Activity 3 - Blocking a Scene

Activity 3 - Blocking a scene:

(Extra Blocking Practice if you feel the class could use it: (pdf's) Blocking Exercise I, Blocking Exercise II)

Students should break into groups of two to five and develop a dramatic scene without words. Through blocked movement, they must demonstrate who has the power in the scene and why. The main conflict and each character's objective must also be demonstrated through movement. Groups should present their scenes for the class. Following each scene, the class should discuss what has worked and what has not. (30 min.)

Activity 4 - Breaking down a movement There are seven basic principles of stage movement:

1. Movement must have a reason. 2. Movement should be simplified to its most basic elements. 3. Movement must be consistent with a character's age and body type. 4. Movement should be heightened or bigger than life. 5. Movement must be visible to the audience ("open" to the audience) 6. Movement should reveal character traits or beliefs including status and relationship. 7. Movement must create pleasing stage pictures.

Each actor should choose a simple movement such as sitting down, crossing the stage or opening a door. Students should then group themselves with one or two other actors who are not doing the same movement, and create a scene. No conversation may be used, and each actor must satisfy all seven principles of movement. The groups should rehearse and analyze each others movement for about 10 minutes. The scenes are then presented to the class and discussed.

Activities:

Each person will try three lines: "I hate you", "I love you", and "I feel sad":

1) recall the emotion 2) feel the emotion out of the context it happened in 3) find the impulse to say the line because of the emotion

It is important that the students refrain from saying the line until they feel the emotional impulse to do so. Each line will need to be said multiple times before the impulse and magnification of the emotion are real for the audience. The job of the partner is to keep saying "again, please" until the line is said in a manner that is impacts emotionally. When the partnership has succeeded in this process with all three lines, they switch jobs (30 min. +). Activity 2 - This is a pen • Students break into groups of two and designate themselves A and B. • They practice saying the A and B dialogue with A holding the pen. • After they have it memorized, they try it with other objects like a key, shoe or book.

A: This is a pen. B: A what? A: A pen. B: A what? A: A pen. B: Oh, a pen.

This is a book. This is a pen. A what? A what? A book. A pen. A what? A what? A book. A pen. Oh, a book. Oh, a pen.

Once all of these steps are mastered, the students each speak the entire dialogue themselves. • A speaks the dialogue about the pen, while B speaks it about the shoe at exactly the same time. • When this is successful, A and B trade their objects with another group and try again. • This game should be played for 10 to 15 minutes.

Both activities encourage concentration. Baby if You Love Me breaks the habit of response, and This is a Pen enables students to practice speaking and listening at the same time.

What is “Blocking”? Blocking is when a director determines an actor’s movements and positions on stage. In most plays the stage directions have been indicated by the playwright. For example, the script might read something like this:

FRED: Where should I put these flowers? (He looks Stage Left then Stage Right. Then he places the flowers in a vase Upstage Center.) Oh, this’ll do.

In this case the director might simply use the stage directions from the text. (Hopefully the actors will be familiar with the difference between Stage Left and Stage Right). However, many plays have long scenes or monologues devoid of stage directions. Should the director force the actors to simply stand still and talk? Probably not. Instead, the director should create movement that:

 Exemplifies the natural behavior of the characters.  Conveys the meaning and mood of story.  Helps to feature certain actors at appropriate moments.  Keeps the audience awake and involved (This is very helpful during Sunday Matinee performances!)

Stage Directions in Shakespeare: Shakespeare’s plays offer very few stage directions:

 Romeo enters.  They fight.  Tybalt is slain.

This means that the director must be dynamically inventive. All of the blocking must come from the director (and whatever the actors are able and encouraged to contribute). This is why Shakespeare’s plays are so invigorating when watched in live theater. The words are hundreds of years old, but the movements, sword fights, and love scenes are all new creations.

Jim Carrey’s comedy Yes Man follows a vital rule of improvisational theater: Never deny your fellow actor. Instead, you should be willing and able to accept the ideas the character conveys. Then, you should add to the scene.

This improv principle is known as “Yes And.” Here’s how it works:

At the beginning of the scene, Character #1 will begin by establishing setting and plot.

Character #1: What a hot and miserable day to be a ranch hand!

Following the “Yes And” method, Character #2 will accept the premise and add onto the situation.

Character #2: Yep and the boss said we don’t get no water until this fence is mended.

Character #1: Yes and ain’t he the meanest cuss we’ve ever worked for?

Character #2: Yep and it’s made me think about leaving behind this cowboy life and headin’ off for San Francisco.

Now, the scene could continue on indefinitely with the actors simply agreeing with one another. However, it’s best to develop conflict as well. Even though the performers constantly affirm each response doesn’t mean they can’t argue. For example:

Character #2: Yep and it’s made me think about leaving behind this cowboy life and headin’ off for San Francisco.

Character #1: Yes and you’d be broke twenty minutes after stepping off the stage coach. Character #2: Yeah and I supposed you think you could do better?!

Character #1: Yes! And after I made my fortune panning for gold I come back and buy this sorry ranch and you’d be working for me!!!

After working on “Yes And” exercises, actors ultimately learn how to do scenes in which they embrace the ideas and concepts offered by fellow performers. You don’t actually need to say the words “Yes And” for the system to work. Simply affirm what the character is saying and allow it to build the scene.

If you deny your fellow performer, here’s what happens:

Character #1: What a hot and miserable day to be a ranch hand!

Character #2: No it’s not. And we’re not ranch hands either.

Then the scene is dead in the water before it even had a chance!

This activity begins with one actor and a suggestion from the audience. The performer announces, "I am a superhero. What’s my special power?” The audience will hopefully offer a lot of entertaining suggestions. The performer should quickly select the most “workable” suggestion.

The scene begins. The actor establishes his character, setting, and conflict. For example:

X-RAY MAN: Drat! That villainous Velveeta Woman has trapped me within her Velveeta Vault as it slowly fills with bland tasting American cheese. But, I can use my X-Ray vision to see through her walls. Oh, there she is, waving at me. Curse you, Velveeta Woman!

Note: Feel free to be ever-so-much funnier than the above example.

Then the actor will introduce the next superhero. Through playful exposition, he will explain the new hero’s name and superpowers. Example:

X-RAY MAN: It looks like I’m done for. Wait! Something is bubbling beneath the cheese. Why, I don’t believe it. It’s none other than Optimist Girl! Able to look on the bright side of any situation. Thank goodness you’re here!

OPTIMIST GIRL: Don’t worry. Everything is going to turn out terrific. Quick, hand me that glass of water – the one that’s half full!

And the insanity continues. Each new superhero introduces the next character until five or six players have had a chance to show off their eccentric powers (and perhaps resolve the conflict). Villains Anonymous:

In this improvised scene, five to seven performers sit in a semi-circle. All of the characters are recovering super-villains. They are attending a twelve-step program.

The group leader begins with an introduction, “Hi, I’m ______.”

Everyone responds with a monotone, “Hi, ______.”

The group leader will explain that he/she has been villainy-free for a certain amount of days. Then, the recovering super-villain discusses his/her destructive past and the ways in which he/she was thwarted by a super-hero. Then, the next wacky villain is introduced. Like the previous improv game, the person can introduce the villain by name and super-power, or that information can be left up to the next performer.

The challenge of this improv scene is that it might be too devoid of conflict. After all, the characters are simply reminiscing about the good old days. Remember, the villain characters can always be tempted back to their bad-guy lifestyle, and the group leader can try to talk them out of it.

Super Senior Home:

The above improv games feature very silly, newly invented superheroes. For “Super Senior Home,” the actors should assume the role of famous, pre-existing comic book characters: Superman, Spiderman, Wonder Woman, Batman and Robin, the Incredible Hulk, etc.

The Gimmick: The superheroes are now in their 80s and 90s. They live together at a home for Super Senior Citizens.

The activity begins with two audience suggestions: A) What’s a common activity for an elderly person? B) Name your favorite superhero.

Embracing those two suggestions, the actor begins the scene as a geriatric superhero. Other elderly comic book characters (and perhaps a nurse or two) enter the scene and participate in the suggested activity.

Don’t forget, the characters should still possess some superpowers, though their super-skills might be a bit rusty.

For this improvisational activity, the actors select a random setting (or receive a suggested location from the audience). Then, the actors perform a quick, relatively “normal” scene. Here’s a basic example of what might unfold:

Setting: Driver’s Education Class

Driving Instructor: All righty, welcome to Mr. Fred’s Driver’s Ed. You must be, Marty.

Marty: Yeah. Do I get to drive now?

Driving Instructor: Anxious are we? That’s a good sign. Let’s hop in and we’ll see what you can do!

(They pantomime getting into the car.)

Marty: Nice car. Driving Instructor: Thanks. Don’t forget to buckle up.

Mom: (Waddling into the scene.) And don’t forget me!

Marty: Mom, I told you to stay home! I’m forty-two years old. I don’t need you to be here.

Mom: (Pantomimes getting into the back seat.) I paid for this class; I get to watch.

Driving Instructor: Well, let’s get started. Carefully pull forward and exit the parking space.

Marty: (Pantomiming driving.) There! How did I do?

Driving Instructor: Fine. Except you didn’t take off the parking brake, you were in reverse, and you ran over a little dog.

Mom: My poodle!

(End Scene.)

After a minute or less, the scene stops and the moderator (or one of the lead actors) announces that the scene needs a more specific genre. Suggestions can be taken from the audience. Or, the actors may wish to have a “line up” of genres already prepared.

Here are some genre ideas:

 Romance  Science Fiction  Horror / Suspense  Fantasy  Old 1940s Movies  Prehistoric Times  Musical  Wildlife Documentary  Western

Once a genre has been obtained, the cast performs the scene once again, this time adding appropriate – and hopefully hilarious – alterations. After the scene plays out, it is performed again with yet another genre, and the cycle continues.

For example, the Driver’s Ed scene could be mixed with some of the above genres to produce the following results:

 Prehistoric: A caveman instructor teaches a young Neanderthal how to drive a woolly mammoth.  Science Fiction: The domineering Emperor teaches a disgruntled Darth Vader how to fly a Tie Fighter. Jar Jar Binks (instead of the Mother character) comes along for the ride.  Musical: The cast sings an impromptu musical number about the joys of the DMV.  Romance: Marty’s lesson is interrupted when his Mom and the Driving instructor fall madly in love.

Remember, make changes that showcase each new genre, but reproduce some of the same actions and/or relationships (i.e instructor and student).

How To Play: First the instructor (or the facilitator of the activity) should arrange the participants into groups of four or five. Then, the instructor informs the groups that they are no longer merely students but they are top-notch, highly successful advertising executives.

Explain that advertising executives know how to use persuasive writing in commercials, making the audience experience a wide variety of emotions. Ask the participants to share examples of commercials that they remember. Did the commercials make them laugh? Did they inspire hope, fear, or hunger?

Once the groups have discussed a few examples, explain that they will now be given an illustration of a strange object; each group receives a unique illustration. (Note: You may wish to draw these random objects – which should be odd shapes that could be a multitude of different things — on the chalkboard, or you could give each group a hand-written illustration).

Once each group has received an illustration, they must then do the following:

 Decide the function of the object (Perhaps invent a brand new product.)  Give the product a name.  Create a 30 – 60 second commercial script with multiple characters.  The commercial should generate a specific emotion to persuade the audience.

After the writing process has been completed, give the groups five to ten minutes to practice performing the commercial. It isn’t too important for them to memorize the lines; they can have the script in front of them, or use improvisation to get them through the material.

Note: For less outgoing students who do not wish to stand in front of classmates, they could create a “radio commercial” which could be read from their seats.

Presentation Time: Once the groups have spent enough time creating and practicing their advertisement, it is time to perform. Each group takes a turn presenting their commercial. Before each performance, the instructor may wish to show the rest of the class the illustration. After the commercial is performed, the instructor may offer follow-up questions such as: “What persuasive strategy did you use?” or “What emotions were you trying to make your audience feel?”

Most of the time, the groups try to generate laughter, creating very funny, tongue-in-cheek commercials. Once in a while, however, a group creates a commercial that is dramatic, even thought-provoking, such as a public service announcement against smoking.

Try this ice-breaker activity out in your classrooms or drama group. The participants will have fun, all the while learning about the persuasive nature of advertising. Description

Players in pairs, facing each other. One starts talking in gibberish, with a specific emotion (angry, happy, in love, you name it). The other instantly copies the emotion of the first player, and speaks in his own gibberish. No need to try and copy the other player`s gibberish, and both players keep talking, no pauzing allowed. After about 10 seconds, the second player changes emotion, and the first one immediately follows her.

Emotions Characters

Description

Players in pairs, arms loosely hanging (not folded, not stuck in pant pockets). Players look at each other with pity. No words or sounds allowed, and no use of hands.

Ask everyone to change partners. Players are asked to look at each other lustfully.

Change partners again. Players are asked to look at each other joyfully.

Then yell any of the three emotions. Players need to find back the partner with which they did that emotion and do it again. Repeat this several times. Then ask players to walk around the room. When they meet one of their 3 partners, they return to the look that went with that partner. In between partners they stay neutral.

You can try more or different emotions, of course. Scene Replay

Description

Ask 2 players to play a short scene. One could limit the scene to 8 lines of dialog per player. Then ask the players to replay the scene, based on some audience suggestions for:

 a particular emotion. Also known as Emotion Replay.  an era. Also known as Through the Ages. Also known as Historical Replay.  a different location  a film / TV / literature style. Also known as Style Replay.  in Gibberish  backwards. Also known as Backwards Scene. Exaggeration Circle

Description All players in a circle, or a long line. One player starts a little gesture, with or without a little sound.. The next player takes it over and makes it bigger. The last player does the whole thing to the extreme.

Make sure the players stick to the original gesture/sound, and don`t just do their own thing. We should be able to see the movement grow organically.

One Line Scene

Description

Play a one or two minute scene, where only one line of dialog can be spoken. Indicate to the players when they have, say, 20 seconds left.

This exercise teaches players what can be communicated using non-verbal communication. Things like, `thank you`, Ì love you`, Ì appreciate this`, Ì`m sorry" and so forth can all be communicated non- verbally. Primal Screams

Description

All players in a circle. On player steps into the circle, making a big gesture and a loud sound. Player then steps back, and the rest of the circle imitates the sound and gesture.

Try and do this with open sounds, as loud as possible. As Keith Johnstone says: "Yelling `en masse` is good for the soul". The Good, the Bad and the Ugly Advice

Description

3 players, form a line (or sit down). The audience provides questions or problems for which they need advice. The 3 players provide good, bad, and really bad advice.

Have the MC choose who provide what advice, so everyone can have a stab at really bad advice. If the `bad advice` is really bad, then the Ugly advice should be even worse. Without Words

Description A scene is played, in which the players are not allowed to talk. Sounds, like slamming doors, running water, singing birds, echoing footsteps are allowed.