Feature Image: credits to Ms.Mor
Improvising with Bamboo Sticks
Looking at the pictures of me and christina improvising, I ‘ve noticed that my hand, (the hand that is not griping the stick) was too stiff and unrelaxed. I was conscious of it during the performance, however, I couldn’t help but keeping my hand in a stiff state because I was preoccupied with not making the stick fall off the ground. From the next training, I’ll have to ease my body.
This training is aimed at developing..
- Non-verbal communication skills
- Improvisational skills
The training further aids trainees in..
- having an explicit body expression so that they can perform certain emotions well with having their faces covered with larval masks.
- creating energy on stage through a tension between the sticks
The Major and Minor Transition Training
; improvising in a small group of 2-3 people with a neutral face, but there needs to be a change between roles,
Irene and Tina’s performance
My interpretation of their impromptu performance is that Irene was trying to spill the beans, and the secretive message that she wanted to spoil seemed it had something to do with Tina. However, she couldn’t reveal it because Tina’s dominance on stage silenced Irene.
For the most part, the distance between the two actors and we the audience was an indicator of a major and minor role. Due to Tina’s proximity with us and her staunchness, It occurred to me that Tina took a major and dominant position throughout the performance.
Roh and Sunhee’s Performance
For me, a transition between a major and minor role in their performance was vague, to be honest. Therefore, my focus constantly changed during their performance, in a bid to see who would communicate with the audience as the major or the minor.
Differences between the two group’s performance
- Irene’s and Tina’s transition of a major and minor role was more manifest than the Sunhee and Roh’s. From my perspective, this might be due to the presence of awareness, which means that Irene and Tina were more aware of each other and when to change the role.
- Sunhee and Roh had more connections to each other, whereas Irene and Tina were interactive with the audience. From the observation, I have realized that the more eye contacts you make, the more interactive you can be with the audience.
Last but not least, Christina, Dayoung and I had a performance!
Since staring at other actors were not allowed, I was subconsciously/unconsciously operating my auditory and tactile senses to be aware of other actors. The sound that footsteps created, and the vibration that I could feel through the wall when someone walked Mrs. Mor pointed out that I was reliant on the sound that the other performers made. [In fact, I didn’t notice it until she mentioned it ]I used to regard the auditory and tactile senses as an adjunct, but through this lesson I realized using various senses expands an actor’s awareness about space and spatial relationships.
While watching our impromptu show, Roh was hit upon the idea that Christina, DaYoung and I were main characters from a newly-released movie. For her, our performance looked liked a movie trailer, which we presented ourselves and told a story plot one on one. Tina commented that that we looked like police deducing differently and the diagonal line worked well.
The diagonal line created inadvertently was another factor that made our performance stellar. [I didn’t notice this on stage either, because I was on the very front of the stage] The reason why we were able to form the diagonal line was , in my opinion, because 1) we were aware of one another, 2) we were aware of the rule – there needed to be changes in major and minor roles 3) we were were of the stage and the space we were using. The awareness enabled us to create a nice piece of work, and hopefully, the skills we horned today will be useful during the PYP presentation.