Based on feedback from the Theatre TAs, it seems we are at a point in our residencies where we many of us feel challenged by how to translate the great work we do in our day-to-day classroom exercises into an actual script suitable for performance. Chris Roberti offered to lead a workshop on this.
We began with a brief group warm-up called "4 Things." We circled up & began tapping out a rhythm collectively. Each person in the circle then had name 4 things in response to a question from the person next to them (i.e. "Name 4 things that you do on a first date," etc..) After they name their 4 things (in rhythm) the group repeats the question as a chant and then we move on to the next person until we've come full circle. A quick and easy warm-up that gets the brain working and creates a fun but focused group dynamic.
We then moved onto the main exercise, called "Environment to Character." The group forms a back line against the wall. Chris asks for someone to call out a suggestion for a place (environment). Once it's called out the group is encouraged to step out and become some object in that scene. (i.e. the place is a Jungle, the objects can be vines, spiderwebs, trash, etc.) No words are used, this part is silent. Once the scene is established, everyone identifies what they were.
The group returns to the back line. This time Chris asks for another place and the group creates a scene again, this time however, two members of the group can be actual people (characters) while the rest of the group remains as objects. No words, still silent. Again, once established, everyone identifies who / what they were.
The third time we do this, with a new suggestion for a place, everyone in the group is to become a person in the scene. Objects can still exist, but they must be mimed by the characters. In silence, the group can move about in the scene as their character for a while. (i.e. The place is the Social Security Office, the characters range from retiree to receptionist to security guard). Once fully established, everyone identifies who their character was and gives a little backstory, prompted by questions from Chris as needed.
The group then has a choice: choose one character from the scene who was most interesting and who they'd like to see "fleshed out" more. (in our case it was the security guard, "Ken")
At this point we create a "Character Wheel." The person whose character was chosen stands in the center of a group circle. Each person in the circle steps up to the center character and plays out a different scene from his life (i.e. the security guard gets fired, the security guard talks to his daughter, etc).
This Character Wheel can then be repeated for every other character in the group scene. At this point you'll have established "core" characters with detailed backstories and even scene ideas, all ready to be written down in script form.
Additional Stage to Page exercises:
Open Scene: Students are given a script with an unspecific dialogue that could be understood in a variety of contexts and relationships. For example, Character A and B meet and the opening lines are
A: "We have to get out of here"
B: "Just give me more time."
A: "But I need to know if it's true"
Etc, etc.
Students can then use this open scene to create context and characters that make sense, then rewrite the scene so it is more specific.
Group Scene Switch: Break into small groups. Each group writes a scene together by passing a piece of paper around, with each person in the group writing one line of the scene. They then switch their scenes with another group. The group that gets the scene must justify every line. These scenes can be modified to fit into curriculum goals.
Paper Airplane: Instruct the students to take out a paper and pen. Tell them to make a paper airplane. On that plane they are to write 5 things about their character that people may not know (or 5 things they are proud of.. play around with different options). Then tell them they will have the opportunity to read what they have written out loud, but they only have as much time to speak as their plan can stay in the air. They have to decide what is most important of the things they wrote and how they can say it succinctly enough to get it out while the plane flies. Gather in a circle and have each student take their turn flying and speaking. They have now completed their first task as a playwright: they conceived of an idea, edited it, decided what was most important and performed the work. This exercise can be repeated but instead of characters you can have them do scene ideas / story ideas / additional characters, etc.
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