tag:blogger.com,1999:blog-5156356070860079785.post9147267831347472997..comments2023-06-27T20:03:14.397-04:00Comments on ODIN'S AVIARY: Marywood on the GreenJeffhttp://www.blogger.com/profile/02728223817801458234noreply@blogger.comBlogger5125tag:blogger.com,1999:blog-5156356070860079785.post-11471360254774122622010-10-04T22:19:08.799-04:002010-10-04T22:19:08.799-04:00If you follow the link in my last comment and watc...If you follow the link in my last comment and watch the video, you'll hear a little of the foley work. At times in rehearsal we practiced having Dottore ramble for seven beats while Arlecchino and Columbina would giggle on the eighth. Not sure if that's how it worked once on stage, but it certainly helped us develop a tight ensemble feel very quickly.<br /><br />It was an experiment that paid off.Ian Thalhttps://www.blogger.com/profile/15348768867561450314noreply@blogger.comtag:blogger.com,1999:blog-5156356070860079785.post-79322812258822999932010-10-04T21:48:12.512-04:002010-10-04T21:48:12.512-04:00That's an excellent point, Ian, if I may rever...That's an excellent point, Ian, if I may reverse-engineer for a moment. When we do an "Italian run" of the show (rapid and tight) I often clap to remind folks to pick up the pace, and we also sometimes do a "musical run," running the scenario silently, in coordinated with a mix of different styles of songs. But how amazing might it be to work on a show, and for the entire time, have drummers working with you? I can imagine the beats coming out so much clearer. Thank you for the idea!Jeffhttps://www.blogger.com/profile/02728223817801458234noreply@blogger.comtag:blogger.com,1999:blog-5156356070860079785.post-58585850305555988682010-10-04T18:20:36.489-04:002010-10-04T18:20:36.489-04:00At one point in rehearsals with my new commedia tr...At one point in rehearsals with my new commedia troupe, we began using percussion to work on our pacing and even incorporated a little foley work into <a href="http://ianthal.blogspot.com/2010/10/premiere-of-teatro-delle-maschere.html" rel="nofollow">our show</a>. As far as I'm concerned, it has proven its worth as both a theatrical technique and I plan to incorporate it into my commedia pedagogy.Ian Thalhttps://www.blogger.com/profile/15348768867561450314noreply@blogger.comtag:blogger.com,1999:blog-5156356070860079785.post-81658265152896971982010-09-13T14:50:50.372-04:002010-09-13T14:50:50.372-04:00Right on, Prof.! As it happens, we had some of th...Right on, Prof.! As it happens, we had some of the performers doing accompanying "foley" for the scenario, and what they adapted to in the musical runs was really entertaining.<br /><br />I think getting actors attuned to the musicality of a play is key development for any style of theatre. It's a pity that more abstract approaches to this tend to get dismissed or under-appreciated.Jeffhttps://www.blogger.com/profile/02728223817801458234noreply@blogger.comtag:blogger.com,1999:blog-5156356070860079785.post-54205894316042913342010-09-13T14:47:09.500-04:002010-09-13T14:47:09.500-04:00Wonderful stuff. My actors did a nerf baseball/kic...Wonderful stuff. My actors did a nerf baseball/kickball game to bond similarly.<br /><br />When I teach Stage Movement, the clowning unit is probably their favorite, and the no-words thing is very challenging for acting students in particular, but I brought in a bunch of instruments from a children's creative movement class one day, and suddenly the accompaniment and movement were ridiculous and seamless!Prof. Jennhttps://www.blogger.com/profile/13846413116997172413noreply@blogger.com