Week Two - Character

Chris, Fogg, Senja & Robert
Week Two

As far as curriculum goes, Level Two is supposed to be the most chill week. Apparently, the shit hits the fan next week. We'll see...

James, Stephanie, Stuart
being interviewed in character

My approach to this week has been to take it as an opportunity to reserve my forces, try to coast and recharge. Or at least not expend too much energy. Circumstance has played into this approach as well.

Stephanie & James playing
Doublemint Twins Get Fucked Up the Ass

 Our teacher, Marla, doesn't mince words with her feedback. My greatest worry has been that she would be a divisive force for our tight-knit team, but that fortunately didn't come to pass. We have established such a strong culture of love and support that we swept her up into it. But the days are long and today in particularly was actually the first day that I was downright bored.

Stuart & Peter
Doublemint Twins

James & Robert finally get to sleep together
in "Good Morning, Fucko"

Susan Messing developed the Level Two curriculum, which focuses on character work. The iO approach to character is, as I understand it, to ground the character in reality, mainly by playing close to your own self. No trips to Kookoo Town! I think we'd get shot for putting on a silly accent or a limp. Very real. Which suits me just fine. 

I was very excited to do some famous Susan Messing exercises I had heard about, like "Good Morning, Fucko" and "The Doublemint Twins Get Fucked Up the Ass," which are not as scary as they sound. Susan likes to give them wicked names in order to keep it light, fun and engaging. Unfortunately, I sometimes needed to coax the real names of the exercises out of Marla at first. She has a pretty straight-laced demeanor and the words "fucko" and "up the  ass" don't roll off her tongue; whereas when Susan says them, they sound like pearls dropping on a thick carpet...and rolling up to your vagina.

I don't think any of us will forget
Chelsea and Stuart doing
Good Morning, Fucko

In another post, I will detail some of the exercises that I found most useful. I definitely have learned that little "hooks" where you can hang your improv hat - such as something as simply as a repeated movement or a catchphrase - can help enormously to make a firm choice in a character and bring richness to your scenework.