danieldwilliam: (Default)

Last Wednesday’s improv session was really, really good.

There was lots of energy in the room. As facilitator I’m going to take some credit for it but it comes from everyone so everyone should feel good about it.

Where did the energy come from?

I think firstly directly from me as I was ready to attack the class with vigour (not my fellow improvisors but the session).

 

I was reminded of a conversation I had with a New York improviser I know who was commenting on our occasional lack of energy so I was all ready to go an be energetic.

 

I’ve been reading a lot about improv at the moment. Dad bought me Keith Johnstone’s Impro for Storytellers for Christmas and I’m really enjoying it. One of the elements that I think is leaking off the page into my handling of the group is the use of competition. I introduced just a touch of competition into the session by requiring players to race from their seats to the far wall when volunteering for a handle.

 

I must get Impro back my mate who I lent it to so I can re-read it. I’m finding the theoretical underpinnings useful.

 

What is also helping is that I am feeling really positive about myself as a leader at the moment. My work on the AV campaign and some useful coaching from a friend have really helped me get a handle on how I can lead a co-operative. There are many similarities between the AV campaign and the Improv group.

 

Also helpful was a good warm up. By chance I re-found one called Enemy / Defender, which I used about six months ago. Everyone plays a best of three game of Stone, Paper, Scissors with one other player. The winner goes on to the next round and the loser become an enthusiastic supporter, (gang member) of the winner. The winner of the next round takes on all the supporters of both her own and her rival’s gang. By the end, if everyone joins in, you have two largish groups of people baying at each other. Gets the heart going.

We’ve two new members who I think are really good. I think their ability and enthusiasm helped increase the energy in the room.

I think a few people had had some good news (and it was noticeable that one of the members of the group who I think is usually superb and who I thought was a bit off her game on Wednesday had been knocked off her bike a few days before.)

 

All in all the energy and the talent (old and new) made for a great session. One of our best to date. Some great scenes and some great group and individual efforts.

 

It was a Tin of Destiny session where we pick games out of a tin rather than work through a pre-arranged list. It makes the night a bit random. Sometimes they don’t work well but tonight was great.

 An early game had everyone playing in turn the role of a school child being caned for not paying attention.  Lots of players really able and willing to be altered by the physical assault. Humorous but quite powerful.

I had the good fortune to play opposite one of the new people  where we were playing a scene about a date going really well set on top of the Eiffel Tower. The natural end to a date going really well (best date in the world) is for it to end with a passionate kiss. Or at least one of the ways it could end that would be accepted in the context of the story and which would alter the characters and their relationship is with a kiss. (bit of Johnstone tilts and circles, the theory is seeping in).

I’d only just met the woman I was playing opposite. She was really, really good and I found myself becoming the me who would be on a really good date with the character she was playing. I could feel the Italian linen suit I’d be wearing and the slight smell of the roses I’d brought her still on the lapel of my jacket. It suddenly, came into my head to kiss her (not a proper snog you understand, but a stage kiss). The idea and the exact response you get when you think “I really want to kiss this person, I wonder if I should.” I wasn’t playing him, I was inhabiting him, but him was built up of all the successful dates I’d ever been on and felt, on the inside, like the night I met MLW.

So, really, really pleased with the session.

Next time I’m going to try and introduce completive Tin of Destiny. Three teams of 3-4 players. Each possible pair match up and both play the same random game from the Tin and are scored by the players from the other team on how well they did (quality of scene, interest, technical proficiency) and also they mark themselves on how much they enjoyed doing the scene.

Then I unleash my programme of workshops for the term.
 


danieldwilliam: (Default)

 

 I was talking about improv last night with [livejournal.com profile] star_tourmaline . We were discussing the concept of status in improv and in real life and some of the cross over. I related an anecdote about a train trip I had where I played status games with the carriage. For technical reasons we were having the conversation in 140 characters or less so for Star_tourmaline’s benefit here is the anecdote in full with some reflections.

 I was travelling down to Bristol to see Bluebird and had bought and brought with me Keith Johnstone’s seminal work on Improv, called Impro. One of the key chapters, certainly one of the two that really resonated with me was the chapter about status.

 In Improv status is more than just your formal position in a hierarchy. This is certainly part of it but by no means the whole story. Status is about self-worth, your position in the community, how you feel about yourself. There are elements of dominance and submission and position in a pecking order. A janitor can have high status if he feels really strongly positive about his role in society. Status is relative and changes over time. Status is cool.

 Status can come from formal hierarchy but also from charisma, from  your skills and talents and from the situation you find yourself in. If you have the two last life jackets on the sinking ship you have status.

 Low status people often adopt high status behaviour badly.  They behave like they think alpha males behave. They shout or pout.  High status individuals don’t have to do that. People do what high status individuals want without them having to shout. They create an aura of you wanting to please them and of being in control of the themselves.

 I am reminded of my dad teaching my friends and I tricks to do with Zippo lighters. After showing us some neat tricks he picked up the lighter one last time and said “Best trick boys,” then he slowly  and very, very coolly, opened the lighter, light it first time and light a cigarette, “Easy, boys, easy”. The man light a cigarette with the appropriate tool and we would have followed him anywhere.

 So, the chapter is about status, what it is, where it comes from and how to convey it. I decided to try it out on the train. I adopted as many of the hallmarks of a high status individual as I could and staked out a four person table on an increasingly crowded train. I sat in the aisle seat, with my jacket hung up in the window seat (the crucial trick is not to look at your jacket, high status people don’t fuss about their belongings and they don’t apologies for hanging their jacket up in the most convenient place to them). I sat up straight, good posture and calm clear movements. I looked people in the eye briefly. High status people rarely have to stare someone out. The look was not meant to be intimidating, rather it was saying you are welcome to my train, I do hope it conveys you splendidly, these seats are taken.

 

It worked. I felt magnificent. Danicus Magnus, and there were people standing in the aisle rather than ask me if they could sit in either of the two empty seats opposite me.

 I found (and I only properly grounded this last night with [livejournal.com profile] star_tourmaline   that I can move between stati but in a way that is much more about me than about playing a role. Like Clark Kent and Superman I can shift from being low status to high and back again. Last night’s learning was that the two aspects are equally part of myself. When I convey high status well I am being myself as I am when I’m having a great day.

 I wasn’t playing a role on the train. I was just being me as I am when I have high status. Myself, but greater, Danicus Magnus indeed.

 If you carry in your head the temporary belief that you have high status, that you are a high status individual and you have learned the high status tells that you use naturally, high status will emanate from you. It just flows out of you like a magnetic field, touching everybody and everybody will react to it. Because of our history as social pack animals we are highly sensitised to status tells. We read the room for them all the time without realising it.

 I hope that in time and through practise I will be able to synthesis the high status leader, the complex status wizard and the low status lost boy into the coherent whole that they should be. Both on stage and in real life.


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