1. Provide some thoughtful reflection on how this exercise might be useful to you in future performances. Do you have trouble with audience awareness? Explore a time (or times) in performance when the audience intruded into your work - and remember, that includes anytime you were not in the moment, i.e., you started worrying about whether you were doing something right, what your line was, etc. How would regularly using this exercise help?
2. Going beyond the issues of audience awareness, what are some reasons to use this exercise anyway? What other possible skills might it develop?
RESPONSES DUE BY 9 A.M., SATURDAY 10/22.
Tuesday, October 18, 2011
DRAMA I - Tues, 10/18 - Sensory Improv Exercises
Now that you've spent some time developing your sensory abilities on stage, I'd like you to discuss how each of the following exercises will help you when you improvise a scene (Yes - discuss all six exercises!):
1. Mirror exercise;
2. Taste and smell;
3. Three changes;
4. Tug of war;
5. Ball; and
6. Conversation with involvement.
Be sure to describe and explore what you did in each exercise that really helped you develop helpful skills, as well as anything you discovered that maybe surprised you or confused you. If you had trouble with any of these exercises, discuss that as well. You can also explore how these exercises might relate to the rules of improv that you were given.
REMEMBER: The depth of your reflection is more important than thinking about what answer I'm looking for - there is no "right" answer!
ANSWERS DUE BY SATURDAY, 10/22, 9 A.M.
1. Mirror exercise;
2. Taste and smell;
3. Three changes;
4. Tug of war;
5. Ball; and
6. Conversation with involvement.
Be sure to describe and explore what you did in each exercise that really helped you develop helpful skills, as well as anything you discovered that maybe surprised you or confused you. If you had trouble with any of these exercises, discuss that as well. You can also explore how these exercises might relate to the rules of improv that you were given.
REMEMBER: The depth of your reflection is more important than thinking about what answer I'm looking for - there is no "right" answer!
ANSWERS DUE BY SATURDAY, 10/22, 9 A.M.
Tuesday, October 4, 2011
DRAMA I - Tues, 10/4
Now that you have created a character out of thin air, and subsequently written a scenario involving that character, discuss the following (please number each answer!):
1. What part did you find most challenging about creating the character?
2. How did your group negotiate and compromise on different character traits?
3. With respect to your script, do you think you were able to reveal your character's personality without being too obvious (think about our discussion in class regarding the deep voice/self-conscious character)? Describe two specific ways in which you did, or ways that you could have improved your script to do so.
4. Was it difficult to form a coherent script with characters that had so many "quirks"? Explain why or why not, and how you would shape your character differently if you were to do this again.
1. What part did you find most challenging about creating the character?
2. How did your group negotiate and compromise on different character traits?
3. With respect to your script, do you think you were able to reveal your character's personality without being too obvious (think about our discussion in class regarding the deep voice/self-conscious character)? Describe two specific ways in which you did, or ways that you could have improved your script to do so.
4. Was it difficult to form a coherent script with characters that had so many "quirks"? Explain why or why not, and how you would shape your character differently if you were to do this again.
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