A rough one.
This week we did a character wheel exercise focussing on second beats off of a character monologue and Neil was not pleased. None of us did particularly well and even the Harolds were a little bit of a slog with some second beats getting restarted (including one I did). We then did a final tag-out exercise like a La Ronde to build off patterns and blow-out games, focussing on taking “big swings”.
It felt difficult to get into the groove of it and everyone seemed dejected leaving. Some times are just like that.
I felt fine, in going with my notes from last week, knowing that even if I performed less well this week, I could feel the stretch. I felt like I was getting second beats drilled more into me.
Anyway, here are the notes from this week, abbreviated, hastily-scrawled, typo-ridden, mostly inaccurate.
Use them for what they are worth.
Strong emotional commitment will carry the day in your first beats and invocation.
Today is about encouraging simpler stronger second beats and then simpler stronger third beats
Harold exercise without connections
Last line/first line edits: I like editing on the lines, I think it’s nice to pivot on that line, it feels like we’re building a chain between the scenes.
Playing real vs. making things important: think back to park bench of truth
If you and I sit somewhere and have a conversation, something playable will come up if you’re being aggressive about observing and seizing things.
The artifice of playing it real is yes-anding, because if we were in real life we can just sit around and not doing anything
If you’re at my house and we are sitting around and making iced tea, we can sit at that in real life, but as improvisers we have to provide verbal information into the scene while still being in the reality
Sometimes if my big note is play it real, I’m not noting people on plateauing and not adding things. I’m not going to barge in and say “yes, and” but if you’re playing it real and not getting to funny you are probably not yes-anding
Follow your instinct about how big of a choice to make, don’t sell out the first thing you make, just trust yourself. There is no such thing as too big of a choice, but such a thing as a false choice, if something is contrived and shoe-horning a sitcom premise. Make sure it’s actually flowing from what’s going on on stage. If I step out with you and have a moment with you it sucks if I back out of that to do an initiation.
Threes going to be something that’s already there when we step out together and it’s easy to see people reject that, hard to point out what’s right.
What’s always going to be new is you and me looking at each other talking about what’s on our minds.
Why is it that when I say characters people do half-crosseye and insist on playing morons?
You can play characters that are dumber than you, but have a good reason. Your instinct shouldn’t be to knock 10 IQ points off.
Play someone you know, our instincts to play characters is to play goons.
If I’m an idiot then my fundamental game is that I’m an idiot and you can’t play anything else
A real blockhead is an unusual thing, they don’t exist in real life
People say I wanna play a big character and so you play stupid
Note on second beats:
We don’t want to get vaguer with a specific game, we want to get more specific with what we are doing.
And don’t miss the beats, the builds of first beats.
We don’t want to be second-beat robots, if you expressed something in a certain way in the first beat, that will probably be a big part of your second beats.
It’s ok to play unoriginal games, you just have to act the hell out of it, because if you are doing it the same way we’ve seen it done before then we lose interest.
We have to honored what we’ve been labeled with, one way or another.
We don’t want to do second beats where we are more detached about the things that are cool, we want to be even more in the shit.
I’m trying to draw out of you second beats that peel the onion away as opposed to pass them around
I want to do second beats that you do first beats that are hit or miss but second beats you know what’s coming so really hit that pitch
I would rather you guys la ronde or push your second beats, if the move is lateral. If your second beat isn’t clearing the bar that your first scene met, then work it
We want clear, simple more hard-hitting attacks on the game
If not, let’s take group ownership w/ tag-outs and walk-ons to mold things