I just took a 3 day workshop. It was on viewpoints, contact improvisation, Suzuki method and ensemble performing. (If you are saying ???? Me too)
I went in not knowing a thing about what these teachers do. I went because my friend Brady said, "do you want to take a workshop? I know the teacher it's good"
I've been dying to do a class lately, the time worked, the price was ok. I'm on board. I guess I'm one of those easy sells. That's how I've purchased cars, I need one, this looks good, I can do the payment. Where do I sign?
I'm now geeking out on what is the difference between waiting and stopping on stage? If that question doesn't make sense, you are not as in your head as me.
If you stop on stage you can pull all attention to you. Look at the human statue. You see these folks in tourist areas. You can't help but watch. It's amazing. I am very good at the human statue, I never use it. I have a bit of mime training and holding a frozen position is something I can do well.
It's so powerful, I'm not sure how to use it while performing. (read here GEEK too powerful!)
Waiting, is a new distinction for me. Waiting on stage, is pausing or holding. In acting parlance waiting a beat. Yet it's pausing with anticipation. If you're holding a needle in front of a balloon for an extra second.
If you start messing with waiting and stopping on stage, you also have to be aware the audience waits and stops with you. If you wait before putting a needle through the balloon a extra second, the audience will stop breathing.
If you've got something so powerful on stage the audience pauses their breath. You also have to let them breath on the other side. You poke the needle into the balloon, then pause again. The audience will gasp, laugh, sigh whatever your looking for there but it's another wait, in order to allow the release. Allowing that release is where the big moments come. For me, I want that big laugh. Others want a tear. Two sides of a coin.
As a children's performer, I'm using it as part of a story I tell. It's a control point.
Because I took this workshop, I've put a lovely story of an old trapeze artist back into my show. He flies for the last time but never comes back down to earth. It's a pretty story, more whimsical than funny. The last few years, I've been looking for funny. So I gutted the story in my show till it's 15 seconds long.
It's fun to put it back in. Gives a new level to me as a performer.
Stopping and Waiting. Those have brought lightness, fantasy and flight to my show.
I went in not knowing a thing about what these teachers do. I went because my friend Brady said, "do you want to take a workshop? I know the teacher it's good"
I've been dying to do a class lately, the time worked, the price was ok. I'm on board. I guess I'm one of those easy sells. That's how I've purchased cars, I need one, this looks good, I can do the payment. Where do I sign?
I'm now geeking out on what is the difference between waiting and stopping on stage? If that question doesn't make sense, you are not as in your head as me.
If you stop on stage you can pull all attention to you. Look at the human statue. You see these folks in tourist areas. You can't help but watch. It's amazing. I am very good at the human statue, I never use it. I have a bit of mime training and holding a frozen position is something I can do well.
It's so powerful, I'm not sure how to use it while performing. (read here GEEK too powerful!)
Waiting, is a new distinction for me. Waiting on stage, is pausing or holding. In acting parlance waiting a beat. Yet it's pausing with anticipation. If you're holding a needle in front of a balloon for an extra second.
If you start messing with waiting and stopping on stage, you also have to be aware the audience waits and stops with you. If you wait before putting a needle through the balloon a extra second, the audience will stop breathing.
If you've got something so powerful on stage the audience pauses their breath. You also have to let them breath on the other side. You poke the needle into the balloon, then pause again. The audience will gasp, laugh, sigh whatever your looking for there but it's another wait, in order to allow the release. Allowing that release is where the big moments come. For me, I want that big laugh. Others want a tear. Two sides of a coin.
As a children's performer, I'm using it as part of a story I tell. It's a control point.
Because I took this workshop, I've put a lovely story of an old trapeze artist back into my show. He flies for the last time but never comes back down to earth. It's a pretty story, more whimsical than funny. The last few years, I've been looking for funny. So I gutted the story in my show till it's 15 seconds long.
It's fun to put it back in. Gives a new level to me as a performer.
Stopping and Waiting. Those have brought lightness, fantasy and flight to my show.
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