Class began with a two-line exercise with one half of the class on one side of the stage and the other half on the opposite side of the stage. In this exercise, one student from one of the lines would initiate space work as well as exhibiting non-verbal character traits. Next, another student from the opposite line would come further downstage to observe the other student and proceed to name that person and describe their character’s personality and physicality. The whole exercise was a great way of demonstrating how a person moves and carries herself or himself communicates a huge amount of information about their personality, life experiences and how they see the world.
Next, we did a run of two-person scenes in which each person was given a different personality trait to continuously express throughout the scene. The first group was given the personality traits of stuck up and lewd. The following notes were given:
- Eye contact!
- Immediacy of why we are watching this moment.
- Pay off the trait way more.
- For sad characters that may be withdrawn, they have to find some way to talk.
- Don’t forget the “who.”
Then, we did a round of two-person dramatic scenes, which was definitely different from what we’ve been working on in class so far. We were told that we were good at not portraying characters as cartoon-like or outlandish, and that we just need to work on specifics, making more vulnerable choices and raising the stakes (exploding).
Then, it was back to doing a round of comedic two-person scenes. One note given was to be aware of what our body language expresses, such as crossing arms communicates defensiveness. We were also praised for our very supportive energy in class today! Other notes during this exercise included the following:
- Stay in character.
- We want to see big reactions.
- Making it matter is a choice. Most people wouldn’t overreact, so we have to find the characters who will.
- Have a compelling reason to be there. Don’t make the audience feel like you want to leave.
Lastly, our class was introduced to long form improv. (Even though some of us are familiar with it. I’m looking at you Torch Theatre in Phoenix!) The only difference in style at the Groundlings is that loud claps are used to edit scenes besides touching another improviser to tag them out of the scene. We were told we had an entertaining run, but that we just had to be careful not to dwell on one idea in scene after scene and to not depend so much on “blue” humor, although he found it funny. After those notes, class was adjourned. Seven classes down, five more to go!