Guthrie Conference 2005

Some rough notes transcribed, included some lesson details from the workshops.

Guthrie Conference 2005 “Laugh and the World Laughs With You”

John Guare, playwright His Girl Friday

Writing comedy is tricky, specific word or line delivery

Don’t drop energy through line, carry to end

Jim Lichtscheidl (Guthrie actor, focus on physical humor)

Warm-ups (some isolation)

Walks

Spotlights

Slow/fast

COPY (then exaggerate)

Age

Gender (more masculine/feminine)

Tall/short

Timing (trip, double take)

Stevie Ray What Makes a Person Laugh? (Stand-up comedy)

7 levels of Comedy

Physical – someone really adept or really inept

Profanity – break the rules/social taboo

Storyline – plot, what happens next, especially with irony (we can say “I told you”)

Language – puns, double-entendres, connections, repartee

Imitation – mimickry, impressions

Character Contradiction – someone out of pattern (Bill Cosby in $3000 suit, rolling)

Satire

Inconguity is funny

“People who try to be funny are usually just annoying”

4 Laws of Laughter

Unexpected

Superiority

Delight

Recognition

Conditions which must be present for laughter to occur

Light environment

No self-awareness, nervousness

Detachment, know they are safe, subject is safe

Permission to laugh

Humor is:

Premise

Set-up

Punchline

Careful of too much information

Randy Reyes

Name introduction with motion and sound

Midsummer Nights

Read through together all

In groups, choose parts, prepare prologue

Other groups prepare scene

One provides vocal, one acts

Buffy Sedlachek

All my friends (warm-up, middle of room greeting for similar)

3 chairs, master and two servants

Famous adages – form a scene around well-known adages

shakesperean insults

rat basher scene (variety of line delivery)

12 pages of comedy styles (including commedia characters

Sarah Agnew

Tail-grabbing warm-up

Walks

Oil/electricity

Own substance

Musical chairs with created character

Dance mixer with oil/electricity

Vincent Gracieux, Commedia/Jeune Lune (Jacques Lecoq)

Warm-ups, isolation

Run-through of characters and masks, using neck

Show intent step by step

Charles Fraser creating a comedy sketch

Start a scene with something funny that’s happened to someone, something they own

Talk through and run, taking choices from audience

Run again, detailing motivations

Run again, keeping good lines

Run again, keeping good lines

Write down

Run

REVIEW - Midsummer Night's Dream (Masque)

Old review I just found. Here for posterity.

A Midsummer Night’s Dream by William Shakespeare

Masque Youth Theatre, April 2005, Rochester MN

Although my son, Gabe, still can’t get straight that we’re not going to see Brittney Spears, we watched 2:35 of William Shakespeare on Friday night. One of Shakespeare’s most frequently performed shows, the plot focuses on the parallel love problems of Oberon/Titania, Theseus/Hippolyta, and the four lovers Hermia/Lysander, Helena/Demetrius. Don’t worry, it all works out in the end.

The set is wonderful. Weight supportable platforms, dangling ropes, and oversize flowers – wow! In the forest, the swings are fun, visually interesting, and establish the magic – ‘ya don’t see that everyday on stage! Cross-pattern floorboards made of Trex, with subtle floor painting to match (Gabe couldn’t believe it wasn’t a lighting effect) created playing area. The lighting system is at its limits in the dim forest, but the Xmas lights on the ceiling provided excellent mood.

Characters. While the interplay between the four lovers was generally playful and fun, the physical antagonism of Demetrius and Lysander grew wearisome. Helena and Hermia picked up the sparring, and kept it varied and entertaining. Nobody comes close to the Masque with physical movement, as this show again demonstrated. Occasionally, the swings were overpowering, as actors moved from position to position in too rapid a succession while using the swings in a heavily prescribed manner, losing the language and distracting from character intent. Of special note was Puck’s assistant; a model of focusing the audience, staying engaged, and riveting action – all without a single line! This actor (yes, actor, as the term actress appeared as late as 1749, over 250 years after actor – do we call them conductresses or directresses? Actor is gender neutral), this actor appeared able to handle any role on stage, and was excellent at the one she had. Also outstanding was Sara Suginaka (home team bias), especially with her sobbing, stiff-limbed entrance, her scrambling pounce across the stage, her leg embraces, and her final exhausted crawl on the deck – Huzzah!! Beware the pouty lip, it’ll break your heart!

The script. I would’ve cut it quite a bit and I would’ve hit the key lines quite a bit harder. I usually shy away from heavy handed emphasis, but nonetheless, slow down a bit, get off the swings, and say those few lines directly to the audience. Yet, so many lines, each demanding such rigorous delivery to communicate meaning; what a phenomenal accomplishment!

Once again, the Masque delivers with one of the literary greats, telling an old story with energy and clarity. Taking vertical height risks on swings and platforms only solidifies their standing as the best physical training program for youth I’ve ever encountered.

Additional blog

A new blog, specific for JM AP English/Government students, is available for those curious souls out there. Otherwise this blog will continue to be a bit more theater in nature.