Imagination
As we grow up we forget how to use this muscle. Playing games helps us to remember how to use it. It also helps us get over the hurdles of fear and complacency, allowing us to have fun. When we are enjoying ourselves, we forget about the things that are scary or are a little too difficult. In the midst of play, we starty to remember how to imagine.
- Story Telling in a circle – One person starts story and passes it on to the next one to continue the story.
- Alphabetical Story Telling – Players stand in rows and begin story but the first word of their sentence must begin according to the alphabet sequence.
- Occupational Entry – Players given occupation and as they enter the door they must begin to establish their occupation
- Statues/Tableaus – Give a word and teams form statues that depict the word.
- Machines
- Invisible Ball – Sit in a circle. Teacher shows a ball shape, size and weight. As ball is passed remember to retain shape, size and weight. After one round, change size or weight.
- SEE WHAT IS HANDED TO YOU
- WHAT MUSCLES WILL YOU USE TO CARRY SUCH WEIGHT
- KEEP IT CONSISTENT
- SEE WHAT IS HANDED TO YOU.
December 31, 1999
Working Out Your Acting Muscles
Working Out Your Acting Muscles:OBSERVATION
Observation
As actors, we are very much a reflection of the world around us. But before we can reflect it we must first see it. We need to get ourselves out of the SCAN mode and actually observe and retain what we see passing our lives.
EXPOSURE: LOOK AT US AND WE’LL LOOK AT YOU - Divide group into two teams. Have one group stand and another group sit (Audience). Have them observe each other. They will begin to feel very uncomfortable but keep encouraging them to observe each other. Do not allow audience to laugh. THEN GIVE GROUP ON STAGE AN ACTIVITY TO DO.
Swap Groups
Evaluation: How did you feel? How actors look on stage? Describe your physical responses. How did you stomach feel? How did you feel when you were counting the boards? Did your fluttering stomach? Moist hands? Etc
As actors, we are very much a reflection of the world around us. But before we can reflect it we must first see it. We need to get ourselves out of the SCAN mode and actually observe and retain what we see passing our lives.
Swap Groups
Evaluation: How did you feel? How actors look on stage? Describe your physical responses. How did you stomach feel? How did you feel when you were counting the boards? Did your fluttering stomach? Moist hands? Etc
Got other examples of exercises that build this muscle? Post them in comments!
Working Out Your Acting Muscles: CONCENTRATION
An actor’s ability to keep things consistent is one of the important building blocks of character development.
- The Mirror
- Diamond Ensemble
others? add to comments...
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Working Out Your Acting Muscles
Memory
Our memories are a store house of acting information. So developing our memory capacities and capabilities are of utmost importance.
- 24 hours: This is your life - Call out the hours in a day and starting from 6am by the hour and as the hour is called students will enact a typical activity or action found in a-day in their lives.
- Emotional Entry - Participants stand outside the door and enter displaying the emotions given by Teacher. The rest try and guess.
- Group Touch 2 Teams - Select familiar object or substance. Once team agrees they go onstage and play simultaneously in the space. Focusing energy on the object or substance.
FEEL TEXTURE
FEEL TEMPERATURE
FEEL WEIGHT
FEEL SHAPE- TASTE AND SMELL - sensory
2 Teams- Select and agree on something simple to eat. One groups at a time go on stage to taste, smell and eat the food selected.
CHEW THE FOOD
FEEL IT TEXTURE IN YOUR MOUTH
TASTE THE FOOD
LET IT GO DOWN YOUR THROAT
EVALUATION: Audience what are they eating? Players is that right?Got any other exercises to build this muscle? Post it in the comments!
Playwriting: Creating a Character
Before getting started, make some decisions about who your characters are!
Name:
Physical Characteristics:
Age:
Date of Birth:
Height:
Weight:
Eye color:
Hair Color:
Skin color/tone:
Posture:
Grooming:
Vocal Quality:
General Appearance: (indicate degree of attractiveness,elegance or crudeness, sex appeal, “presence,” general health, any physical problems or defects, etc.)
External World
I. Family Situation
Father: (include age, if alive, or how long ago he died, occupation, any special characteristics, nature of relationship with, etc.)
Mother: (same as father)
Siblings: (brothers sisters, ages, special characteristics, nature of relationship with, etc.)
Other important relatives: (what relation, ages, special characteristics, nature of relationship with, etc.)
Family’s ability to function: (happy, normal, disruptive, dysfunctional, unusual in some way, etc.)
Marital status: (if not married, describe any significant romantic relationships. If married, how long?
Name:
Physical Characteristics:
Age:
Date of Birth:
Height:
Weight:
Eye color:
Hair Color:
Skin color/tone:
Posture:
Grooming:
Vocal Quality:
General Appearance: (indicate degree of attractiveness,elegance or crudeness, sex appeal, “presence,” general health, any physical problems or defects, etc.)
External World
I. Family Situation
Father: (include age, if alive, or how long ago he died, occupation, any special characteristics, nature of relationship with, etc.)
Mother: (same as father)
Siblings: (brothers sisters, ages, special characteristics, nature of relationship with, etc.)
Other important relatives: (what relation, ages, special characteristics, nature of relationship with, etc.)
Family’s ability to function: (happy, normal, disruptive, dysfunctional, unusual in some way, etc.)
Marital status: (if not married, describe any significant romantic relationships. If married, how long?
December 30, 1999
Weekend Script Writing Course
@Canning Garden Methodist Church
I had a wonderful time in Ipoh making some new friends! Thanks for being such great hosts and eager students! Now that it's over, send me your drafts and I'll post them here with feedback okay?“The best way to get a good idea is to get a lot of ideas.” --Linus Pauling, Nobel Prize, Chemistry
25 July, Friday night
With Acting Class:
Introductions, Sample Reader’s Theatre: “The Annunciation”
Class time:Aiya, there’s Homework!
- Example script: “The Killing Spree”
- Elements of a Good Script: Lecture with handout, identify those elements in "The Killing Spree"
- Flash Writing Ice Breaker: “She walks into the room and locks the door behind her…” Participants continue writing from there.
- Read samples aloud when finished. What creativity!
- List up to 20 influential experiences in your life. Many are stumped!
- Prayer for inspiration!
- Small groups: share ideas, get feedback
- Read “Elements of a Winning Sketch” from Steve Pederson’s Drama Ministry.
- Brainstorm the 10-20 most important things you believe – values you hold, issues that are important.
- List 10 of your favourite stories
List people you know or characters you’ve met in movies, books or plays who also hold these values. Then do the same for characters who would be antagonistic toward those values.
“Nothing is more dangerous than an idea when it is the only one we have.” Emile Chartier, French Philosopher24 July, Saturday AM
- Flash Writing: Slips of paper – quotes on desks. Some share their inspirations! Marvelous!
- Discuss the DRAMA MINISTRY chapter (with notes on white board) 1. Essence of Drama=conflict; 2. Basic Elements of structure; 3. Action: Show don’t Tell; 4. The Power of Drama is that is seems REAL, not one dimensional ie all good, or all bad!; 5. Editing out the extra verbage: Cut anything that doesn’t give background, advance the plot, develop the character more.
- Flash Writing: Pick an influential experience with most conflict. Write dialogue in the middle of that conflict.
- Discussion of participants experiences. Ideas for making into a story with a beginning, middle, and an end. Name the protagonist, antagonist and conflict.
Afternoon Videos
Willow Creek Sunday Morning Live, vol 1
“Tired When Needed”
“Is Nothing Sacred?”
Friends of the Groom Live (on tape)
“One Day at a Bus Stop”
“Tale of 3 Trees”
“The Lighthouse”24 July, Afternoon Session:
- Play Idea Worksheet (limit you play to 3 characters)
- Character Worksheet for 2 characters
- Dialogue Discussion: 1. Ellipsis…, 2. Interruptions--, 3. Half Finished sentences, 4. Replacing words with physical actions, 5. Beats & Pauses, 6. avoid long sentences or more than 3 sentences at a time for your characters, 7. avoid clichés, 8. don’t let you characters “let go” with their emotions, but fight emotions (like in real life)
- Discussion of Reversals and Surprise with video examples from The West Wing (“In This White House” episode #24 Sam’s debate with Ainsley Hayes, and Leo later offering her a job)
- End Early to continue brainstorming, work on Play Idea Worksheet, Character Worksheet, and outline come back at 8PM.
- Synopsis: Minimize the entire idea for your play into three sentences that includes beginning, middle, end, your protagonist, antagonist and the conflict.
24 July, Evening Session
• Discussion: Where each participant is with their ideas…Help along the ideas with group input. The wind is back in our sails! This is actually FUN! Nearly everyone left inspired and excited.
Homework
• Write an outline for your play or sketch. Draft at least a page from the play. If you can, finish a draft of one scene to be read tomorrow.
25 July, Sunday Afternoon
Lectio Divina: Monologues that come from meditating on Scripture and putting yourself in the story, as one of the characters or an eye witness.
SAMPLES:
- “Rancher” - Local Pig Farmer from Traveling Light
- the acronyms for Stage Directions ie. USR, DSR, DSC etc. and SFX = Sound Effects)
- “Doubting Thomas” from Max Lucado
- “Mary’s Firstborn” – Kimberly reads
Break
- In smaller groups of 3, read over your drafts
Join Acting Class to see their works in progress, and have Readings of your drafts by the acting participants.
Thanks everyone for a great weekend!
December 29, 1999
Trinity: Intro to Acting Workshop SCHEDULE + notes
Intro to Drama Workshop in 3 Sessions
TRINITY CHRISTIAN CENTRE
(Sept 16 & 18th 2004)
In this 3 session course, participants will explore and stretch the “muscles” used in acting. These are:
Relaxation
Memory
Observation
Concentration
Imagination and
Reaction
We’ll stretch these muscles through a series of drama games and exercises. You will quickly discover that this kind of “work out” is not only good for actors, but can help you learn to be a more creative person. Drama skills give you more self confidence, help you “think out of the box” for a difficult assignment at work, are an indispensable asset in parenting, and develop a greater appreciation for how God made you, and who He is as Creator God.
Our first session Thursday night will introduce you to the muscles and skills needed for drama. We’ll relax, stretch, play some simple but very interesting and fun games that ease you into stretching these muscles (Don’t worry, we promise never to laugh at anyone if you’re really out of shape!).
Saturday from 2-7 we’ll continue to work out those muscles, adding games and exercises that build on the ones from the previous session.
We’ll not only give participants opportunity to stretch and work out, but along the way, some of the Creative Arts Team will offer samples of a variety of styles in sketches for worship.
Wear comfortable clothes. Bring a water bottle and something to keep notes. And most of all, come with a sporting attitude! We’re going to have a lot of fun, but we’re also going to work! Just like any physical workout, this drama workshop will leave you both exhausted and energized!
Music as people enter
Registration at door = sign in and make a name tag (Jerry)
8:00 GAMES – people observe the game and join in once they understand. (Kat)
“Hey!” TOSS –
2 lines facing each other. Toss “Hey!” across to other line using different pitches, speeds and actions.
ZIP-ZAP-ZOG –
In a circle, one person at a time tosses a “zip” “zap” or “zog” to another. Must keep the rhythym and order, or you are eliminated.
INTRODUCTIONS –
In a circle, one at a time, introduce your name with a movement using your whole body. The entire group repeats what you’ve said and done, trying to copy you exactly.
8:15 ORIENTATION (k!)
“Hey! I thought I signed up for a drama workshop! Why are we playing silly games instead? What I need is to get on with the real work of acting. That is precisely what theatre games are about.
So what are theatre games? They are non-threatening exercises that help teaching acting principles.
They challenge us to leap over stumbling blocks that hinder us as actors.
Two key stumbling blocks are:
FEAR – Of failure, of looking stupid in front of peers, looking fat etc
COMPLACENCY – We get so comfortable with a role or approach to acting that we no longer stretch beyond these boundaries.
Playing games helps us to leap over these hurdles by allowing us to have fun. When we are enjoying ourselves, we forget about the things that are scary or are a little too difficult. In the midst of play, we learn how to reach our goal.
Look at us, We’ll look at you - exercise. (K!)
Divide group into two teams. Have one group stand and another group sit (Audience). Have them observe each other. They will begin to feel very uncomfortable but keep encouraging them to observe each other. Do not allow audience to laugh. THEN GIVE GROUP ON STAGE AN ACTIVITY TO DO. Swap Groups. COACH: “How did you feel?
How actors look on stage? Describe your physical responses. How did you stomach feel? How did you feel when you were counting the boards? Did your fluttering stomach? Moist hands? Etc”
BECAUSE WE HAD SOMETHING TO DO- It is this “something to do” (focused energy) that we call the actor’s focus. This embarrassment or awkwardness will be replaced by your actions and focus.
8:30 SKETCH “Getting in Shape with Hanz & Franz” sketch reading (read it over and we’ll decide thursday)
8:40 ACTING MUSCLE #1 – RELAXATION
“The Art of the Holy Backrub” (K!)
STRETCH, YAWN, SHAKE (Linda)
8:55 ACTING MUSCLE #2 – OBSERVATION
OUR FATHER & THE ENEMY (Mei Yee)
9:05 ACTING MUSCLE #3 – MEMORY
A DAY IN YOUR LIFE (Jaz)
Talk the group thru acting out 24 hours. Encourage them to let their bodies remember what different things feel like. Make it real to yourself, don’t just anyhow pretend things. Do you really sleep like that? How high is desk? Where exactly is your alarm clock? Do you really hold the phone like that? Or eat like that (so fast?) etc. NO LAUGHING and don’t use sounds or words. Concentrate on the actions.
9:25 ACTING MUSCLE #4 – IMAGINATION
MACHINES (K!)
As realistic as possible. Assign machine to groups of 5-6. One person is chosen to start a part of the machine with sound. Gradually add other players. The other teams must guess.
Ideas:
TYPEWRITER
CD PLAYER
MOTORBIKE
GRANDFATHER CLOCK
STANDING FAN
FRIDGE
WASHING MACHINE
VENDING MACHINE
FOOD MIXER
PHOTOCOPY MACHINE
PIANO
LAWN MOWER
TV
9:35 ACTING MUSCLE #5 – TEAMWORK/REACTION
EMOTIONAL SCULPTURE GARDEN (Linda) Groups of 3-5. Depending on size and time. One group at a time, or ½ the group freezes first while the other ½ strolls through the garden (Don’t make them freeze too long!!). They can’t “plan” the sculpture – encourage quick thinking and teamwork. Give them the emotion, then tell them you’ll give them a count of “5” to make the statue(s). Encourage them not to be afraid to touch each other, and make many different levels to create an interesting picture/sculpture of this emotion. It should not look like a few INDIVIDUALS posing.
9:45 ACTING MUSCLE #6 – CONCENTRATION
STORY GO ROUND (Alfred)
Sitting in a circle, the group gets to tell a story about a person who signed up for this drama workshop, came, survived, and how they felt at the end of the first night.
9:55 CLOSING PRAYER (Linda)
10PM FINISH
Saturday 2-7PM
2:00 Game BOOM TAG (K!)
2:15 RELAXATION WORKOUT
Sponge – Isolations (Linda)
Laying on the ground. Tensing, wriggling, relaxing different parts of body.
2:30 OBSERVATION WORKOUT
Change 3 Things (Jaz)
2:40 MEMORY WORKOUT
Growing Up – Infant to 80’s (K!)
Occupational Entry (K!)
Everyone in the group writes on slips of papers 1. occupation, 2. a character trait, 3. a problem. Each participant takes turns selecting one each. They leave the room and when they come back in they act it out for the rest of the group to guess. Doesn’t have to be a silent exercise – use words.
3:30 CONCENTRATION WORKOUT
Invisible Ball (Linda)
In a circle the leader establishes a ball shape, size and weight. As ball is passed remember to retain shape, size and weight. After one round, change size or weight. See what is handed to you.
What muscles to you use to carry this weight? Keep size and weight consistent.
3:40 SKETCH “Peter’s Mother In-Law” (Mei Yee)
3:45 TEAMWORK WORKOUT
Slide Show (K!) Using “Peter’s Mother-in-Law” again, the teams will make living pictures of the events in the story. Give a costume piece to Peter, mum, and Jesus to pass on to each group to identify the character.
“His mother in law’s place.”
Peter bringing the Guru and all his friends over to his mum’s house after temple.
“Came in to see little old me.”
She’s sick and Jesus comes to see her.
“The fever disappeared!”
healing
“Nasi Lemak”
everyone enjoying her good cooking.
“He touched everyone of them!”
Jesus healing the sick.
“They all knew exactly who he was”
reaction to Jesus.
4:30 BREAK
4:45 SKETCH “Tourists at the Triumphal Entry” (Jaz, Kat)
5:00 IMAGINATION WORKOUT
Join the Environment (Mei Yee)
Give an individual an environment to be in on stage. Individuals in the group join her on stage in that same environment. Not a mime! Be realistic.
OPEN DIALOGUE (kat) NOTE: This dialogue needs to be printed for ea participant.
An open dialogue is a script, usually short, that is quite generic. It is adaptable to many different characters, settings, and situations. Within the limits of a set dialogue, the actors are free to explore character. The exercise demonstrates how meaning is established less by lines and more by how the lines are said.
A: Hi.
B: Hello.
A: How's everything?
B: Fine. I guess.
A: Do you know what time it is?
B: No. Not exactly.
A: Don't you have a watch?
B: Not on me.
A: Well?
B: Well what?
A: What did you do last night?
B: Nothing.
A: Nothing?
B: I said, Nothing!
A: I'm sorry I asked.
B: That's all right.
Actors could, on their own, develop the who (who these characters are), the where (setting for the scene), the what (what is happening, what the issue is). Or a leader could assign different settings/characters. Here are some possibilities for the above dialogue: (I) a casual pickup (2) husband A, wife B meeting after a trial separation (3) father A and daughter B after she's been out far past her curfew the night before. The setting is breakfast. (4) college friends meeting after each suspects the other of dating their boyfriend (5) B about to murder A (6) lovers meeting for only a few moments (7) before a double suicide (8) A about to rob B.
5:45 MEMORY WORKOUT
Action to Emotion (K!)
Rather than simply physicalize a response to a word, the actors are encouraged to come up with an action that will create the appropriate response. Say; for example, the word is "spiteful." An actor could create a scenario like the following: "My roommate has an 'addiction' to new clothes and, once again, has stolen money from my wallet and gone shopping. I've confronted her with this before, but it has happened again. I'm not going to let her get by with it this time, so I get a scissors and go to her closet and cut the sleeves off every one of her blouses. I then take the sleeves and lay them neatly across her bed-to spite her." It is not hard to see how miming this action can produce the emotion of "spite." Rather than pre- tending at "spite" from "out of the blue," specific action is relied on to produce an authentic feeling. Take the word "cautious." Rather than just acting cautious, an actor develops a scenario such as this: "I am a prisoner of war, trying to escape at night. I have to make my way across a large field without blowing up a booby trap. I crawl on my belly, inching along cautiously (probably with a fair amount of fear as well!)." It's important that each actor is given time to think through their story; to enter into it. It is often fun for everyone to be working with the same word. Or assign a different word to each actor. Here are a few more: embarrassed, bashful, frantic, breathless, awkward, jovial, quarrelsome, irritable, scornful, dazed, apprehensive, violent, exhausted.
6:00 SKETCH: “The Separation” (Jerry, Kat)
6:10 TEAMWORK/CONCENTRATION
Mirror Exercise (K!) in pairs
Diamond Ensemble (K!)
In groups of 4. Uses music. Last song is worshipful.
6:50 CLOSING PRAYER (Linda) at the end of the last Diamond Ensemble piece, just begin a closing prayer. And then dismiss the group.
6:55 “And now for your feedback” form
7:00 FINISH!
TRINITY CHRISTIAN CENTRE
(Sept 16 & 18th 2004)
In this 3 session course, participants will explore and stretch the “muscles” used in acting. These are:
Relaxation
Memory
Observation
Concentration
Imagination and
Reaction
We’ll stretch these muscles through a series of drama games and exercises. You will quickly discover that this kind of “work out” is not only good for actors, but can help you learn to be a more creative person. Drama skills give you more self confidence, help you “think out of the box” for a difficult assignment at work, are an indispensable asset in parenting, and develop a greater appreciation for how God made you, and who He is as Creator God.
Our first session Thursday night will introduce you to the muscles and skills needed for drama. We’ll relax, stretch, play some simple but very interesting and fun games that ease you into stretching these muscles (Don’t worry, we promise never to laugh at anyone if you’re really out of shape!).
Saturday from 2-7 we’ll continue to work out those muscles, adding games and exercises that build on the ones from the previous session.
We’ll not only give participants opportunity to stretch and work out, but along the way, some of the Creative Arts Team will offer samples of a variety of styles in sketches for worship.
Wear comfortable clothes. Bring a water bottle and something to keep notes. And most of all, come with a sporting attitude! We’re going to have a lot of fun, but we’re also going to work! Just like any physical workout, this drama workshop will leave you both exhausted and energized!
THURSDAY
16 September 2004 8PM –10PM
16 September 2004 8PM –10PM
Music as people enter
Registration at door = sign in and make a name tag (Jerry)
8:00 GAMES – people observe the game and join in once they understand. (Kat)
“Hey!” TOSS –
2 lines facing each other. Toss “Hey!” across to other line using different pitches, speeds and actions.
ZIP-ZAP-ZOG –
In a circle, one person at a time tosses a “zip” “zap” or “zog” to another. Must keep the rhythym and order, or you are eliminated.
INTRODUCTIONS –
In a circle, one at a time, introduce your name with a movement using your whole body. The entire group repeats what you’ve said and done, trying to copy you exactly.
8:15 ORIENTATION (k!)
“Hey! I thought I signed up for a drama workshop! Why are we playing silly games instead? What I need is to get on with the real work of acting. That is precisely what theatre games are about.
So what are theatre games? They are non-threatening exercises that help teaching acting principles.
They challenge us to leap over stumbling blocks that hinder us as actors.
Two key stumbling blocks are:
FEAR – Of failure, of looking stupid in front of peers, looking fat etc
COMPLACENCY – We get so comfortable with a role or approach to acting that we no longer stretch beyond these boundaries.
Playing games helps us to leap over these hurdles by allowing us to have fun. When we are enjoying ourselves, we forget about the things that are scary or are a little too difficult. In the midst of play, we learn how to reach our goal.
Look at us, We’ll look at you - exercise. (K!)
Divide group into two teams. Have one group stand and another group sit (Audience). Have them observe each other. They will begin to feel very uncomfortable but keep encouraging them to observe each other. Do not allow audience to laugh. THEN GIVE GROUP ON STAGE AN ACTIVITY TO DO. Swap Groups. COACH: “How did you feel?
How actors look on stage? Describe your physical responses. How did you stomach feel? How did you feel when you were counting the boards? Did your fluttering stomach? Moist hands? Etc”
BECAUSE WE HAD SOMETHING TO DO- It is this “something to do” (focused energy) that we call the actor’s focus. This embarrassment or awkwardness will be replaced by your actions and focus.
8:30 SKETCH “Getting in Shape with Hanz & Franz” sketch reading (read it over and we’ll decide thursday)
8:40 ACTING MUSCLE #1 – RELAXATION
“The Art of the Holy Backrub” (K!)
STRETCH, YAWN, SHAKE (Linda)
8:55 ACTING MUSCLE #2 – OBSERVATION
OUR FATHER & THE ENEMY (Mei Yee)
9:05 ACTING MUSCLE #3 – MEMORY
A DAY IN YOUR LIFE (Jaz)
Talk the group thru acting out 24 hours. Encourage them to let their bodies remember what different things feel like. Make it real to yourself, don’t just anyhow pretend things. Do you really sleep like that? How high is desk? Where exactly is your alarm clock? Do you really hold the phone like that? Or eat like that (so fast?) etc. NO LAUGHING and don’t use sounds or words. Concentrate on the actions.
9:25 ACTING MUSCLE #4 – IMAGINATION
MACHINES (K!)
As realistic as possible. Assign machine to groups of 5-6. One person is chosen to start a part of the machine with sound. Gradually add other players. The other teams must guess.
Ideas:
TYPEWRITER
CD PLAYER
MOTORBIKE
GRANDFATHER CLOCK
STANDING FAN
FRIDGE
WASHING MACHINE
VENDING MACHINE
FOOD MIXER
PHOTOCOPY MACHINE
PIANO
LAWN MOWER
TV
9:35 ACTING MUSCLE #5 – TEAMWORK/REACTION
EMOTIONAL SCULPTURE GARDEN (Linda) Groups of 3-5. Depending on size and time. One group at a time, or ½ the group freezes first while the other ½ strolls through the garden (Don’t make them freeze too long!!). They can’t “plan” the sculpture – encourage quick thinking and teamwork. Give them the emotion, then tell them you’ll give them a count of “5” to make the statue(s). Encourage them not to be afraid to touch each other, and make many different levels to create an interesting picture/sculpture of this emotion. It should not look like a few INDIVIDUALS posing.
9:45 ACTING MUSCLE #6 – CONCENTRATION
STORY GO ROUND (Alfred)
Sitting in a circle, the group gets to tell a story about a person who signed up for this drama workshop, came, survived, and how they felt at the end of the first night.
9:55 CLOSING PRAYER (Linda)
10PM FINISH
Saturday 2-7PM
2:00 Game BOOM TAG (K!)
2:15 RELAXATION WORKOUT
Sponge – Isolations (Linda)
Laying on the ground. Tensing, wriggling, relaxing different parts of body.
2:30 OBSERVATION WORKOUT
Change 3 Things (Jaz)
2:40 MEMORY WORKOUT
Growing Up – Infant to 80’s (K!)
Occupational Entry (K!)
Everyone in the group writes on slips of papers 1. occupation, 2. a character trait, 3. a problem. Each participant takes turns selecting one each. They leave the room and when they come back in they act it out for the rest of the group to guess. Doesn’t have to be a silent exercise – use words.
3:30 CONCENTRATION WORKOUT
Invisible Ball (Linda)
In a circle the leader establishes a ball shape, size and weight. As ball is passed remember to retain shape, size and weight. After one round, change size or weight. See what is handed to you.
What muscles to you use to carry this weight? Keep size and weight consistent.
3:40 SKETCH “Peter’s Mother In-Law” (Mei Yee)
3:45 TEAMWORK WORKOUT
Slide Show (K!) Using “Peter’s Mother-in-Law” again, the teams will make living pictures of the events in the story. Give a costume piece to Peter, mum, and Jesus to pass on to each group to identify the character.
“His mother in law’s place.”
Peter bringing the Guru and all his friends over to his mum’s house after temple.
“Came in to see little old me.”
She’s sick and Jesus comes to see her.
“The fever disappeared!”
healing
“Nasi Lemak”
everyone enjoying her good cooking.
“He touched everyone of them!”
Jesus healing the sick.
“They all knew exactly who he was”
reaction to Jesus.
4:30 BREAK
4:45 SKETCH “Tourists at the Triumphal Entry” (Jaz, Kat)
5:00 IMAGINATION WORKOUT
Join the Environment (Mei Yee)
Give an individual an environment to be in on stage. Individuals in the group join her on stage in that same environment. Not a mime! Be realistic.
OPEN DIALOGUE (kat) NOTE: This dialogue needs to be printed for ea participant.
An open dialogue is a script, usually short, that is quite generic. It is adaptable to many different characters, settings, and situations. Within the limits of a set dialogue, the actors are free to explore character. The exercise demonstrates how meaning is established less by lines and more by how the lines are said.
A: Hi.
B: Hello.
A: How's everything?
B: Fine. I guess.
A: Do you know what time it is?
B: No. Not exactly.
A: Don't you have a watch?
B: Not on me.
A: Well?
B: Well what?
A: What did you do last night?
B: Nothing.
A: Nothing?
B: I said, Nothing!
A: I'm sorry I asked.
B: That's all right.
Actors could, on their own, develop the who (who these characters are), the where (setting for the scene), the what (what is happening, what the issue is). Or a leader could assign different settings/characters. Here are some possibilities for the above dialogue: (I) a casual pickup (2) husband A, wife B meeting after a trial separation (3) father A and daughter B after she's been out far past her curfew the night before. The setting is breakfast. (4) college friends meeting after each suspects the other of dating their boyfriend (5) B about to murder A (6) lovers meeting for only a few moments (7) before a double suicide (8) A about to rob B.
5:45 MEMORY WORKOUT
Action to Emotion (K!)
Rather than simply physicalize a response to a word, the actors are encouraged to come up with an action that will create the appropriate response. Say; for example, the word is "spiteful." An actor could create a scenario like the following: "My roommate has an 'addiction' to new clothes and, once again, has stolen money from my wallet and gone shopping. I've confronted her with this before, but it has happened again. I'm not going to let her get by with it this time, so I get a scissors and go to her closet and cut the sleeves off every one of her blouses. I then take the sleeves and lay them neatly across her bed-to spite her." It is not hard to see how miming this action can produce the emotion of "spite." Rather than pre- tending at "spite" from "out of the blue," specific action is relied on to produce an authentic feeling. Take the word "cautious." Rather than just acting cautious, an actor develops a scenario such as this: "I am a prisoner of war, trying to escape at night. I have to make my way across a large field without blowing up a booby trap. I crawl on my belly, inching along cautiously (probably with a fair amount of fear as well!)." It's important that each actor is given time to think through their story; to enter into it. It is often fun for everyone to be working with the same word. Or assign a different word to each actor. Here are a few more: embarrassed, bashful, frantic, breathless, awkward, jovial, quarrelsome, irritable, scornful, dazed, apprehensive, violent, exhausted.
6:00 SKETCH: “The Separation” (Jerry, Kat)
6:10 TEAMWORK/CONCENTRATION
Mirror Exercise (K!) in pairs
Diamond Ensemble (K!)
In groups of 4. Uses music. Last song is worshipful.
6:50 CLOSING PRAYER (Linda) at the end of the last Diamond Ensemble piece, just begin a closing prayer. And then dismiss the group.
6:55 “And now for your feedback” form
7:00 FINISH!
December 01, 1999
Elements of a Good Script
Here are a few things that will help you gain more clarity for your piece:
Target Audience
“Who are you writing for?”
Children, Youth, Adult, Senior Citizens, Ethnicity, Christian, Un-churched, Educated, Illiterate
Venue
“Where will you be performing?”
school, church, Senior Citizen’s Center, street, café or bookstore, hall, theatre
Resources
“Can you afford it?” “Can you obtain the necessary props & set?”
Styles
“How are you going to say it?”
Make sure it is appropriate for stage presentation (and not movies which can make major shifts in location immediately!)
Here is a list of some styles...Realistic
Allegorical
Stylized
Children’s
Sit-Comedy
Dark Comedy
Physical Comedy Drama
Melodrama
Vaudeville
Musical
Puppet
Radio Drama
Readers Theatre
Mime
Clown
Theme
“What are we trying to say?” and “Why should anyone care?”
A Bit About Structure
Premise “Is the point of view clear & well developed?” “Does it appeal to the imagination?” “Is it interesting?” “Is it believable?”
Conflict “Does it grab your interest and make you want to see what happens?”
Characters “Are they believable?” “Are they likeable?”
Good Dialogue “Does it concisely move the story forward?” “Does it refrain from being too preachy?” “Does it avoid answering the central conflict with platitudes and cliches?”
Story/Plot “Can you easily identify the outline with a beginning, middle and ending?”
Sketch: Sticks to one idea, usually set in one place.
One Act: One idea or situation played out in more than one scene.
Full-Length: In 2 or 3 Acts, traditionally lasts anywhere from 90 minutes to over 2 hours. Covers multiple ideas, situations, and characters.
God Bless you in your writing!
Target Audience
“Who are you writing for?”
Children, Youth, Adult, Senior Citizens, Ethnicity, Christian, Un-churched, Educated, Illiterate
Venue
“Where will you be performing?”
school, church, Senior Citizen’s Center, street, café or bookstore, hall, theatre
Resources
“Can you afford it?” “Can you obtain the necessary props & set?”
Styles
“How are you going to say it?”
Make sure it is appropriate for stage presentation (and not movies which can make major shifts in location immediately!)
Here is a list of some styles...Realistic
Allegorical
Stylized
Children’s
Sit-Comedy
Dark Comedy
Physical Comedy Drama
Melodrama
Vaudeville
Musical
Puppet
Radio Drama
Readers Theatre
Mime
Clown
Theme
“What are we trying to say?” and “Why should anyone care?”
A Bit About Structure
Premise “Is the point of view clear & well developed?” “Does it appeal to the imagination?” “Is it interesting?” “Is it believable?”
Conflict “Does it grab your interest and make you want to see what happens?”
Characters “Are they believable?” “Are they likeable?”
Good Dialogue “Does it concisely move the story forward?” “Does it refrain from being too preachy?” “Does it avoid answering the central conflict with platitudes and cliches?”
Story/Plot “Can you easily identify the outline with a beginning, middle and ending?”
Sketch: Sticks to one idea, usually set in one place.
One Act: One idea or situation played out in more than one scene.
Full-Length: In 2 or 3 Acts, traditionally lasts anywhere from 90 minutes to over 2 hours. Covers multiple ideas, situations, and characters.
God Bless you in your writing!
Buzz' Play Idea Worksheet
Here's the best book on playwriting:
Available from Amazon.com.
HERE'S THE WORKSHEET
A good discipline to start when beginning to write a play
Date:
Working Title:
Central Character:
Central Character’s dominant need:
Other major character(s):
Setting:
Occasion:
Major conflict/dilemma as it manifests itself in action:
Resolution:
How the central character changes by the end:
Dramatic premise:
Available from Amazon.com.
HERE'S THE WORKSHEET
A good discipline to start when beginning to write a play
Date:
Working Title:
Central Character:
Central Character’s dominant need:
Other major character(s):
Setting:
Occasion:
Major conflict/dilemma as it manifests itself in action:
Resolution:
How the central character changes by the end:
Dramatic premise:
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