Goal: To use Viewpoints as a means of warming up for our evening performance of Aria da Capo.
Warm-Up for Viewpoints:
A) Individual: Stand in a line. Become aware of your breathing. Notice your natural breathing rhythmn, and see if you can notice it without controling it. With soft eyes do a body scan. Where are you tense? Can you breathe through that tense place? Now I will take us through a body scan. As I mention the different body parts, notice if there is any muscle tension there. If there is tension, release it, and then breathe through that particular body part.
Feet, ankles, calves, knees, thighs, pelvis, hip sockets, lower abdominals, solar plexis, ribs, heart center, shoulders, arms, elbows, wrists, hands, neck, 7 vertebrea, throat, head, forehead, top of head.
B) Group: Still standing in a line, use your peripheral vision and your body sense to feel everyone's presence. Feel the desire to jump. Feel it with your whole body. Really want to jump. Without initiating and without following, see if you can jump as a group. The jump will initiate us into line viewpoints.
C) Line viewepoints with suggestions of character:
1. Walk, jump, fall, crawl, reverse direction. Move in a straight line.
As I call out different characters' names, see how the suggestion of the
name affects the way you walk, jump, fall, crawl or reverse direction.
PIERROT
THYRSIS
COTHURNUS
COLUMBINE
CORYDON
Pause. Breathe. Check in. Say your own character's name to yourself.
Repeat your character's name inside your head. Notice the affect your
character's name has on your body.
Walk, jump, fall, crawl, reverse direction.
2. Tempo: how fast can you go? how slow can you go?
3. Duration: how long can you lie down for? how long can you go slow for?
how long can you move quickly?
4. Kinesthetic Response: Allow yourself to be affected by the movement and
and sounds of others in the room.
5. Gestures: Do a gesture that your character would do. Remember you have
hands, arms, legs, head, mouth, eyes, feet, stomach, chest. Repeat it.
Break free of the line. Move where you like
6. Repetition: Repeat the gestures of others in the room.
7. Shape: What shape does your body make in space?
Lines/Curves/Stationary/Moving
8. Architecture: How does the architecture of this space affect your
movement? Floors, Ceilings, Walls, Stage, Furniture, Windows, One another
Texture
Light, Dark
Color
9. Spatial Relationship
Friday, October 24, 2008
Friday, October 17, 2008
Gabe's Taylor Work for 10/19
Hey Gang, this will be for 30 minutes. I'll be going back to the three basic shapes of Dramatic, Lyric and Epic. I will re-visit these shapes as if it were for the first time. Why? In order to improve our body as the channel/conduit for that particular energy to flow.
How will I do this? We usually start with the shape. I would like to first start with the breath then leading to the shape.
1) Sipping breaths into each chamber of the body.
2) Breath count to 8, then 12, then 16, then 20.
3) Dramatic:
A) Inhaling and then exhaling on the rhythm of Dramatic. I feel if we first get in tune with the breath it will improve our ability keeping the form while performing the physical apparatus of dramatic.
B) Going over the form Step by step. During this section I will attempt to draw the parallels of the wave. How momentum, suspension and gravity are prevalent in the shape and its release.
C) Doing four dramatics.
D) Inhaling and exhaling on the rhythm of dramatic.
E) Inhaling then exhaling with text. During this section I will attempt to draw the parallels of the work of Cicely Berry which will pertain to "releasing the thought", "pursuing the thought" and "speech as the physical movement of thought".
F) Finally, with this in mind and using the form of dramatic, the exhale is the text. The entire action of performing the shape of dramatic is the "release of the thought" the "pursuit of the thought" as well as "speech as the physical movement of thought".
4) Lyric- Steps A-F but using the Lyric shape.
5) Epic- Steps A-F but using the Epic shape.
Conclusion:
I feel this is a start in assisting the body to become more of an open channel for the energy and thought to flow through rather than imposing our own ideas. I feel it will allow a more organic flow of an idea because the instrument is open to the possibilities that are found in the language of the text.
Peace kids, looking forward to Sunday!
Gabe :)
How will I do this? We usually start with the shape. I would like to first start with the breath then leading to the shape.
1) Sipping breaths into each chamber of the body.
2) Breath count to 8, then 12, then 16, then 20.
3) Dramatic:
A) Inhaling and then exhaling on the rhythm of Dramatic. I feel if we first get in tune with the breath it will improve our ability keeping the form while performing the physical apparatus of dramatic.
B) Going over the form Step by step. During this section I will attempt to draw the parallels of the wave. How momentum, suspension and gravity are prevalent in the shape and its release.
C) Doing four dramatics.
D) Inhaling and exhaling on the rhythm of dramatic.
E) Inhaling then exhaling with text. During this section I will attempt to draw the parallels of the work of Cicely Berry which will pertain to "releasing the thought", "pursuing the thought" and "speech as the physical movement of thought".
F) Finally, with this in mind and using the form of dramatic, the exhale is the text. The entire action of performing the shape of dramatic is the "release of the thought" the "pursuit of the thought" as well as "speech as the physical movement of thought".
4) Lyric- Steps A-F but using the Lyric shape.
5) Epic- Steps A-F but using the Epic shape.
Conclusion:
I feel this is a start in assisting the body to become more of an open channel for the energy and thought to flow through rather than imposing our own ideas. I feel it will allow a more organic flow of an idea because the instrument is open to the possibilities that are found in the language of the text.
Peace kids, looking forward to Sunday!
Gabe :)
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