MICHA: The Future of Theater
Experiments with Exercises in Fantastic Realism
Lionel Walsh - 8 July 2014
WHO WAS THERE
REPORT DETAILConvener: Lionel Walsh
Note-taker: Sean Cackoski
10:30 – 12:00, Sunday, 6 July 2014
1.Sending Energy into Your Partner’s Centre (Andrea and Charlie)
Andrea noted that her Radiating of Energy increased once she started Receiving at the same time
Charlie noted that when the lines flowed it allowed for more spontaneous Radiating/Receiving
Andrea: the connection was stronger when we weren’t sure what we were doing and were OK with not being sure
Lionel: that is he moment when the subconscious takes over and your conscious mind is no longer interfering. The audience could see the connection in your bodies and the movement between you
2. Charlie and Lionel (same exercise)
Charlie: felt an aggressive penetration before L began speaking; once L began speaking it drove right through him
Lionel: felt my body just begin working with impulse and the lines
3. Pouring Colours: Andrea and Charlie
Notes: allow whatever reaction you have to heighten; embrace it
Eventually, the colours just happened without having to do it consciously
Lionel: if we want to get to Vakhtangov’s ‘subconscious route to the subconscious, we have to find a way to activate the subconscious at the beginning. I think one way is to begin by Receiving your partner and allowing the first colour to come from that
Andrea: eventually, the connection was more important than the colours
Charlie: after the first couple of exchanges, I was allowing the colours to just come. It was like a touch.
Andrea: I felt resistance when I tried to change the colour too quickly
Charlie: I like that colours mix. It is like you have a pallet to blend with.
I would like to do this with a scene.
Lionel: let’s play with lines.
Charlie: what if you combine colours with directions.
There was more flow with push and pull; the colour is a key in to the piece.
Lionel: I could see that the Receiving was more visceral
Lionel briefly outlined the experiments he has done with an exercise he is calling The 104 Degrees. The idea is to be fed by something fantastic even though the scene is realism. It is also helpful when there are elements of the fantastic in the scene.
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