Version
1.1.4 / Copyright 2005
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Last Update Oct 30th 2005
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Welcome =
to
The JaCKPie Theatre Workshop
Online Training Tool
The JaCKPie Theatre Workshop
Please understand that using this training tool does not replace the need for instruction conducted by an experienced long-form coach/teacher. Click to continue.
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Version
1.1.4 / Copyright 2005
Last Update Oct 30th 2005
=
Instructions
&#=
8226;Click
the JTW logo at top to go to JaCKPie.com
&#=
8226;Click
the screen to advance to the next slide
&#=
8226;OR
use the action buttons below:
&=
#8211;Back
to the Start
&=
#8211;Back
One Slide
&=
#8211;Back
to the Table of Contents
&=
#8211;Forward
One Slide
&=
#8211;They
will be located at the bottom of every page
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Version
1.1.4 / Copyright 2005
Last Update Oct 30th 2005
=
Table
of Contents
<=
span
style=3D'font-size:75%;visibility:hidden'>•
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Version
1.1.4 / Copyright 2005
Last Update Oct 30th 2005
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“Long-form Improvisa=
tion”
For us, long-form
improvisation is based on the free play of imagination, solid character work and relationships.
<=
/span>
The
improvisers journey with the audience through an intellectually stimulating, emotionally accessible, and yes, often humorou=
s experience. Within the experience, each improviser may play
several different roles, characters may reappear, ro=
les
may switch, scenes may change, space and =
time
may be manipulated. Scenes may be light, funny, sad,
painful, dark, or all of the above.
Long-form Improv Vocabulary:
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Longform Definition Breakdown Part 1
•Long-form improvisatio=
n is
based on:
–Free play of
imagination
•We use Stephen
Nachmanovitch’s concept of Freeplay from his book “Freepl=
ay:
The Power of Improvisation in Life and Art.” This book is required reading for JTW members/students.
–Solid character work&#=
13;
•We train our improvise=
rs
as actors not as comedians. Comedy comes naturally from our commitment to listening and character.&#=
13;
–Relationships
•Every scene is about
PEOPLE and how they relate to others, their surroundings and the powers that affect their lives.
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1.1.4 / Copyright 2005
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Longform Definition Breakdown Part 2
•The improvisers journey
with the audience through an:
– intellectually stimulating
•We believe in playing =
to
the height of our intelligence.
–emotionally
accessible
•We bare our hearts, so=
uls
and minds in our characters on the stage. Our commitment to relationships means an awareness of the wide
range of emotion available to the characters we
play.
–yes, often humorous
experience.
•Improv by nature leans
toward being humorous because of it’s spontaneity and how the unexpected affects the audience. We do not focus on “trying&=
#8221;
to be funny… it just happens.
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1.1.4 / Copyright 2005
Last Update Oct 30th 2005
Longform Definition Breakdown Part 3
•Within the
experience:
–each improviser may pl=
ay
several different roles
•We portray different
characters by changes in voice, body, thought and action all within one piece (sometimes within the same scene.) If we a=
re
consistent and convincing in our work,
the audience comes to understand that we are playing a different character even though we do not change costume,
makeup or props.
–characters may
reappear
•We do not say that
characters WILL reappear. In some Harolds a particular character may only exist in their first beat. We do note that within long-form =
characters MAY reappear, opening the audience’s mind =
to
watching for continuations of chara=
cter
and storyline.
–roles may switch
<=
/span>
•Out of necessity
(especially when performing a two man show) another actor may take over a character that was previously played by another
actor. He must play <=
/span>the part EXACTLY as it was played by the former owner of the
role.
•
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1.1.4 / Copyright 2005
Last Update Oct 30th 2005
Longform Definition Breakdown Part 4
•=
Within
the experience: (continued)
–=
;=
scenes
may change
•=
;=
Scenes
changing from one to the next does not always =
happen
within long-form. In fact, in our form called High-wire, =
the
characters and scene are not allowed to change for the =
duration
of the performance.
–=
;=
space
and time may be manipulated
•=
;=
We may
go backwards and forwards in time during our show =
in
order to tell the story and prevent needless exposition and =
=
monologues.
If not done properly, time/space jumps can =
confuse
the audience.
•
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1.1.4 / Copyright 2005
Last Update Oct 30th 2005
Longform Definition Breakdown Part 5
•=
;=
Scenes
may be light, funny, sad, painful, dark, or all =
=
of the
above.
–=
;=
Because
our Improvisation is based in theatre, we do =
not
hold to the concept that all scenes must be funny. =
We
understand that not every scene we perform will be =
comedy.
•
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1.1.4 / Copyright 2005
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“The Suggestion<=
/span>”
A word or phrase give=
n by
the audience which is used as a springboard to st=
art =
the
show and support it during the performance.
Long-form Improv Vocabulary:
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1.1.4 / Copyright 2005
Last Update Oct 30th 2005
The Purpose of
the Suggestion
the Suggestion
•The suggestion exists
within many Long-form pieces to:
–Give the audience a mo=
ment
of direct interaction
–Give the actors someth=
ing
to play with and use to thematically tie the show together
–Name the show
–“Prove” to the audience that this
really is improvised and not thought=
up
ahead of time
•You will be surprised =
how
many times, after performing a solid long-form =
piece, you will be accused of coming up with plot, characte=
rs
and bits beforehand.=
Take this as the highest compliment.
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1.1.4 / Copyright 2005
Last Update Oct 30th 2005
Guidelines for
getting a Suggestion
getting a Suggestion
•=
When
getting the suggestion:
–=
;=
Come
to the edge of the stage in best light
–=
;=
Be
personable
–=
;=
Be
intelligible/understandable
–=
;=
Be
quick
–=
;=
MOST
IMPORTANTLY: Ask for a suggestion in a way =
that
will help to inspire your long-form.
•=
;=
The
original 2 man show JaCKPie used to ask for “a phrase =
=
that
means something to you.”
•
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1.1.4 / Copyright 2005
Last Update Oct 30th 2005
How to use your Suggestion
•Besides being used as =
the
topic for the long-form’s source, the suggestion can also be used to inspire each improviser =
=
as soon as it is given by the audience. Here are a few =
examples of Improviser thoughts:
–Do I have an emotional
reaction to this suggestion?
•If so, I can use that
emotion at the start of a scene.
–Does the suggestion ma=
ke
me think of a particular person?
•If so I can take any of
the characteristics of that person and use them in the start of a scene.
–Does the suggestion ma=
ke
me thing of some other topic that would s=
eem
unrelated by anyone else’s standards?
•If so, I can hold on to
this information for later scenes.
Version
1.1.4 / Copyright 2005
Last Update Oct 30th 2005
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“The Source”
=
An
information gathering time
Long-form Improv Vocabulary:
Version
1.1.4 / Copyright 2005
Last Update Oct 30th 2005
Why we have a Source
•=
=
The
source exists as an information gathering time =
before
the scene-work begins and accomplishes the =
=
following
goals:
–=
;=
To
gets all of the improvisers working together before =
they
split off into segmented universes
–=
;=
To
produce information to be used throughout the show
–=
;=
To
have fun
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Last Update Oct 30th 2005
=
Example
Source: Object Invocation Part 1
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•=
;=
Object
Invocation: Invoking an object to life, then to =
=
love
and then to a God.
–=
;=
Object
Invocation is broken up into the following =
stages/phases:
•=
;=
It
is
•=
;=
You
are
•=
;=
Thou
Art
•=
;=
I am
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=
Example
Source: Object Invocation Part 2
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•“It is…”
–Should describe the
physical nature of an object
•EXAMPLES: Round, strai=
ght,
jagged, blue, furry…
•“You are…”
–Should describe the ob=
ject
as if it were human
•EXAMPLES: Thrifty,
punctual, bearer of bad news…
•“Thou Art…”
–Should describe the ob=
ject
in a poetic way
•EXAMPLES: Glorious, My=
one
true love, my menacing rival…
•“I am…”
=
–Should personalize the
object as a deity
•EXAMPLES: Vengeful,
mighty, controlling, beautiful…
•
Version
1.1.4 / Copyright 2005
Last Update Oct 30th 2005
An Example of=
the Object Invocation
•Object Invocation: Soc=
cer
Ball
–“It is…”
•It is round… it =
is
black and white… it is kicked… it is soft…
–“You are…”
•You are my focus…
you are my freedom from stress… you are my ingrown toe-nail’s worst enemy…
–“Thou Art…”
•Thou art the maker of
goals… thou art caught and kept by crazy fans… <=
span
style=3D'position:absolute;top:66.0%;left:18.53%;width:75.65%;height:4.5%'=
>Thou art a bouncing baby on my knee…
–“I am…”
=
•I am power… I am
lightning fast… I am your everything… I am the sport’s <=
/span>fan’s God… I…. AM… SOCCER BALL!!!!<=
/span>
Version
1.1.4 / Copyright 2005
Last Update Oct 30th 2005
How to Perform the Object Invocation Part 1
•After the suggestion, =
the
entire team/troupe gathers quickly around in a tight semi-circle making sure not to cover the faces of the other players.
•They imagine that the
center actor is holding whatever the =
object is.
•They move their hands
around the object and act as if they are both mystified by the object and studying it.
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The Known - From left: Chris Pierce,
Jeff Scarborough, (center bottom) Kelly Cirillo, (center top) Chris Nalesnik, Mike Brune and Jim Karwisch
Version
1.1.4 / Copyright 2005
Last Update Oct 30th 2005
How to Perform the Object Invocation Part 2
•One by one they begin =
speaking in a loud clear voice with “It Is…”
•When they feel that th=
ey
are done with “It Is…” someone=
makes a choice to move to “You
Are…”
–If there is a large pa=
use
that happens by accident, use it as a time to move to the next section.
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Knucklebones - From left: Corrin Pie=
rce,
(above) Kelly Cirillo, (below) Chris Pierce, Jeff Scarborough, (center =
top) Jonathan Green, (below) Dan
Vanhiel, Jeff Scarborough