16F. Angels

• Let's sit in a circle. Randomly, with a little space in between, we'll each call out words that describe attitudes or emotions, such as happy, sad, frustrated, pressured, ecstatic. Not physical conditions, just states of mind.

• Now, move off into groups of four. Two of you sit down facing each other. You'll be the actors and have a dialogue, a conversation. The other two, the directors, split up and sit behind them.

• From time to time, the directors will whisper in the ear of their actor a word that describes an attitude or emotion. Directors, do this when your actor isn't talking, when the other actor is talking.

• Actors, when you hear this word, keep it in mind as you listen to the other actor speak. Allow what they say to ignite that emotion or state of mind your director gave you. Then, you respond from that state of mind. Don't say how you're feeling, but be that feeling.

• Avoid speaking in the second person. No "you." Frame your conversa fion in the first, or third, person. You're not directing your emotions at your partner but speaking from the emotion in the first or third person.

Directors, start your actors off with an emotion.

Emotions, if scrutinized, appear to be a cluster of sensations linked to a cluster of ideas/thoughts. If the focus remains on the ideas/thoughts, then the emotion persists. On the other hand, if the focus rests on only the sensations, then the thoughts vanish with the emotions, since they're intrinsically dependent.

Angels is a body exercise. The director says, "Angry." The actor listens to the other actor, interprets what they're saying so that it will elicit anger and then responds "angrily."' They assume "angrys" body and mind. The chest lifts, hand gestures are sharp and forceful, eyes glare, jaw tenses, voice raises volume and pitch, facial skin reddens, language is direct, less metaphoric (as it may be be in "loving," i.e., "Your eyes are like a still pond."), critical, accusing and condemning. Similar body/mind shifts occur with each direction.

Beliefs create reality. We can listen to anything somebody says to us, and, no matter what they're saving, if we want, we'll actually hear reason to support whatever emotion we're carrying. For example:

Judy says "Why don't you come over tomorrow?"

That statement can be heard as a simple invitation. It also can be interpreted as a threat, a sexual advance, manipulation, comfort, support, a busybodys' nosiness, a trap, tease, or talisman.

When we interpret what's being said to us, we project a subtext onto our partner's words. In theater, it's a useful skill to project subtext. Doing so supports the reality we intend to portray. In daily life, it's a different story. We can get ourselves into trouble doing this. Most of the time, we project unconsciously. In Angels, we do this consciously. Creating projected subtexts helps us notice how we do this in our lives.

First Person

Students are advised to not talk in the second person, to use the first, or third, person. When we're emotional, we often blame the other for our condition, lashing out, seducing, manipulating, or trying to control them. "You make me feel... " " You're being ..." "Don't you ever ..." "When you ..." "You should ..." "Why don't you ..." "How about you ..." In Angels, students use emotions to prod their imagination and memory. By staying in the first or third person, they must look inward for their world.

A Dialogue

Greta: (depressed) I can't seem to leave the house and I'm exhausted. It's been months since I've really even seen anybody, not that there's anybody to see, or anybody who wants to see me, really.

Sam: (peaceful) Staying in the house sounds wonderful. Soup cooking in the kitchen, I can sing a quiet little tune, or read.

Greta: (afraid) Nobody's on the streets anymore. We're all in our little houses. I remember when it was safe. You can't imag­ine the number of locks I've installed on my doors.

Sam: (angry) I say we lock up everyone who looks suspicious. Impose a curfew. Get them off the crime-ridden streets.

and on and on ...

Maybe you've known somebody like this. They constantly misinterpret whatever you say and fly off in a million emotional directions at the slightest provocation. Pretend you're that person.