- •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
10A. Follow the Leader, Calling Names
You'll play "Follow the Leader." When you hear me call your name, you know you're the Leader. The rest of the group will do whatever you do until I call the next name. (Of course, adjustments have to be made to accommodate physical limitations.) Do anything you want. Movement, vocalization, language, props, leave the room. Anything.
Remember, this is the first exercise of the day. Do what you need to do to get here, into this room, into your body, to connect with your spirit and with one another.
Leaders, see your actions within the context of the previous actions. Build off one another. When you hear your name called, continue on as Leader, right from where you are, from your action and from within your feeling. Don't feel pressured to entertain the group, or keep everybody busy.
In a sense, there's a collaborative relationship between all the Leaders. You're building this event together. Towards the end, particularly the last person, take the group to closure.
Follow the Leader calls forth the present-mindedness that is a basic component of improvisation. At the same time that you experience the seductive pleasures of being part of the pack, following the team, aimlessly, irresponsibly, your number may come up. You may be called on to lead. You can't leave yourself elsewhere, trodden under the heels of everyone else. You have to summon your power to lead from where you are, right there, right then and act on it.
"What do I do if I don't like what the Leader is doing? If I don't
have that kind of energy, or physical capability? I personally
object to that kind of content?"
You try everything out whether you like it or not. Believing you can't be a certain way, or do a particular thing ("I'm this, I'm not that"), indicates that you think you already know that experience. In moment-to-moment awareness, that's never true. It's impossible to project into experience. Moments of experience are in reality different, the result of many influences. It's our minds which have a static idea of that experience. If we limit our mind, it will be limited.
All experience is in everyone of us. What we most detest in ourselves we will find in others. Once we move into the experience, we will see that it can be different if we allow it to be, that it is different by its own nature.
"But suppose the Leader is doing activity with no feeling, meaning or content? That doesn't inspire me and I feel uncomfortable with?"
Our expectations control our experience, creating standards by which we judge everything. "That's right." "That's wrong." "That makes me happy." "That makes me feel pain." The problem with this is the "that makes me ..." part. Our inner peace is determined by this self-created external fiction. Suppose we don't expect anything. Suppose we accept whatever we're presented with. The curiosity we respond with leads to not only acceptance, but, fascination with diversity.
This doesn't imply that we will become passive voyeurs "oohing" and "aahing" at unkind, or unjust, acts. Our responses to these occasions will be immediate and appropriate, unleashed from past ideology. Instead of emotionally motivated, they'll be compassionately charged.
Endings
Follow the Leader also gives practice in laying down stones. Each Leader adds a piece of the path. When John hears his name called, he begins to lay down the next segment as his part within the whole. How he's experienced the whole so far inspires his contribution.
The last person closes the event, preferably without feeling responsible for a "good ending." If she remains present and attentive to the unfolding experience, an ending will surface. A "good ending" will dictate the narrow demand, "Now I must make something interesting." This will usually be predictable and obvious; i.e., the flower folding its petals, or everyone laying down on the floor either in death or sleep, a group hug, exiting off the floor with an attitude that the exercise is over. When we finish this way we really don't end, we just vacate our experience.
Endings can surprise the "ender" and everyone involved. By staying present, with the trust that at some point an ending will appear, an ending will appear.
We're following a "big" mind that never ends and never closes. We're not making linear theater, with a beginning, middle and end. We're not looking for resolution. We may never resolve anything. But we recognize moments, when the idea, image or rhythmic pattern that we're engaged in can conclude. These cue moments that we can walk away from, that feel free, that we don't want any more or any less from. Our concept of endings becomes more and more unpredictable as we expand our awareness.
So far, the students have not had to pay attention to the collective rhythms. The Leader does something. Others copy it, simultaneously. Now, we graze away from the Follow the Leader sequence to an exercise that leads to "choiceier" copying.