Embracing Improvisation
It happens to the best of us... we lose our place, drop a note or otherwise have a bump in a performance. How do you keep going as though that bump is part of the path of your work? How do you stay in the piece and moment?
Agenda for recorded class-
Introduction
Improvisation in acting vs. as a way to keep going
Examples-
Example on changing a retelling with a current lens in mind
Introduction
Improvisation in Acting vs. A Strategy When You Stumble
When we hear the word improvisation the first thing that may come to mind is the commedia dell’arte or a musician taking a theme and making it all their own. In the context of this class, these are not the types of improvisation; this is not what we will be discussing. Instead, we will be discussing when you have planned one piece and either see the need to recite/perform it a bit differently in order to best reach your audience or keep going once you fumble or forget. In short, what to do when things do not go as planned.
Improv for lost words-
After being in a car accident and receiving a concussion, I developed word finding issues, especially when stressed or tired. This combined with a history of migraines and other issues led me to embrace the sudden silence where the word or next line was supposed to go.
At first the fear of “being wrong” gripped me. Accepting a perceived mistake or “failure” allowed me to make my own nuances in a tale. I learned to take the pause and breathe and turn it into a meaningful silence. When your facial expression and body language indicate a break in the narrative and you take a breath it signals to the listener that the silence is a natural one and or a place for reflection. If you are at ease the audience is at ease. On a similar note, I refrain from “breaking the fourth wall” and offering apologies or stating “hold on”. If I remain in my mindset that I know where this work is going they will feel the same way.
The unplanned momentary pause gives me time to find my next word or stanza. If I can not pull the exact words it gives me a second to rephrase the overall meaning of where I am going next. In short, I make the moment a “rest stop”. It also gives me a moment to read my audience.
Interruptions-
Lights will go out, babies will cry, a cell phone will ring and storms may come and you will be in the middle of all of this. How do you keep your place? Sometimes you will not .What is a bard to do?
In some cases you can work the sounds or moment into the piece you are performing. On one occasion a rather large and violent thunderstorm rolled in. It was so loud that being heard required all of my projection to battle the sound of the storm. It stay “in character” I wove a storm briefly into the tale I was telling. To match my louder voice I made sure to use gestures and movements to add emphasis to my words. In short, because nature was being intense I had to match it with my own intensity.
Improvisation in reading a room and an example
Sometimes, a story we are telling may have elements that while historically accurate, that remind audience members of past traumas. One common example is that of sexual assault. Warning audience members that they may want to leave, while a good and valid practice, puts pressure on the person we are seeking to be mindful of to be isolated or possibly seen leaving. By leaving, a very private issue can feel public.
One piece that I wanted to share ( Chaucer’s Wife of Bath) is started by a protagonist committing such an assault. I struggled with the reality that I had neglected to mention this prior to the start of my piece and on the spot had two options. One, I continue as the piece was written or I improvise.
After a quick pause, I knew the better choice for that moment and situation was to improvise. How could I change the narrative on the fly and still be consistent to the original? Quickly, I changed the tale to the individual trying to grab and kiss the maiden. When she cries out she is heard and names her attacker there and then in the presence of the royalty who lead the next aspect of the story. In that moment, I was able to make the action more appropriate for the audience I was with and give the victim in the story a voice and power over her attacker.
The change did not prevent the story from following the original narrative. The improvisation was only a few sentences and words. However, the impact of my words protected the comfort of the audience while still being mindful of the significance of that plot point.
It happens to the best of us... we lose our place, drop a note or otherwise have a bump in a performance. How do you keep going as though that bump is part of the path of your work? How do you stay in the piece and moment?
Agenda for recorded class-
Introduction
Improvisation in acting vs. as a way to keep going
Examples-
- Word finding issues that are neurologically based ( for me)
- Interruptions
Example on changing a retelling with a current lens in mind
- On giving voice to the victim in Wife of Bath’s Tale retelling and changing the nature of the assault
Introduction
- About Agnes
- Love of Bardic Arts, specifically in Storytelling of Extant or extant based pieces
- Also love researching and documenting what I find on my literary “travels”
- Teacher in mundane world and enjoy teaching in SCA
- https://wiki.eastkingdom.org/index.php?title=Agnes_Marie_de_Calais
- https://www.agnesmariedecalais.com/
- Class today will be open at points to time minded conversation, questions and discussions. However, please be aware these may be moved to the end of the class.
- Notes and agenda will be posted on my website and I am available for email questions
Improvisation in Acting vs. A Strategy When You Stumble
When we hear the word improvisation the first thing that may come to mind is the commedia dell’arte or a musician taking a theme and making it all their own. In the context of this class, these are not the types of improvisation; this is not what we will be discussing. Instead, we will be discussing when you have planned one piece and either see the need to recite/perform it a bit differently in order to best reach your audience or keep going once you fumble or forget. In short, what to do when things do not go as planned.
Improv for lost words-
After being in a car accident and receiving a concussion, I developed word finding issues, especially when stressed or tired. This combined with a history of migraines and other issues led me to embrace the sudden silence where the word or next line was supposed to go.
At first the fear of “being wrong” gripped me. Accepting a perceived mistake or “failure” allowed me to make my own nuances in a tale. I learned to take the pause and breathe and turn it into a meaningful silence. When your facial expression and body language indicate a break in the narrative and you take a breath it signals to the listener that the silence is a natural one and or a place for reflection. If you are at ease the audience is at ease. On a similar note, I refrain from “breaking the fourth wall” and offering apologies or stating “hold on”. If I remain in my mindset that I know where this work is going they will feel the same way.
The unplanned momentary pause gives me time to find my next word or stanza. If I can not pull the exact words it gives me a second to rephrase the overall meaning of where I am going next. In short, I make the moment a “rest stop”. It also gives me a moment to read my audience.
Interruptions-
Lights will go out, babies will cry, a cell phone will ring and storms may come and you will be in the middle of all of this. How do you keep your place? Sometimes you will not .What is a bard to do?
In some cases you can work the sounds or moment into the piece you are performing. On one occasion a rather large and violent thunderstorm rolled in. It was so loud that being heard required all of my projection to battle the sound of the storm. It stay “in character” I wove a storm briefly into the tale I was telling. To match my louder voice I made sure to use gestures and movements to add emphasis to my words. In short, because nature was being intense I had to match it with my own intensity.
Improvisation in reading a room and an example
Sometimes, a story we are telling may have elements that while historically accurate, that remind audience members of past traumas. One common example is that of sexual assault. Warning audience members that they may want to leave, while a good and valid practice, puts pressure on the person we are seeking to be mindful of to be isolated or possibly seen leaving. By leaving, a very private issue can feel public.
One piece that I wanted to share ( Chaucer’s Wife of Bath) is started by a protagonist committing such an assault. I struggled with the reality that I had neglected to mention this prior to the start of my piece and on the spot had two options. One, I continue as the piece was written or I improvise.
After a quick pause, I knew the better choice for that moment and situation was to improvise. How could I change the narrative on the fly and still be consistent to the original? Quickly, I changed the tale to the individual trying to grab and kiss the maiden. When she cries out she is heard and names her attacker there and then in the presence of the royalty who lead the next aspect of the story. In that moment, I was able to make the action more appropriate for the audience I was with and give the victim in the story a voice and power over her attacker.
The change did not prevent the story from following the original narrative. The improvisation was only a few sentences and words. However, the impact of my words protected the comfort of the audience while still being mindful of the significance of that plot point.