When you can look at changes such as these as opportunities, riding the waves rather than fighting them and drowning in a sea of attempted control, you find yourself experiencing less stress and more delightfully surprising moments than a rigidly scheduled life will provide. Last Monday, I did the following with this small group of committed, energetic teachers:
- Introduced and reflected upon the Principles of Improv--discussing how they impact the participants personally and as teachers
- Played a bunch of community/ensemble-building games
- Worked within some structures for building narratives
- Applied some of these strategies to ensemble-building and personal direction reflection
- Experimented with emotional ranges and shifts in games and scenes
- Played and laughed hysterically with some performance games.
- Coached on how to coach and integrate improv into the classroom--classroom management, behavioral expectations, feedback and debriefing
Speaking of requests, one of my readers recently asked me to provide some details on "Emotional Coaching". I referenced this game in a recent post about character work, and we used this same strategy in the workshop I offered for teachers last week. Although I think he gave it a different name, I first learned and practiced this exercise with Rafe Chase at BATS Improv in San Francisco. Similar games are described in a variety of improv books, including Unscripted Learning by Lobhman and Lundquist. It's a useful exercise for deepening and grounding your acting in reality and emotions, and it can be used as a performance game--in the classroom and on the professional stage.
The logistics of Emotional Coaching are as follows:
- Brainstorm a wide variety of emotions with your group. Alternatively, you can come to class with a written list of emotions that you've created. However, I think the brainstorming process is engaging and primes the group for thinking about a range of emotions. It also prompts an interesting discussion of, "What is an emotion?" For example, I was once in a group that used "sleepy" and "gassy" as emotions. But, I digress...
- There are a multitude of emotion warm-up games you can play next. If you have time, I recommend playing with facial expressions, posturing, intonation, and non-verbal interactions. You can also incorporate levels of emotions into various warm-ups.
- Emotional Coaching Activity One: Pair up all of the players and have each duo decide who is A and who is B. Choose one to act and one to coach. The actor will be having a conversation with a (fictitious?) friend or family member on the phone. The coach will use the brainstormed list and any other emotions that come to mind to tell the actor how and when to switch emotions. The coach will usually move to an obvious next step in emotional shifts, although occasional juxtapositions can be interesting.
Side coaching for this game includes reminding the actors to really FEEL the emotions...showing them to the audience using voice, pausing and being silent, using emotional noises, etc. You may also side coach to remind the players to be a character who is not actually.
In my case last week, all of the players played themselves in what sounded like real conversations they have with family members. It deepened the level of playing and personal connections, so I went with it.
Switch so that the actor is now the coach and vice-versa.
- Emotional Coaching Activity Two: Have two players in a scene as the actors and two players act as their coaches. For example, player C might coach for player A and player D might coach for player B. Encourage the actors to start out without any problems, and have the coaches start switching the emotions after a minute of so. The trouble will come; don't rush it.
What makes these scenes so rich is the give-and-take, the adjustments of status, the connections between the characters/players. To enable this true emotionality to emerge in the playing, coach the players to have as much eye contact as possible throughout the scene.
When debriefing this activity with students and teachers alike, the players tend to love this exercise. They felt--and the audience watched--real emotions up on that stage. Isn't it somewhat surprising that these genuine feelings emerged through a seemingly artificial scenario with someone yelling out "angry" and then "hurt" and then "loving" during a scene? As a player, I've also felt that sense of freedom and delight during and after these scenes. Perhaps it is because the planning part of our brain is free to rest during this game. We have so much to which we have to pay attention, and we have no control over the emotional shift that is inevitably about to occur; we can simply focus on the moment at hand. Perhaps it is also that our emotional coach takes us to places we wouldn't have ventured if left to our own devices. This element of surprise is what keeps the scene alive, and it's what brings us somewhere new.