STANISLAVISK'S METHOD ACTING-PART 5

Congratulations to all of you who have reached here, so far we have covered many aspects of method acting techniques. Today here's something new that I want to introduce to you, to which many of you might be aware of i.e is IMPROVISATION, not much importance is given to improvisation technique.

So lets begin this journey, it is quite admirable that true improvisations take place on rehearsals. At time situations might prevail that a relentless practice in theatre workshop, help an actor establish a scene or so! But when it comes to commercialized theatre plays, wherein everything is so restricted to a certain entity, it will be great acknowledgement given by the director to improvise to the actor.

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Improvisations includes familiarization with the character, knowing different shades of it, through practice modulations, freshness in the character or newness in performing with them, newness to the character is more important than the time spent on it! When it comes to improvisations one must know the actual process to achieve it. Not like the one which you think that, without even knowing how to wear a sock and bring it at your table?! One must know how to actually emphasis much on the process like from ordering a pair of socks or gloves or directly taking it from the supermarket, which should establish the complete process.

                                          Photo by Tima Miroshnichenko from Pexels

It is impossible to expect an actor to slip in a role, without even knowing the complexities of the character, the fuss involved in it, the drama that is being associated with it. Here's improvisation helps in exploring underlining details to it. Well improvisations takes place for in two distinctly types. The actor and director choose those situations which are not similar but are relevant to the play or the screen that you are about to perform. Well long time back, I did a Indian play named as RUKHA HUA FAISLA, it has many characters and many instances wherein characters having diversity are engaged in a courtroom kind of situation. Many characters, many situations and so a lot can be done in terms of improvisations, so hereby situations can be created which might completely not be relating to the author!

The writer might have a limited amount of imagination but on the director's end a lot can be done. When it comes to actor's the first improvisation for a play will be relevant to the scenes but every time an actor will face or bring new meanings to the line. As an actor he has created a situation in his mind, one situation where he is unaware of the actual situation and he is forced to work on, or speak about something that is in accordance/relevant to. In this situation, the actor does un improvised lines through the act, his lines are not rehearsed and so the other actors in the scene.This process, gradually helps an actor to be aware of the situation, work on his senses, to improve his concentration skills and to make him awake of illogical thinking process if any. 

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Second take or level on improvisation is to actually working on logical lines, as given by the author. But instead of using author's lines or words, actors actually substitute their own words. These type of improvisations is actually done when it comes to actors who are completely thorough with the plot, and are about to memorize the actual lines. In this case, the actor won't be waiting for the next actor's que, he will have a different take altogether and so the actor needs to respond to it accordingly. So the actors on stage will try to bring the pure essence of it as per the author's take, and not necessarily give memorized lines on it.

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Other improvisations can take place in terms of locations, scenes that can work best for a situation like the one supposingly being. For example, there's a scene that calls for a particular location like a holly place, like church or mosque and it's a confronting scene. So now try to rehearse your lines as per the discomforting environment, like how quiet and and calm it will be so accordingly you need to have conversation with your partner. That extreme awareness of sound near you, the unseen animal sound in the background, moving of them and having constant track of being in an improvisation situation with the one in reality. One relate to a isolated and abundant building, which will clearly give a feeling of graveyard. Similarly unfrequented place at night. 

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The conclusion to it is, barn sound might be noticed as the only sound, but these are in reality the night sounds that prevail during night. For strange, absurd, paranormal experiences we must be a part of the actual scenario, rather than being a part of theatrical surrogate. And it is the ultimate strength of improvisation that give a rise to reasoning power, which can be made to rise to an artistic intuition. During improvisations an actors awareness, thought process and inflections needs to be noticed and worked upon. At times impulses prove to be the strongest point in developing character and should be encouraged and incorporated in the play that you'll be working upon!

                                            Photo by Tima Miroshnichenko from Pexels

Art and Freedom does go hand in hand, and it is very important to actually improvise scene after scene to play a role in varied perspective and make it look vibrant every time you perform. So I hope I have given you quite an insight on improvisation and how it is dealt when it comes to situations like screen and stage performances. But as the technique and practices evolve, improvisation methods have also been nurtured through ages, to add a modern twist to it a term is coined 'Contact Improvisation'.

CONTACT IMPROVISATION

Yes to most of you, the term is new as it says CONTACT IMPROVISATION, which briskly involves movements, dialogues that are given physical shape and is being performed between multiple bodies present in the space. STEVE PAXTON have evolved this technique of improvisation in the late 70's as an experimental theatre performance. Since then this technique has been used an evolved much more preferably than just being a part of actors and dancers regime! It is now used in education centres and therapy workshops even.

Since the Contact Improvisation technique is kind of physical arbitration between many heavenly bodies, it is a wonderful technique between the two participating bodies, practice between abled- disabled people, between children and non-practitioners as well which profoundly involves touch and non-verbal movements. This practice is being carried out in Goa, Rajasthan contact festivals and jam contact sessions in Mumbai.

STEVE PAXTON is an american experimental dancer, choreographer. He had proficiency in balancing body aesthetics, counter balance, finding voids in body and shelving it, learning the body mechanics in order to stimulate body strength and to make body lifted in by others. Also the Contact Improvisation technique helped in taking control at the body breath, and to knowing about the partner that is involved in the act, it's physicality and nodes. One of it's important concept that Contact Improvisation helps in, is in it's theatrical form.

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Places where contact improvisation takes place are mainly in Goa, Rajasthan and Mumbai,India. In Goa, India there is a Goa Contact Festival,  that happens yearly, specifically in the month of January. More emphasis is given to contemporary dance and performance, best for contact improvisation. You can get more details on the site - www.goacontactfestival.com

In Rajasthan, India it is named as ImproJunction-Pushkar. It is a festival dedicated to improvisation, where eminent personalities across the globe display there art, from Feb 24- Mar 3, you can get more details on the site which is named as- www.ImproJunction.com

And the last, it comes to Mumbai, India where on weekly basis Jam contact Sessions are being hosted in Andheri, Mumbai every Sunday at Recharge Body & Mind Studio, Versova.

So here's my views on IMPROVISATION,for more updates do FOLLOW and SUBSCRIBE to my blog for more updates.

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