questioning mode arising from this in order to un-conceal the movement gestures in relation to the lived experience of the character. Workbook Take some time to re-visualise the acting improvisation you have just done; what happened and what physical actions took place. Avoid making notes at this stage but instead rely on your memory. The point to remember isn’t everything or analyse what has happened, but to be able to let the strongest impressions come to the fore. This something to work out intellectually, isn’t but rather, by letting your focus rest clearly but lightly in the world of the previous scene, you will allow the possibility for feeling sensations and images to arise in your body. This works in a similar way to when you remember a significant memory from your own real life. Find some music I generally look at a list of music that was popular at the – time of the event I have just acted I try to give a justified reason for the – music, such as, the music was playing on the radio in the background during a certain event. The music is there as a holding frame. It can make going into the space feel a little less daunting and gives a time frame to the improvisation which you can clearly ignore if you want to. Working with music that is popular at the time of the event can support the mood of the era and sometimes provide an interesting counterpoint. This part of the step is optional and not crucial to the process but I find it helpful. a good idea to film these improvisations as it is easy to be unaware of the It’s exact movement when you are involved in a sensorial image based movement improvisation and you might want to refer to this later on. Although
questioning mode arising from this in order to un-conceal the movement gestures in relation to the lived experience of the character. Workbook Take some time to re-visualise the acting improvisation you have just done; what happened and what physical actions took place. Avoid making notes at this stage but instead rely on your memory. The point isn’t to remember everything or analyse what has happened, but to be able to let the strongest impressions come to the fore. This isn’t something to work out intellectually, but rather, by letting your focus rest clearly but lightly in the world of the previous scene, you will allow the possibility for feeling sensations and images to arise in your body. This works in a similar way to when you remember a significant memory from your own real life. Find some music – I generally look at a list of music that was popular at the time of the event I have just acted – I try to give a justified reason for the music, such as, the music was playing on the radio in the background during a certain event. The music is there as a holding frame. It can make going into the space feel a little less daunting and gives a time frame to the improvisation which you can clearly ignore if you want to. Working with music that is popular at the time of the event can support the mood of the era and sometimes provide an interesting counterpoint. This part of the step is optional and not crucial to the process but I find it helpful. It’s a good idea to film these improvisations as it is easy to be unaware of the exact movement when you are involved in a sensorial image based movement improvisation and you might want to refer to this later on. Although