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We'll follow this for improvisation rehearsals and modify it for regular rehearsals
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I. Warm-ups (10 minutes)
A. Body
1.
Salutes to the Sun (stretching)
2.
Collapse and Expand
3.
Centering (being in the present, breathing)
4.
Motivated Movement (awareness of body,
mind/body connection)
a. Laban (weight, space, time, flow, effort)
1. Two basic efforts – fighting and yielding or thrusting and floating (can modify them for more types of movement)
B. Vocal
1.
Exercises – consonants, yawning,
humming, tongue twisters, make faces, singing…
2.
Projection Exercises
II.
Skill work (90 minutes) (internal & external technique – expand creativity, build teamwork and relational skills,
improve critical thinking, boost confidence, character development)
A. Exercises/Activities
B. Character
Exercises
C. Observation
Assignments and follow up exercises
1.
Journaling
2.
Presentations
III.
Fun/Stress Relievers (10-20 minutes)
A. Activities
1.
What are you doing?, Freeze, Line scenes,
Fast run-throughs…
2.
More stretching
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"Acting requires presence. Being there. Playing produces this state...Presence arrives through the intuitive.
We cannot approach the intuitive until we are free of opinions, attitudes, prejudices, and judgments. The very act of
seeking the moment, of being open to fellow players, produces a life force, a flow, a regeneration of all who participate...a
group must be formed...True playing will produce trust...one must enter the physiological, the very physical language itself,
through the use of certain theatre games. Players who get lost in character, emotions, and attitudes and are concerned
about "how am I doing?" are confined in their heads...Even the most skillful performance done in this manner is empty and
leaves all of us isolated one from the other...All in the same playing space must be in waiting while the unfolding of drama
takes place. Not waiting for, but in waiting. To wait for is past/future. To stand in
waiting is allowing the unknown -- the new, the unexpected, perhaps the art (life) moment to approach."
-- Viola
Spolin (pp.3-4; Theatre Games for
Rehearsal, 1985)
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