Poppycock Productions

Rehearsal for Mar. 27.....wright, chris, chris, and elliot

Bits: (schticks or gimmicks to be employed in any scene)
botched scene
paper pick up (have audience write out suggestions)
props (we should bring in objects to use for various things in all scenes)
imitation (mimicking the characteristics of someone else- hitchiker)
feet for hands/hands for hands
two face (two people attatched at back who are opposite)
tapping out (changing or altering the course of an improv by clapping)

Forms: (general category for types of improvs)

Limited Knowledge Improv (someone on stage lacks vital info that everyone else knows....involves leaving the room usually) examples....complaint department, Mr President, hidden object

Monologues....Stop time monologue (scene where characters stop and address audience, inner monologue), Real Time monologue (like Huge's scene he wrote where interior monologue happens as opposing character speaks), double monologue, shared monologue (where everyone pariticipates by clapping out)

Narrative/Long Form....This is your life (everyone acts out people and times in the life of a character), Documentary (employing various aspects of the documentary form: real time footage, studio interview, documentarian perspective), setting based long form

Absurdist....metaphoric props, non sequiterism, three sentence, big news small news.....

game games (games about people playing a game)
no social filter game
silent scenes


We started the rehearsal by breaking down all the things we could brainstorm into what we called bits and forms to be employed ultimately into a unified whole or show which we later established should be around an hour and certainly not more than an hour and a half...for the first show we rehearsed, we chose six forms or bits and put them in a sequence, picked a theme or themes (in this case it was obsession, addiction, small town) and busted it out...not bad...we realized some games are more conducive than others....also, the importance of paying strict attention to the scenes and not being contradictory and employing elements from previous scenes...to do this model of improv requires technique and skill that we need to get better at...

in the second model of show that we rehearsed we didn't use forms or bits but rocked a scenes based on a presestablished plot line and character relationships...we chose themes (self deprivation, ambition, LA) and characters (ascetic street performer for justice, get rich quick schemester) and plot (we would all have our own tv shows by the end, for example)...this model was very fun and interesting...

when we rearse we should discuss, warm up, perform thirty -forty minute show, discuss, perform another

keep coming up with other improv games, use internet, compile a repetoire,

keep coming up with other forms for show (we have two now, established game sequence, and established plot/character models)

incorporate digital video ....elliot and huge- bring your cameras on tusday ....we can do bits and or skits that can serve as segues or pre show stuff....

meet tuesday at five and then go see the Getup Kids!!!!

just spoke to wrighteous who will put us down for saturday from five to seven...perhaps a little film outing afterwards...

games games games....

I hate to use the word games, because it diminishes the value of some to these excercises...I definately promote "limited knowledge" games (or excercises), wherein an individual leaves the room and everyone is in on something they are not...complaint department, the hide something game, I dug the tape recorder game we played where a scene is done between a man and a prerecorded message (perhaps from an audience member)...these games are good because it gives the audience something...it engages them and incorporates them into the action...it also makes us look good if it is a good improv because people are impressed with cleverness and wit...

I like basic excercises like story circle, or monologue tapout...where everyone is involved in one narrative and we take turns...and it doesn't get too skitso...
I know I was late, but what is the "games game"...thats the other bitch...referring to all these different games because elliot's "game game" could be rachel's "lumpy noodle" game and they would never know they were the same game...so when referring to a game, explain it, and try to come to some conclusion about proper naming...

there was also the "feet for hands game" which is a basic stchick...I tend to veer from
gimmick games, but one or two never hurts...and they're an easy laugh...same thing with the "two people who are opposite personalities but connected from the rear" excercise...which is was rather funny...and basic...and easy...

I also dig the grand narrator, (elliot always excells at this)...which was like our documentary scenes earlier where someone has the reins on the tempo and subject material of a sequence of scenes with multicharacters...

so
-games game (?)
-"limited knowledge"- complaint, leave the room, tape recorder
-narrative/monologue (tapout)- everyone telling a story
-gimmick games- feet for arms, reading from slips of paper, "book em dano" or the game where someone's lines come from some book



what else......

Did we write down the games we like playing? Would we like to do that now? I liked the games game. That's about all I remember. And I know we all loathe hyper-critical discussions and all that shit, but if we're going to focus on these specific bits then I'd like to spend some time really discussing them and developing some technique. For instance, I dig the games scenes but I think it's boring to just watch two wacky characters play a game and I think we need to talk about ways of using the game theme more creatively. Anyway, we should compile a list of show-worthy activities and start learning how to do them with expertise and style.

unfortunately, I am required to work this evening tuz until ten pm, so I won't be able to meet should we be meeting today...since its up in the air right now, what do people think about getting together sometime wed or thurs night...I have both of these nights off...and I would fancy getting wich yalls... luv, cp

Good ideas coming out over there. somewhere in the blog I heard something about a show mid may. I'm super down. I've been doing a lot of improv over here, improving my skills in many a way, and learning quite a few new games which I'm looking forward to bringing back. Can't wait to see you all. My monkish lifestyle is starting to get a slight bit tiresome, and I'm ready for adventure and madness, as well as serious theatre shenanigans. Sending good thoughts to the desert and the coast...the snow is coming down in heaps over here and the air is cold, but I'm snug and warm with good books and great music.

Since we didn't have any rehearsaling on Wed. let's pitch our 10-15 minute ideas:

My idea is to have a sequence of scenes which are based on actual conversations which we've had and that each conversation has to include some sort of artifact from the original event. Evidence, if you will. For example, i was thinking of dramatizing this conversation I had with my drug dealer a while back while Wright and I were painting the Britney Spears banner. When I introduce the scene I'll explain how it differs slightly from reality and what I did when I wrote it down/staged it that makes it different from the original event. I figure 3 five minute sketches with 3 different authors/techniques/artifacts.

nicely put elliot...it is very important that we make decisions...that we take what we have and realize it...for wednesday at seven, let us each be accountable for a fifteen minute slot in a show...toss it around and try it on for size...hypercriticism should be left at the door...whatever we come up with is going to be better than the nothing we have at the moment...see you wednesday...

Structure for next rehearsal

I think we should pretend that we have to do a show this weekend and need to slap something together. I say we make the goal of having a "something" at the end of this week that we could perform. Doesn't have to be good, it just has to exist. So that, when I say, "Hey, Wright, what're we doing in the show?" Wright can say, "oh, well we're doing this, and then that, and we finish with this cool other thing. I do this part and Rachel does that part and we go from point A to B to C and it lasts about an hour."

I suggest that as a way to develop this form we follow these steps:

1. Next rehearsal everyone comes in and present a vague and unformed idea about some kind of theatrical event that you'd like to see realized (skit, monologue, speak-piece, movement, game, etc.) and that could be turned into a 10-15 minute thing.

2. We pick the ones that most people seem interested in and excited about and we work on them a bit and try to make it happen.

3. We discuss what works/doesn't work and go back and rewrite stuff.

4. Come in next time with even more realized and concrete scripts and plans and work the bits over again so they run smoothly and slap everything together and run it all in one go.


The idea is to slap the clay onto the block and get some kind of form that we can work with. Right now I feel like we're still doing 2-D sketches and haven't decided if maybe we should just be carving out of wood instead.

Notes and Musings from rehearsal evening tuz 2-9:

Mr. Sharron and Mr. Pryor arrived second and followed the sounds to the rollicking good times being had by Mr. Huge and Ms. Anderson in the former's vehicle...a quick phone call affforded us the knowledge that Wright would indeed arrive in about 26 seconds...after intitial greetings and talk of whirlwind travel and masturbation, we proceeded to the big room where we adjusted the lighting and commenced to warm up with pabst and pink wigs...we started with a story...using tap out, a device we used in several excercises, we told of the carousings of narrator with older women and father...we then did a two person interview scene tapping out, having each actor play both characters, who had the same names throughout...and this was interesting and funny...we then we broke up with each other, tapping out...and then we conducted a job interview while tapping out...we then smoked and discussed the question of the night, how do we achieve a structured way to combine improv with pre written....we then played the "game" game with a bit of dungeon and dragons...and illuminati...interesting little choose your own adventure type of thing...we then did a father son scene where pryor "blocked" the "offer" given by huge when he insisted the object in his hand was a remote control and not a sandwich or whatever it was huge suggested...this was pointed out later in the evening by Mr. Sharron while delivering a lecture on the superiority of KRS-One over MC Shan...the father son scene took off once we started tapping out and playing bagpipes...we then did some interesting phyical work with scenes done entirely silent...I thought this was excellent way to slow down the pace of our sometimes frenzied and overly chaotic improv...we did elderly at the casino and managed to move along with it...the other rather innane silent scene was very interesting...after this we ended with a multi scene improv with pre established characters...the indian...this had some interesting twists but seemed to me ultimately too disjointed and chaotic...many people going at once is a waste of time I feel...I think we can do a lot better at receiving information established beforehand and spreading out the space of the scenes....we constantly want a lot of verbage...

next it was to the pub to talk and drink and get beaten by Ms. Anderson at pool...plus a few rounds of the tittie game....it was established, I think, that Mr. Sharron is fully confident of doing a structured improv wherein you have a loose plot outline of knowing swhat happens to your character, which is pre-established...the dialogue is improv...Mr. Cronin seems to be more prone to pre written material that focuses less on story or progression but ideas such as communion between people and how that happens rarely...fear and love...Mr. Pryor put forth the idea of us all having the opportunity to implement each of our methods, each person acting as director...also, the idea of having more of sporadic variety type of show that is not necesarily rationally connected...Mr. Cronin too argued for this...while Mr. Huge and Ms. Anderson expressed their lack of confidence is such a format because it is not palatable for an audience...but overall it seemed that a structure form of improv, like elliot suggested was best...we established that an assignment would be to prepare yourself as two specific characters...use pre written monologue material if you want, but come up specific people that you will be...and use these characters on a permanent basis...

then we hot tubbed and sang grateful dead songs...and drank and were merry...Ms. Anderson headed home and then Mr. Huge and Mr. Pryor were enlightened to the glories of boogie down productions as was mentioned earlier...production then commenced on "Chris Takes a Bong Hit, Too" the sequal to "Chris Takes a Bong Hit" (2003)....this time their is another Chris, played by Chris Huge, who competes with Chris, played by Chris Pryor, for a bong hit...very suspenseful....still in production...

Hottub Report

On tuesday we had rehearsal and then went pubbing, elbow-rubbing and hot-tubbing. Much was said but it seems to have washed out of my head like so much chlorine in the morning. Can anyone else who was there remember what we discussed? You can use this comments bin to fill everyone in on what went down.

Elliot, the new layout is beautiful. I very much like the upgrades that you've made. Great work. I'm also elated by my newfound administrator status...mu hah hah hah. Haven't written too much lately, because I haven't been sure what to say. Seems there are still many questions on the table. In particular for me, if and when a first show is intended to go up, and consequently how much will I be able to participate and contribute? I'd like to contribute as much as I can in whatever ways possible. Second, who's in and who's not? I'm a bit confused over here. Rachel's writing from New York and California, Sarah T hasn't written in a long time and Zach has never written...there was some talk of others joining, but I don't know where all that stands at present. My curiosity is piqued over here.

Well, I hope to get an idea or two in the next few days. Life over here is rather monkish, but definitely good. Mud season is creeping up, and I've never been so physically active. I think part of why I'm exercising like a fool in order to help fend off the cravings for cigarettes which I quit about a week ago. It's not the physical jones that's hard to shake, it's the mental. I think it'll take a while before that one's gone. The kids in the two classes that Toby and I are teaching are enthusiastic and fun. I have to admit that it's a bit torturous being surrounded by rather hot 17 and 18 year old girls, but what're you gonna do but grin and bear it. I've been able to practice improv twice a week with a guy from a troop out here called "otter nonsense." Very fun, glad to keep my muscles flexed and learn some new games which I look forward to sharing. So, that's a little check in from ol' Sinclair. I miss you all, and I look very forward to rocking out once again upon my return.

P.S. Wright and Pryor...I'm rockin' to Journey right now. Thank you.

Saturday Report

James showed up first. I rolled in shortly after and showed James that the door to the annex was in fact open. Wright and Mr. Huge showed up shortly after. We messed around a bit with my scene. I decided it needed cuts. Other people thought it was a good start that needed to be developed. We moved on to play improv games about games. We came up with a list of games and then did two person scenes that revolved around that game. We decided it was a fun way to structure a scene because the game offers a built in beginning, middle and end. Highlights included: a kid beating his principal at bloody knuckles, a psychopathic father playing Jeopardy with his daughter's new boyfriend, and a geo-political game of Battleship. We also played a 20 ?'s skits twice because the form was so open and ripe with possibilities.

Here's my scene. It takes place in an ice cream parlor and it's inolves two people:

Ice Cream Man: What'll you have?

Customer: Gimme a scoop of chocolate and a scoop of butter pecan

ICM: Coming right up. You know that's gotta be the tenth time today someone's ordered that exact order. A scoop of chocolate and a scoop of butter pecan. I should mark that in my book. Besides scoopin' cones, I also like to consider myself an amateur scientist. The human brain is my particular area of study. Or, I should say, not so much the interior intricacies of the singular brain but rather the patterns and and modes of behavior which are the manifestations of a superstructure, a sort of cosmic network, connecting and affecting the individual brains of human beings. It is my theory that every person's brain is made like an orange. Now most of the parts, the segments that make up the bulk of the brain, are concerned with the very difficult task of keeping a human body functioning. This takes a lot of brains to do. Most people think people with a lot of brains are people who are really smart and talented. In fact, most of your brain is used to regulate the chemical signals that make your liver function and your spleen and your small intestines. Not to mention all the brains needed to work your arms and your legs. Basically, if you can move and breath and eat and shit, you're already a genius. And that last little bit of brain power that separates a retard from a professor. That's like the skin of the orange. And I'm talking just the orange waxy part. Not the white pulpy part of the skin. The skinniest skinny part of the skin. The shit they make "zest" out of. That's the part I'm interested in. That's where the action is. And like I said, I'm not so much interested in the specifics of the individual brain, it's the invisible systems and layers of networking BETWEEN the brains that I find especially fascinating. Because brains are connected. And in ways we've barely begun to detect. Most scientists concern themselves with the kind of connections that occur through direct stimulus. You see something. You read something. I tell you something. You hear something. Direct. You get zapped by a zapper. Direct. And while I will be the first to admit that our brains are under constant direct assault from various stimuli at all times and that there is important work to be done in this field, I believe it misses the point. For I believe that by probing the invisible, sub-linguistic, extra-cerebral communication that occurs at all times between all the world's people we can come to a better understanding of what motivates and moderates individuals living with in societies and what motivates societies moving through history. Take the chocolate and butter pecan for example. It's not the special. I didn't advertise it. It's not a common flavor combination. And yet today, ten individuals, acting independently of their own accord, decided to pick chocolate AND butter pecan out of 60 different flavors. That's like more than a hundred combinations. And yet seemingly, randomly chocolate and butter pecan are what's hot today. But it isn't random. Yesterday, it was chocolate and peanut butter. The day before that it was peanut butter and mint chocolate chip. See there are connections. Nodes. Pieces of a puzzle. Links on a chain. A chain that follows very specific and definite rules. If I can deduce, through experimentation, the fundamental principles of inter-cerebral communication, I believe it will be a scientific-slash-medical-slash-social revolution the likes of which mankind has not seen since the advent of fire. If I am successful, I will be able to produce a world without war, poverty, hatred, or depression. A world where the bus comes right on time and the fare is free and the bus driver is happy to see you.

Customer: Whenever I order butter pecan, I always imagine a big stick of butter with a bunch of pecans on it. Same with butterscotch. Only there, it's a big stick of butter, sitting in a tumbler of scotch. Every time I taste butterscotch, my brain sort of creates this alcoholic bite to it, as though scotch bourbon really was an ingredient. Sometimes, if I'm in a particularly good mood, I can get psycho-somatically drunk off butterscotch. Not really drunk. Sort of the drunk you can get after eating cake with rum in it. It's a sort of playful air of sophistication. Like the way mom and dad smell when they come home from parties.

after runing into our man huge at the marketplace (the theme of my playlet) I am inspired to try and inspire others after being inspired hugely...anyhow, I endorse the notion of saturdays and tuzdays...and the idea of meeting twice a week...

so this saturday! when and where...I suggest five at the annex...wright, do we have the hookups? also, how about tuzday at five at the annex?

also, wright and I discussed the notion of moving more towards original material as opposed to improv...I feel it will be a much more coherent mode to perform in as I think that we each have wonderful ideas that will better conveyed through articulate writing as opposed to spontaneous improv...however, I support the idea of continual improv in rehearsal...

on saturday we should discuss themes...I have been expanding on the supergenius material and would say that it centers around consumerism and social anxiety... shallow amercianism...it has monologue, dialogue, corporate video sequencing multi media...it is funny I like to think and slightly schizophrenic.....and I want to perform some of it with numinosity.... and ultimately do it as a solo performance peice...

elliot are you in the group? sarah? james?

we should utilize this more often...keep in touch...keep it real...we don't necessarily have to have a show at any specific time either...we need to figure out what we are doing...and we need to start working...

rachel and tyler, I love you and miss you....