workshop is the amazing anti-argument idea. It is all about LOVE, which I freaking LOVE ! It makes absolute sense, really. In order to get out of an argument, you LITERALLY put yourself beside the person you are arguing with. Then take on the blame, even apologize! "You stole my boyfriend!" -response- "I know, what was I thinking, I am so sorry!: or " I know. God, I am such an asshole!" You put yourself on there side. It is damn amazing!
My very favorite thig that Jill Bernard has ever said or written,
DON'T EAT THE FUN
OMG, I freaking love it!
We did the Mad, Sad, Glad, Afrad (afraid) exercise where someone comes in with a benign line and the person already onstage reacts completely off the hook. This is what I pulled from that exercise (this time)- Strong reaction impell more information, it prevents you from being vague.
Jill also said, "Everybody is secretly afraid that they are monsters." That was in relation to people holding back their emotions. I think that is true. People are afraid of what their emotions will do, so they mute them. I think that using emotions make you vulnerable, so you have to be careful of your scene partner's emotions. That also falls into the TRUST category, in my mind. If you don't TRUST your scene partners, then you will not emote with them the way you should!
Jill Bernard side-note quote of goodness-
"If you can't set aside your ego, it fells terrible to be the straight man."
WOW! how freaking true! Way to name it Jill!!!
Fireball Workshop End. Next, Fix it up shop with Jill Bernard.
Nifer and I were doing a scene in the Fit it up Shop. She was my spouse, and did not work, just stayed at home all day. We were arguing about her needing to get a job. Jill stopped us and asked, "which one of you is wrong?" Neither answered. She asked again and said, " Somebody is wrong." Nifer fessed up that she was wrong. ( rightly so- :D jk) and she played that way. Defending herself by saying that T.V. needed to be watched, etc. Long story short, conflict gone- scene great- and I was able to be magnanimous rather than angry and argumentative. So- One person in an argument is wrong, admit it to yourself, and play it that way.
Three things for/ about starting a scene:
1. Start with a predator/ prey mindset.
2. In the first two lines of a scene each person says something, regardless of the actual words, the first person says, "I'm proposing a game." The next person says, "I'm playing the game with you." OR " I think this game is stupid." Which one is more interesting? YEAH- NOT DENIAL! Don't make your fellow actors feel bad! Play their game.
3. The body segment thing-
head- intellect/or lack thereof
chest- love or superman type/ or lack thereof
loins- lust or sex/ or lack thereof
legs- worker or grounded/ or lack thereof.
Whew. That's a lot! Fit it up Shop over- next Trish Berrong's connections workshop.
The first and foremost thing that we talked about is listening like you have a crush on the scene. AKA Take in EVERY DETAIL. Remember specifics, but not necessarily EVERYTHING! Better to remember a few specifics than vague lots. :D
TRISH'S GOSPEL- Plot is Evil and will Kill you.- I think that is self explanitory.
So, Trish doesn't believe in sweep edits, or well, doesn't LIKE them. I am not sure I am on board with that thought. Her reason was that it gives imrovisers time to think of plot. I personally don't do that. When I sweep edit, I am thinking, " Edit, Edit, Edit, Edit." I know, deep of me, huh? I do agree with her when she says, " Edit by starting a new scene." There is nothing wrong and a great deal right about starting a scene from the edge of the stage. Keep ahead of the asshole voice, right? SoI get what she is saying, but I wouldn't get rid of sweep edits completely. Along with Jill's line of thinking, Trish says you should trust yourself to edit.
Finally, the last amazing nugget in Trish's workshop is about people. FOCUS on WHO someone is and NOT on WHAT they do!
I love that. Genius.
So, that is what I leared last weekend. No wonder I am tired now. :D
Tuesday, October 27, 2009
Man I LOVE improv!~ and improv people!
The outpouring of support from the KC improv community was touching. I want NOTHING more than for my brother to succeed. So seeing other improvisers feeling the same way is just an indescribable feeling for me. At the end of Saturday night, I was so happy that all I could do was walk around saying how happy I was. I think the energy of our theater really lent to that. As opposed to the large theaters at Crown Center and Union Station, our theater let a bubble of energy be created and the cool thing, is that even though the bubble is around the stage, the energy can be translated to and from the audience. That really helps everything be more connected, and I think makes the shows just that much better.
The Brownies Don't Lie set was, to my mind, completely outstanding!!! They were able to created super memorable characters and form some of the most amazing and natural relationships that I have ever seen. The thing that actually shocked me about their set, is that there was NO conflict. There were obsticles, things that got in the way of complete happiness, but NO arguing. Trish spent a good 7- 10 minutes completely silent, and imrov-ing with NOTHING but her right arm. AND that was not borin- no sir- quite the opposite actually, the audience was leaning forward- desperate for her arm to do something else, every tiny movement cherished and loved. The amazing amout of TRUST that she must have had! The trust was one-sided in the least. Jill spent an entire scene as a raptor. She committed fully to being a raptor, trusting that Trish could carry the verbal part of the scene. Trish did a great job in that scene, adding to the scene while at the same time, seeing if Jill wanted to speak. When Jill didn't, the scene was set and it got even more playful! Their entire set was playful and trusting, and that translates to the audience and makes them comfortable but focused and eager to watch.
Something happened to me during the Coma set. I was about to have a scene with Nifer, then Jessica came on too, which is great. I quickly realized that I was not needed in the scene. I LITERALLY thought, ' I am not needed here. I am going to sit down and watch.' So when John scene painted a wives boxing match, I was simpley commenting on the scene when I said, "Zombie wife has nothing to lose." I don't normally play a very good 'number 3' character. That being said, I don't know at what level commenting on the scene from within the scene is okay. I realize that is is not okay to be an asshole and point out holes in the improv, but how much internal commenting is okay?
Impfest was a success. The performers and the audiences were there physically and mentally, and it was fun! What more can you ask for?
Sunday, October 11, 2009
Tuesday, September 29, 2009
The CD that I chose is, Sumer is Icumen in: Medieval English Songs, by the Hilliard Ensemble. There are 21 pieces of music on the CD and they are moastly centered in the 13th and 14th centuries, but even dips in to the 12th century. Nearly all of the songs on the CD are shorter than 3minutes 30 seconds.
The first song on the CD and its namesake is the first song that I would like to highlight. Summer is icumen in is 2 minutes in length and it is all men’s voices. There are six parts! There is a round for 4 voices, and a 2 voice ostonoto/ drone. I feel that it is really up tempo. It is a rather impressive 6 part piece of music from such an early period.(1240)
This piece of music is an anomaly of the time. It is a secular piece, which we do not have many of from the time period, as well as the fact that the piece has specific performance notes. It is the only known 6part music before the 15th century.
The next group of song that I want to highlight are the three songs by St. Godric. The first one is Sainte Marie Viergene and it is 1:39 minutes long, the second one is Crist and Sainte Marie and it is 2:14 minutes long, and finally Sainte Nicolas and it is only :43 seconds long.
The first piece in the trio uses no instruments to muddle up the word of God. It is Plain Chant with one tenor voice. The performer put some slight dynamic differences into the piece that I think would have not been quite as pointed in the time period. The second piece, like the first, uses no instruments. This piece is more chant with1 tenor voice. The tenor used to sing this song must be an expert in falsetto. Over half of the song is sung in male falsetto. Using men in falsetto, rather than female voice fits in historically, no women were allowed in the church employ. The falsetto parts indicate the parts that the angels sang to St. Godric. The third piece uses the same chant as the first two. This piece, like the firs one uses no falsetto. Unlike the first two songs in this trio, this piece is super short.
All of these songs were given to St. Godric in visions. Sainte Marie Viergen was given by virgin Mary and St. Mary Magdalene. The second piece, Crist and Sainte Marie, was given to St. Godric by his (dead) sister and two angels. The third piece was thought to be given to St. Godric by St. Nicholas.
I think that it is interesting that he got these pieces of music from visions. He attributes the visions to God. Other cultures have had similar visions that just came out of dreams which is a persons own subconscious or from drugs, which has been said to weaken the wall between the conscious and subconscious. I have my doubts as to whether he actually saw his dead sister or any other apparitions. My oponion is that St. Godric fell asleep while praying and out of his subconscious floated this music that he felt was so beautiful that it MUST have been transcribed to him from something supernatural. He also could have been a little crazy. He spent 60 years of his life alone for awhile, then with his sister until she died. That is enough to make anyone a little crazy. Whether crazy, dreaming, or actually seeing saints, angels, and ghosts, St. Godric wrote some pretty awesome music.
Listening Journal 2
I read Lindsay Lozito’s paper on Guillaume De Machaut's Messe de Nostre Dame and she opened her journal by writing, “Guillaume de Machaut, one of the leading composers of his time.” I agree with her statement, but I don't think it goes far enough. I would say that Machaut is AWESOME! One of the things that is great about him, is that we KNOW about him. The is one of the earliest composers that we have a lot of information about!The fourteenth century does not have an enormous number of famous composers, especially the late-medieval French composers. Guillaume de Machaut wrote this music in the town of Rheims in France where the ‘civilized’ world was looking to for music at the time.
Lindsay wrote that the mass was, “one of the first polyphonic masses written as a single unit.” The CD notes that came with the CD in the library stated that, “There is no proof that Machaut wrote the entire mass at one particular time, or that he always intended the movements to go together.” Whether he intended it at the time or not, however, the different movements did get put into a whole, and because of his composition style, they work well together. I liked that Lindsay pointed out how they were linked by tonal focus, a similar style, and other features.
One of the styles in the piece is the florid organum, and I agree with Lindsay that you can definitely hear the style, particularly in the "Agnus Dei," (quotations for Mass movements) although it is present in other movements as well. The Kyrie is very melismatic, but it begins like a monophonic chant. I was not a fan. Only as you progress further into the Kyrie does the organum blossom and the melismas become almost staccato in order to hear the parts properly. I liked that much better! The Gloria is mostly syllabic, and the words are clear which I appreciated. I found the Credo to be a nice mix of melismatic and syllabic, but it had extremely long phrases that always seemed to be stretching and I found myself losing interest.The Sanctus is melismatic, with the Hosanna being staccato melismas, thus giving the impression of speed. This was my favorite movement of the work. I already spoke about the Agnus Dei, and the Ite missa est was very melismatic with an extremely florid top.
Lindsay’s opinion of florid organum is, “Normally I tend to lose interest with the florid organum style because the meaning of the word is lost and sometimes the direction of the piece,” and I tend to agree, especially in the melismas of the Kyrie. I found myself easily distracted and not able to focus on the words. The Sanctus had the opposite effect on me, however. It made me excited to listen and intrigued to hear what would happen next.
I enjoyed this piece more than I thought I would. The only things that I think Lindsay could add to her assessment of the piece are some pictures. She could get them of the Rheims cathedral or of Guillaume de Machaut himself (as I have added here). Otherwise, wonderful work of art, and a really nice review of it.
Monday, September 21, 2009
The thought is this:
Everyone has their own world that they live in. In some realities, something is completely normal, where in others, the same thing is INSANE!
I shouldn't put my normal example on the internet, so I will use an alternate example. Right now in 'my world' it is normal to stay up until 2 or 3 in the morning. That which is normal in my reality is insane in someone elses. They may think, WHO stays up until 3 in the morning. That is not their reality. In their world, maybe they work at 6 in the morning. In 'My world', that would be insane.
This could be applied to ANYTHING. Everybody has their own world that they live in and react to things in, the question is how do you react in other people's realities?
I developed this 'thinking topic' before I started to do improv, but it is completely compatible. If someone is in a scene, and does something CRAZY... well, maybe it is not so crazy if that is the reality. If that is the world they live in, then it is normal.
For example: Somebody scene paints Georgia with a forked tongue. That doesn't mean that Alan has to comment on it. Maybe it is just normal in that reality.
Conversely, maybe Alan is clinging to a reality where that is NOT normal. If that is the case, rather than accepting the weirdness of the forked tongue, he points out how weird it is. How snakelike, and how much he hates snakes. (all the while forming emotional connections, meaningful relationships, not talking about stuff, raising the stakes, non-denial, yes-and.ing, and trying to find the game) :D
SO yeah... What is normal in YOUR WORLD but weird in MINE?
Tuesday, September 15, 2009
Upping the stakes and adding information.
I have a problem that when I focus on something, I completely forget about something else.
I was working on playing games and quick edits, and my scenework went to HELL. My characters were fine, even good, but there was nothing behind them. I was doing stuff prov.
How do you get over that?
Let me guess... practice... :D Well, of all things to practice, improv is the most fun!
Monday, August 31, 2009
Monday, August 17, 2009
When I do a long form, I have a tendency to go on in the first scene or two... when I go off stage, I think about what I did and what it means. That means that I completely space off during the next scene. Sometimes... though still not good, it is okay that I do this. We are doing the longform plus ronde lately.... it is detrimental to my future scenes. Well, not always, but sometimes (like tonight) it is.
So there you have it.
My goal: Do not space off. Pay attention to the other scenes at the same time that I analyze my scenes.
Saturday, August 15, 2009
It seems to me though, and perhaps this is being a bit harsh, that if you are going to be a negative nelly at rehearsal, that it would behoove you and everyone else if you just stayed home.
As far as it is now getting toward the fall and school starting... It seems like improv is gearing up. The shows that were lacking, recently have been amazing-tastic. Improvisers are coming back, everyone seems to have more energy, and there are TWO improv festivals coming up in the KC area alone.
How much of this has to do with audiences too?
We all know about the energy that is transferred from the improvisers to the audience and back. During the summer months is the audience just a void... not returning any of the energy?
I don't think so.
I will be interested to see how this goes next year...
Tuesday, July 21, 2009
Tuesday, July 7, 2009
We were discussing who I perform for... (I as in any improv actor)
He said that I should perform for the audience, because they pay to see me perform. I argued that I should just perform how I want to perform- because I do it for me and the pleasure I take out of improv performance.
Maybe you have to take into account that they are there, and if (for example) there is a kid in the room at a family friendly show, you notice and therefore do not describe in detail some sexual acts... well, that is taking them into account, but not necessarily performing FOR the audience... more like- for myself with them in mind...
I don't know if this makes any sense.
Friday, June 26, 2009
An amazing woman
A superb cook
A mother of three
An adopted grandmother of four
A friend to hundreds
A story teller
An important person
You were my grandma when I did not have any grandma's left. You were the last grandma I had and even though you were not my 'real' grandma, it certainly felt as though you were to me. I could tell you ANYTHING and you would give me advice. I would write to you when I was little. I have seen you more in the last two years then I did for the previous 3. Even when you were sick and about to die in the hospital, after having 2 heart attacks, cancer surgery, a trechiotomy, and a diabetic coma in a five weeks... I STILL thought you were beautiful. I feel pride in visiting you in the hospital once a week while you were here. I feel pride that when I came to visit the third time and you were lucid and awake, that we were able to communicate and I made you laugh. You gave hugs that were so tight that I thought that maybe I wouldn't be able to breathe, but there was no way in the world that I would ever want you to hug less tight, or less long. I LOVED listening to your stories about how you and grandpa met and fell in love, and I know that you love telling them. I think that your nickname of Fuzzy was awesome. I think that you had three of the most diverse and amazing children that you possibly could have had. (Aunt) Bernie means so much to me that the thought of her sad sends me into waves of weeping. You are the person who taught me how to make pancakes. How to wait until the little bubbles on the edges didn't fill in when they popped. You never pressured me about getting a boyfriend, but you always asked. You took care of my doll Mavis when she was 'sick' when I was 5. You loved telling people about the cow at the fair. You would walk around with me at the fair and would go even if it was hot and you didn't want to. You would open your house to my entire family and you loved us so much. You would make everyone a different meal if my mom would have let you. You would make me kolaches because you knew that I loved them. You made me a blanket for the doll bed that grandpa made for me. You took the squares that Grandma Bozich made and put them into an Awesome blanket for me when I was 11. It made me cry because it was so thoughtful. You never treated me like I was a kid. When grandpa died, I made sure that you were not going to just follow him right away, and you made sure that I knew that you had no intention of doing that. You would always wear an old fashioned nightgown and slippers. You would always cook with cast iron skillets. You were never in a rush. Things would happen as they would happen.
Darlene Bates, you were a beautiful person, inside and out. You will be missed.
LOVE, your Grand-daughter,
Wednesday, June 17, 2009
At first, this smacked to me of insincerity, since, if she did in fact miss me, she could call-email-facebook-visit. (we live in the age of communication for fucks sake) Then, I thought about it, and the numerous times that a similar situation has happened to me over the years... and well maybe it IS sincere, but just not accurate.
Maybe instead of missing ME per-se, she missed the good times that were had at the time when we were close. And there were so MANY good times. Much laughter, which there is with ALL of my friendships.
It is sad when people grow apart, but when you see someone that you used to be really good friends with, don't say 'miss you'. Say, 'Man, we had some good times!' It flavors the current relationship with a clear conscious. There are no regrets of 'miss you' which seems to me to say, 'wish we still hung out'.
Friday, June 5, 2009
It is a titch disconcerting.
Tuesday, June 2, 2009
In relation to that, what techniques can you use when your scene partner throws so much random crap at you that there is NO possible way that you can rationalize it all?
Saturday, May 9, 2009
The first half of rehearsal was with Omega Directive. I LOVE playing with those guys.(part of why I am sad about John's new structuring plan...) Each time I play with the Omega folks I can feel myself stretching and thinking of new things to do and different ways to play. In that rehearsal, I played the straight man in a world full of monsters. T played the principal monster. This was an amazing example of how when you come on with a physicality or character, that you don't (and in fact, shouldn't) change your character when it is named something you were not expecting. (like a principal in a high school) I tried to not make every scene about conflict, but found that difficult. I did not initiate the conflict most times, and I don't think that EVERY scene was about conflict.
The long form was fun and satisfying! The second half, Omega left and RI folks played the games. They were fun and all went okay, Understudy was exceptional. I used to really really dislike that game. It is still not my favorite, but I don't despise it any longer.
Mega Nugget from rehearsal:
- come in with a physicality or character and STICK WITH IT. Funny-ness ensues.
Friday, May 8, 2009
Robot Parade (04/20/2009)
Nuggets taken from the class tonight:
- No Laughing Onstage- it makes the audience not want to automatically, it is just a natural response that they have, so if you want to be funny- don't laugh.
- Edit Quickly- It is better to edit early than late. If you edit to early, you can ALWAYS bring the scene back if you want to, if you edit late then the scene is most likely dieing and your improv audience and actors with it.
- DON'T MAKE EVERY SCENE ABOUT CONFLICT- Make some happy scenes too. Conflict is easy, and it is a beginners move to ALWAYS have the scene about conflict... It can have a conflict without being ABOUT conflict.
So that's it. Not too bad for one class. Not too bad for the first 'actual' blog. :D
I'm sure I will use this for personal reflections as well. :D