Year 10 Accessing Script Through Clowning, 

A Cognitive Management Plan.

Assessing Student Needs.

From the outset of the lesson I endeavour to address the development of various skills. This evaluation of ability has taken place over the week of development preceding the Year 10 clowning exam as well as the exam itself.

Despite individual standouts, I felt that there was a distinct lack of understanding in regards to situational content. In other words understanding the social conventions inherent or implied in a given context. For example, if the scene is set in a library then the ‘clowning device’ should be more concerned with the continual, accidental, disturbing of patrons by making noise in an area that is meant to be quiet. Whereas the common response, being boys, was to simply bully the patrons, climaxing with the patron being beaten up.

The second main issue was the lack of individual defining character or character at all. Naturally there were exceptions.

In truth the class, in terms of relevant interpretation a delivery, where split right down the middle. Having said this the two halves were at either end of the spectrum with little or no students falling into the middle ground. I suspect this has to do with individual analytical development. Cognitively speaking half the group, in regards to this task, has broken away from the other through peer supported, proximal learning. The students picked their own performance groups. I assume they chose based on friendships rather than rational deliberation. These peer groups act as an organic analytical learning environment, both in and out of the classroom.      

Lesson 1

Rational - Stretching For the Voice.

The physiological reasons for this are apparent. By warming the voice a greater range of contrasting vocal devices can be employed with a diminished possibility of vocal damage or strain. Not only that, regular vocal exercises increase range, projection, breath control and much more. Having said this the voice cannot exist without the body. This following sequence aims to loosen the muscles and align the body into a neutral state preparing it, the body, to support the voice.

Cognitively speaking the natural body is important when developing a beginner voice. Quite often the performer is asked to ‘feel’ or become ‘aware’ of various muscle groups, of which, they have no conscious association. The neutral body provides a ‘control’ or ‘yard stick’, if you will, to compare and contrast their attempts with.

    Stretch.

·         Shaking arms, one at a time, then legs, then body, you’re made of jelly!

·         Stand straight, neck straight. Unlock the knees. Beginning with the chin touching your chest begin to very slowly roll down your spine. If you feel a knot stop roll back up slightly and back over the point of tension. At first only rolling down a quarter way then half way, then all the way down. At the bottom, bending the knees. Beat the ground simultaneously forcing out a breath.

·         Without touching anyone else in the room. You’re pulling on a rope in a one man tug of war. Pull harder and harder. Let the rope go. Grab it up again. Pulling on the rope. It won’t budge. The other side is winning, their winning!!!  But you find inner strength and pull back, further, and further! You win

Loosen up. 

·        Repeat spinal roll.

Voice Warm Up.

Bear Yawn – Walking around the room not colliding with each other. Imagine you are a huge Russian Bear. Walking out of your cave. You stretch and yawn 3 times. First a little, then bigger, finally as loud as possible. Repeat.

·         Be sure no one is shouting.

Siren – Making an ooh sound, starting as low as possible then as a group sliding the pitch as high as possible. Begin the accent of the slide as slow as possible. As the students get to the highest pitch they can then they drop back down to the lowest and start again. Repeat.

Rational - Line Delivery Warm Up.

While working with students both one on one and through my own observation, I have noticed, in general, that the delivery of lines are limited to a small range, centred in the middle of the natural speaking voice. Often, this results in a monotonous regurgitation of meaningless text. While the range of the voice must be developed, aural abilities must also be fostered to aid in the monitoring of vocal application.

An enhanced aural ability provides the student with an analytical tool for gauging their vocal performance. One can master vocal skills but without a method of appropriate application the skill is useless.  The following warm ups intention is to explore the world of possibilities available when delivering even a single line.     

Warm Up - Line Delivery.

Standing in a circle a word is chosen. Everyone in the circle must attempt to deliver that word in a completely different way to any other attempt. Repeat the exercise with a short line.

Taking into consideration

·         Pitch

·         Rhythm

·         Pace

·         Volume

·         Pauses.

Interpreting Script.

Youtube section of Grim Reaper scene.

http://www.youtube.com/watch?v=4tIg2nK67LQ

(The Script will be up one the screen)

Read through a Short Comedic script pointing out the inherit devices indicated by the author.

Focusing on.

·         Change of thought.

·         Allowing time for ideas to occur, show thought processing. (Usually the character doesn’t know what they are going to say next….)

·         What does the script imply is happening in the background of the scene?

·         What does the script tell you about the characters profile?

·         How and where might you implement you clowning skills in the script? 

·         Comedy is all about…..  ….. … Timing.

Rational – Discussion

The discussion at the end of the lesson provides the students with the opportunity to analyse their and others work. The aim of the discussion is to ascertain what methods worked and which didn’t. Most importantly discussion creates a forum where students may discuss the possible strategies one may use in improving their performance. 

Discussion

What should one consider when interpreting a script?

What are some of the elements of a script? 

How could I improve my interpretation of a script?

Task

Each script represents a complete 5 to 10min play or scene. Using the skills you have learnt in your clowning unit, prepare, in groups, your assigned play or scene for performance.

You will have a number of lessons to complete this task. Try to be as off the script as possible. 

For you first read through Make choices about the delivery of lines. Write the choices down. This is essential so that the choices will be reinforced when memorizing the script.

Scripts to Be Assigned

Lesson 2

Rational - Stretch Sequence.

Stretching releases tension in the body and mind. By associating the stretches with imagined situations the students are more freely able to access the creative minds eye. With the students creativity peered, the sequence leads into a simple status game. Introducing the class to status in this way keys them into utilising this element in the following improvisation warm up.

In any clowning lazzo, clearly defined statuses inform, the actors involved, of their role within a developing improvisation. So for example, if all the actors in a scene decide they are going to be the leader clown, the lazzo will fall flat. The following improvisation warm up pushes the actors not to think about their role, but to simply assume it.

Using gibberish as a parameter of this exercise forces the actor to communicate ideas through the physical body. My hope is that this will result in quickly easily defined character types.

Stretch.

·         You are Samson standing between two imaginary pillars. Try to push them down. But you can’t they are too strong.

·         Walking along. You see a $50 note stuck to the roof. Reach for it. Try to get it. Jump….  But you land on glue. Your feet can’t move. Remember the $50? Try to stretch up and reach it. Remember your feet are stuck.

·         Lie on the floor. You are an escaped save, captured. The Masters want to make an example of you. They tie a rope to your left wrist stretching it out then right. Next you’re left ankle then right. Then horses pull on the ropes all the same time. But you don’t break. Their a bit confused by this, but try again…  (Release)  and again.

·         Walling around the room. Do not touch anyone else. Divide class: Half High status the other low status. Communicate through eye contact and body language only. Do not touch any of the other performers. Only 25% of communication is through lines.

·         Repeat the exercise using clowning type casts. 

Improvisation Warm Up

Space Jump.

·        Using skill and situation learned in the clowning unit. Boxing, Samurai, cleaners, Acrobats…..

·        Maintain Clear status. 

·        It is the situation and relationship between the characters that creates humour.

·        Use gibberish. 

Rational - Servant & Master, Establishing status in context.

This next exercise is an extension of the last, however this time speech is included. In essence this final exercise will try to illustrate how humour occurs as the result of a situation in combination with status. Hopefully these skills will directly carry over into the developing performances.   

Servant & Master, Establishing status in context.

Using improvised dialogue.

·        The master wants something done but the servant’s efforts are never good enough.

·        Two masters meet with their servants in tow.

Setting: At a meeting, a football game, wedding reception, out buying a car.

Masters try to assert status over each other through ordering around their servants. 

Script Work.

Continue work on scripts with an attention to physical stature. What is the status of each character in the play? It must be clear. Remember in clowning nothing is subtle.

Lesson 3

Stretch

·        You are Samson standing between two imaginary pillars. Try to push them down. But you can’t they are too strong.

·        Walking along. You see a $50 note stuck to the roof. Reach for it. Try to get it. Jump….  But you land on glue. Your feet can’t move. Remember the $50? Try to stretch up and reach it. Remember your feet are stuck.

·        Lie on the floor. You are an escaped save, captured. The Masters want to make an example of you. They tie a rope to your left wrist stretching it out then right. Next you’re left ankle then right. Then horses pull on the ropes all the same time. But you don’t break. Their a bit confused by this, but try again…  (Release)  and again.

Warm up

Rational Beginning Stage Combat (For Clowning)

Beginning Stage Combat (For Clowning)

Working together

Zone of safe distance

The Nap

Telegraphing or flagging a strike.

Equal and appropriate action with reaction.

Creating the illusion for audience.

Continue Script work.

Continue work on your scripts. Choreograph your combat moments if any. In these moments all actors involved must know exactly where they are going to be and when.

These lessons are TBC depending on availability.

·        Lesson 4

Rehearsal of Plays

Presentation of Plays.

Pick those to perform out of a hat.

·        Lesson 5

Presentation of Plays