present: Marc, Dale, Jeff B
Dale brought in his script, “We’re queer [pdf],” and Marc insisted that we read through it, as a stalling tactic to avoid the Vocal Sequence.
But then we did begin looking at the entire Vocal sequence. Dale has printed out a cheat sheet [pdf] with all 20 parts and their descriptions, and Marc suggested that he begin by going through the first three (which is accepted practice), and then we were to call out other parts and he’d explore them. That way we could tell which one he was doing and record our impressions and questions about each one.
After he was through, we quizzed him about a few of the moments/parts in order to clarify what we saw, and we discussed some ways that the results of such exploration could be used in a final product.
Dale volunteered to try it, and we did the same process. Finally Jeff took the plunge. [Flesh out the experience in the comments, please.]
Dale asked that we re-read “We’re queer” and critique for effectiveness: how to make the point, how to keep it light and funny but pointed, etc.
Jeff departed, and Dale and Marc chatted a moment further. Marc had the idea of performing the same text as a moment of awful self-discovery among the characters. We read through it in that vein, and it becomes mordantly funny that way. Dale suggests that we perform it straight, as it were, and then later in whatever evening it ends up in, the second way.
We didn’t get to an idea for an exercise Dale had, called “Montage.” See Assignments below.
NEXT: Jan. 28, 6:30, NSOD
- TEXTS: Jeff’s Myth [doc], “We’re queer [pdf],
- PATHS: Vocal Sequence duos
- HOMEWORK:
- (Neo-Futurist scripts)
- keep bringing in text, either randomly selected from one’s own library, or some online library like Forgotten Books; multiple sources OK; we’re dumping these in our box for use… somehow
- an idea from Structuring Drama Work: Montage exercise <–download the text for the full assignment
What I found fascinating about Marc’s exploration was how solidly fascinating it was. He does such consistently intriguing explorations that I can begin to see how evenings of similar material can be constructed.
As I mentioned in the session, working through my exploration was nearly hallucinogenic in that the reality of the room receded and time and perceptions were seriously altered by what I was doing. I was able to make choices and influence what was going on, but I was also capable of letting go and just follow the work. Which makes the VS a cheap high, but as always we’re looking for material to orchestrate into something meaningful for the people outside my head.
Our next step with Vocal Sequence work will be using it to create some actual performance sequences. Dale and I also discussed using Jeff B.’s mythopoetic text to explore this next time, so we need copies.
Since this part really requires all participants to be familiar with the textual material, we will start small. Again, maybe just a few lines which we will choose at the outset. I think the “montage” approach will also lend itself to this. We can keep it in mind as a method. For me, the essence of montage is energy in sequencing and sequencing of energy. Narrative meaning is not essential, which can be a very forgiving absence in this work.
Keep in mind: Working with the Vocal Sequence is a way (just one) of making discoveries and challenging our performance capacities (and aesthetic sensibilities). When two or more are involved, it is useful as a way to generate unexpected encounters and events, things that would be infinitely difficult to script or envision ahead of time. It sort of has a montage sensibility built into it.
Next Wednesday:
1. We pick some text from Jeff’s work.
2. We set up a circle of attention. We are prepared to take notes and participate at any time we choose.
3. I’ll start solo. I will explore steps and pursue my interests with no need for anyone to call out steps. After a while, a predetermined second person will also begin to get into his or her vocal sequence pursuit while I continue with mine. At some point, when both of us are into our own explorations, someone will call “go.” The other performer and I will just encounter one another with whatever each of us is doing. (This “go” command is not an essential part, just a way to get into it for learning purposes.)
It need not be a scene. It need not be human. It could just be a layering. It will be as unbounded physically as vocally. We’ll get a feel for what it’s like to shift around while working with someone else.
People watching in the “circle of attention” have options. You can watch and notate. You can make real-time comments on the events. You can intervene in some way, with your own performing sensibility, with words, reflections, a further element for the montage.
At some point I’ll go to silence and others can follow. Usually it’s helpful at that point for everyone to take a moment to reflect and notate.
Then we “recapitulate.” Our goal will be to employ the “material” we have generated and create a very short performance event. We will call things back, arrange, reflect, cut and paste, etc. (Often this kind of arranging doesn’t even begin until the group has lived with the material and one another’s responses and explorations for a long time–again, we’re just demonstrating process.)
There are always multiple levels at play with this kind of work. Aside from the immediate results in our exploring, we are living with the world of meaning within our shared text; that relationship evolves over time. There is also an interpersonal dimension in which individual performers seem to come to represent particular things and encounters have personal resonance that layers with performance events. All is at play all at once.
If we’re going to use my text, as stated, don’t use the one I brought in a month ago. I’ll post a revised copy. I’ve been working on it steadily. Still far from complete, though.
No sweat. Perhaps you would like to suggest a fragment.
I hope everyone’s downloaded the worksheet for the Montage exercise…
Contemplating what I would bring in for “montage” has led me to realize just how ephemeral what I “produce” is. Hm. I may offer myself as a medium for transmission. In montage terms, I’ll be bits of frames.
Don’t worry–I only came up with four, so my fifth one is something I’d like to produce, if only…
So make stuff up. It can be completely visionary. You’re good at that. 🙂
http://www.youtube.com/watch?v=A81rcuDWwPo
I’m site jumping. Coincidently with regard to Norman Rockwell, I received a calendar from Hospital Discount Pharmacy recently with Rockwell paintings. Last week I almost brought it in to our meeting because I was interested in trying to produce interpretive readings of the images through various hermeneutic lenses. There’s a great one on the calendar cover which looks to me like Rockwell’s tribute to pre-adolescent male masturbation–through a psychoanalytic lens, of course; Campbell might see it as the call for the Hero…
By all means, bring in the Rockwellian tribute to pre-adolescent masturbation. The mind quivers in anticipation.
Something’s quivering with Dale, all right, but it’s not his mind.