- •Action Theater:
- •Acknowledgements
- •Foreword
- •Introduction
- •1A. On/Off Clothes
- •Ib. Walk/Run/Freeze to Freeze in Same Scene
- •1C. Move Same Time/Freeze Same Time
- •Id. Move at Different Times
- •Ie. Performance Score: Autobiographies
- •2A. Breath Circle
- •2B. Sounder/Mover
- •2C. All at Once: Sound and Movement
- •2D. Sound and Movement Dialogue
- •2E. Performance Score: Sound and Movement Solo
- •3A. Falling Leaves with Movement, Sound and Dialogue
- •3B. Shape Alphabet
- •3C. Shape/Shape/Reshape
- •3D. Director/Actor: Shift with Movement, Sound and Language
- •3E. Performance Score: Two Up/Two Down
- •4A. Lay/Sit/Stand
- •4B. Walk on Whispered "Ah"
- •4C. Focus In/Eyes Out
- •4D. Mirroring
- •4E. Accumulation, One Leader
- •4F. Performance Score: Accumulation, All Leading
- •5A. Eyes Closed
- •5B. Jog Patterns
- •5C. Only Verbs
- •5D. Say What You Do
- •5E. Performance Score: Say What You Do, Together
- •5F. Performance Score: Bench: Head, Arm, Leg
- •6A. Hard Lines/Soft Curves
- •6B. "Ahs" and "Ooohs"
- •6C. Empty Vessel
- •6D. Solo Shifts
- •6E. Performance Score: Back to Front, Silent
- •7A. Body Parts Move on Out-Breath I
- •7B. Narrative on Beat
- •7C. Narrative with Varied Timing
- •7D. Language and Movement/Interruption
- •7E. Performance Score: Seated Dialogues
- •8A. One Sounder, All Move
- •8B. Facings and Placings
- •8C. Transform Content, Movement Only
- •8D. Transform Content, Sound and Movement
- •8E. Transform Content, Phrase and Gesture
- •8F. Performance Score: One-Upping
- •9A. Body Parts Lead
- •9C. Shape/Freeze/Language
- •9D. Two Shape /One Reads
- •9E. Two Shape/One Bumps and Talks
- •9F. Questioner/Narrator
- •9G. Performance Score: Five Chairs
- •10A. Follow the Leader, Calling Names
- •10B. Pebbles in the Pond
- •Ioc. Follow the Leader, Leader Emerging
- •10D. Pusher/Comeback
- •10E. Performance Score: Slow Motion Fight
- •11 A. Polarities
- •11B. Fast Track
- •11C. "It" Responds
- •11D. Performance Score: Back to Front
- •12A. 30 Minutes Eyes Closed
- •12A. Eyes Closed, Continuing
- •12B. Nonstop Talk/Walk
- •12C. Talking Circle
- •12D. Contenting Around
- •12E. Performance Score: Scene Travels
- •13A. Pillows
- •13B. Image Making
- •13C. One Move /One Sound/One Speak
- •13D. Solo: Separate Sound, Movement and Language
- •13E. Trios: Separate Sound, Movement and Language
- •13F. Performance Score: Separate Sound, Movement and Language
- •14A. Sensation to Action
- •14B. Circle Transformation
- •14C. Transformation, Two Lines
- •14D. Directed Shift/Transform/Develop
- •14E. Witnessed Shift/Transform/Develop
- •14F Performance Score: One Minute of All Possible Sounds
- •15A. Episodes
- •15B. Face the Music
- •15C. Shift with Initiator
- •15D. Solo Shifts
- •15E. Performance Score: Solo Shifts
- •16A. Space Between
- •16B. Chords
- •16C. Ensemble: Walk/Run/"Ah"
- •16D. Shift by Interruption
- •16F. Angels
- •16G. Performance Score: Disparate Dialogue
- •17A. Eyes Closed
- •17B. Jog Patterns
- •17C. Shape/Space/Time
- •17D. Expressive Walk
- •17E. Mirror Language
- •17F. Text-Maker and Colorer
- •17G. Performance Score: Collaborative Monologue
- •18A. Four Forms
- •18B. Elastic Ensemble
- •18C. Five Feet Around
- •18D. Levels
- •18E. Deconstruct Movement, Sound, Language
- •18F. Performance Score: Collaborative Deconstruction
- •18G. Performance Score: Threaded Solos
- •19A. No Pillows
- •19B. Body Parts/Shifts
- •19C. Beginnings
- •19D. Props
- •19E. Simultaneous Solos with Props
- •19F. Performance Score: People and Props
- •20A. Walk/Sound, Solo, Ensemble
- •20B. Superscore
- •20C. Performance Score: Dreams
- •Afterword
Action Theater:
The Improvisation of Presence
by Ruth Zaporah
In Action Theater you will experience what it is like to study with Ruth Zaporah, inspired teacher, and exhilarating, witty, and insightful performer. This captivating examination of the mind, heart, and body of improvisation reveals the magic that has drawn people from around the world to study with this master of the form.
—Anna Halprin, dancer and author of Moving Towards Life:Five Decades of Transformative Dance
I have never forgotten the impact of Ruth Zaporah in performance. How wonderful that she is sharing her art beyond her students, to enrich us with her knowledge, insights, method, and experience.
—Rachel Rosenthal, performance soloist Ruth Zaporah is a light in my life. We all improvise our lives, But Ruth knows how to enter a stage without any preconceived plan and then astonish and delight an audience, as if pulling magic out of air. She also knows how to inspire others to conjure up moment to moment magic, and here she shares ideas that have made her such a beloved performer and teacher.
—Remy Charlip, writer, dancer, choreographer
This book is a great new source of simple and joyful exercises in discovering the boundless opportunities of living in a human body.
—Reb Anderson, former Abbot, Senior Dharma Teacher,
San Francisco Zen Center
Action Theater: The Improvisation of Presence
Copyright © 1995 by Ruth Zaporah. No portion of this book, except for brief review, may be reproduced in any form without written permission of the publisher. For information contact North Atlantic Books.
Published by North Atlantic Books P.O. Box 12327 Berkeley, CA 94712
Cover photograph by Frank Werblin
Cover and book design by Paula Morrison
Typeset by Catherine Campaigne
Printed in the United States of America by Malloy Lithographing
Action Theater: The Improvisation of Presence is sponsored by the Society for the Study of Native Arts and Sciences, a nonprofit educational corporation whose goals are to develop an educational and crosscultural perspective linking various scientific, social, and artistic fields; to nurture a holistic view of the arts, sciences, humanities, and healing; and to publish and distribute literature on the relationship of mind, body, and nature.
Library of Congress Cataloguing-in-Publication Data
Zaporah, Ruth, 1936-
Action theater : the improvisation of presence / Ruth Zaporah.
Contents
Acknowledgements 4
Foreword 5
Introduction 7
Day One 9
Form/Content 9
Day Two 13
The Body's Voice 13
Day Three 17
A Way to Proceed:Body, Imagination, Memory 17
Day Four 23
Composition 23
Day Five 29
Inner/Outer 29
Day Six 35
Pretend to Pretend 35
Day Seven 41
The Body of Language 41
Day Eight 47
Transformation 47
Day Nine 52
Imagination 52
Day Ten 58
The Watcher and the Watched 58
Day Eleven 63
Response 63
Day Twelve 68
A Scene 68
Day Thirteen 73
Action as Sign 73
Day Fourteen 78
Beyond Self/Big Awareness 78
Day Fifteen 84
Freedom 84
Day Sixteen 89
Relationship 89
Day Seventeen 95
Practice 95
Day Eighteen 100
Stalk 100
Day Nineteen 106
People and Props 106
Day Twenty 111
Dream On 111
Afterword 115