Blow Up Your TV Lyrics
by John Denver & john Prine
She was a level-headed dancer
on the road to alcohol
I was just a soldier
on my way to Montreal
Well, she pressed her chest against me
About the time the jukebox broke
She give me a peck on the back of the neck
And these are the words she spoke
Blow Up Your TV,
throw away your paper
Go to the country,
build you a home
Plant a little garden,
eat a lot of peaches
Try and find Jesus on your own
I sat there at the table and I acted real naive
Cause I knew that topless lady,
she had something up her sleeve
She danced around the room awhile
and she did the hoochy cooch
Yea sing a song all night long tellin' me what to do
Blow Up Your TV,
throw away your paper
Go to the country,
build you a home
Plant a little garden,
eat a lot of peaches
Try and find Jesus on your own
But I was young and hungry
and about to leave that place
Just as I was going she looked me in the face I said "You must know the answer"
She said "No, but I'll give it a try"
And to this day we've been livin' our way
Here is the reason why
We blew up the TV,
threw away the paper
Went to the country,
built us a home
Had a lotta children,
fed 'em all on peaches
They all found Jesus on their own
Sunday, August 19, 2007
Saturday, August 18, 2007
Day 5: Notes
Day 5 Notes
Linda Putnam Workshop
August 17th, 2007
OVERVIEW
MORNING
30 minutes personal warmup
Sourceroom the 7 Character Stages
LUNCH with questions from Group
AFTERNOON
Sourceroom the 7 character stages
=====================
MORNING NOTES
Warmup (30 minutes personal
- go from head to toes
-go through image from the physcial
- if there are images - GET THE OUT - they may be above you, below you, to the left or to the right of you
-come back warmedup - both physically and intellectually
- if your trancing, stop and start again
-lets try not to drop out
-Linda will come to visit
-no unconscious violence
- By the time you were 8 you knew what you were - in the context of violence something happens to us very young
* 8 Part Sourceroom (See your diagram)
Caracature
- a mix of wit/simpllicity and grace - 1/2 made up man - blunders have grace in them - has the playfullness of a kitten - always in love and always in trouble - he is inflicted and controlled as easily as a child
BOOK Stan & Ollie: The Roots of Comedy by Simon Louvish
- Sourceroom
- transformational wheel
- initiations - your image life will put initiations on you - a crisis will occur and then your images will change
Japanese Theatre
Q: Whats the flower in Japanese Theatre?
- life is seen @ petals of a flower - a genuine flower pulls into imagry the experiences of your life
-the marvelous flower - is the ability to breath equally over every flower petal - may happen 3X in a person's life - an artist's life
-takes a long time to identify new imagry - and there is always images you have - sometimes an image you've never seen - you follow or regret - this increases our wisdom @ artists - thats an initiation - 50% pf technique is search - an artist's job is search
PRINCIPLE: No one is except from having to face themselves.
Sourceroom with 7 characters
- go to Energy if you feel grief
-masque/mask is great for rage - because its a pure passion and you discover it in masque/mask - like a new being in the world
-Momentum can be described succinct in the neck - you can describe arches with the neck
PRINCIPLE: Perpectual Motion
- look for rhythums of different body parts
- cat neck from shoulderblade up - watch for becoming blind - once your blind you are a danger to yourself and the people around you.
Q: What do we @ artistis do with violence?
- anger is a luxery we cannot afford
- in a river there are classical roles: The Leader, The hidden Leader, the rebel, the victim, the nurse, the silent partner, the derailer
- we use these roles to see if there is anyone that can contain us - trying to prove that there is no one that can contain us - and that we're no good - we have that instinct - we introduce secrets
- 1st think tht happens in group violence
- group will circle the violence
- sometimes no one will take the violence
- or group will see the image and they will see it too
-if nobody sees you - you may feel that no one can contain you - but you need to find a body that will contain the image - that way you can present it to the group
- need to work it especially if you are ecitable
-we often all start in violent and corrupt (Japanese Theatre)
- we have a workgroup thats taught in silence / a silent room
- hitting yourself is violence and an indication thta you have no idea of your presence - as that violence comes in ytansfer it into full body voice, chorepgraphy, instrument, breath
- adgknowledge that you are interrested in taking someone out
- words and colour (writing and painting) have different issues than working bodies - we train ourselves to be out of control - so we train in 80/20
-we play out of control - you score tightly when playing passions
*** Where you put your eyes, thats about the size, thats about the size of it.
-always go for the bodypart thats blind, that never changes
-80/20 keeps you in the sphere of choice & expression
Q: Whats an oblique?
- Jung says what drives us mad is the presence of the intolerable image
"It is the corruption of beauty that drives men mad"
-he choose Medusa as a metaphor for this process
- in your little people, bring them up and see them?
-when you have a life experience that is so strong that we don't want to expolit it (3 years for a recent death) - you can work it in a sourceroom, but you don't sell it to the people
OR
- we're in /paid to do a play, choreography etc where an intolerable source comes up and you don't want to sell that source
- in either case you find an oblique
- take the life of our images
- there are four guides to images : the child, the world, the self, the elder
- search for an oblique
TO FIND AN OBLIQUE
1. you take the experience - the feeling of the experience
2. walk in nature and look for an image in nature (rock, bench) that corrolates to the exact feeling
-a static image, no clouds, streams are hard too
- an entity
-use that image ot olique when the intolerable images comes up
- slip the oblique in @ a source
- for a death you take three years with an oblique
- play the oblique like you play the source
-why aggradize ourselves and others through our suffering?
- artists need happiness, to tell the truth, a kitchen table life & money in the bank
- artists derve thse things - so why don't we do it? - why are we spilling all over ourselves.
- are we so preciuos that we have to sell ourselves?- we need to survive - we don't have to sell ourselves
-Byron & Shelly could afford to suffer - they were rich
Q: Can we work two sources at the same time?
- an old gyspy saying: With one ass, one cannot ride two horses
- a source can be run on a babywheel
- some transformations go from a - b
- some transformations go from a1 - a2
- some transformations go from a1 - peek a1 - denoucement (like in Tom High / Tom Low)
- transformations can run within themselves
- look for static bodyparts
PRINCIPLE: 3 X rule
- watch the pacing of feet etc.
- The trance - a bodypart may feed you but it can also take something away from you - weight on that bodypart can help
- make a sound on each part
- if you can't make sound - try another resonator
- teacher takes your hand to add companionship - the innocent you take along - also sometimes for force of hands
- If there is Force in a bodypart
- Try the principle: Left / Right dissassociation
PRINCIPLE: Go deeper / Go Deeper Search Further Search Further
- sometimes Go Shallower Go Shallower is the way to go deeper
in the violence work the teacher throws themselves on a body part and you try to throw them off until the student begins to understand that that body part can take them into an image / corporal / plastique etc.
- then you try to keep teacher on you - the body part begins to work - still work the weight of the image
- Wait for the Weight - thats how you know you have an image - you can feel the weight
- if you can get a breath to MASK, it will give you content - it will be a breath you'll never forget
Linda Putnam Workshop
August 17th, 2007
OVERVIEW
MORNING
30 minutes personal warmup
Sourceroom the 7 Character Stages
LUNCH with questions from Group
AFTERNOON
Sourceroom the 7 character stages
=====================
MORNING NOTES
Warmup (30 minutes personal
- go from head to toes
-go through image from the physcial
- if there are images - GET THE OUT - they may be above you, below you, to the left or to the right of you
-come back warmedup - both physically and intellectually
- if your trancing, stop and start again
-lets try not to drop out
-Linda will come to visit
-no unconscious violence
- By the time you were 8 you knew what you were - in the context of violence something happens to us very young
* 8 Part Sourceroom (See your diagram)
Caracature
- a mix of wit/simpllicity and grace - 1/2 made up man - blunders have grace in them - has the playfullness of a kitten - always in love and always in trouble - he is inflicted and controlled as easily as a child
BOOK Stan & Ollie: The Roots of Comedy by Simon Louvish
- Sourceroom
- transformational wheel
- initiations - your image life will put initiations on you - a crisis will occur and then your images will change
Japanese Theatre
Q: Whats the flower in Japanese Theatre?
- life is seen @ petals of a flower - a genuine flower pulls into imagry the experiences of your life
-the marvelous flower - is the ability to breath equally over every flower petal - may happen 3X in a person's life - an artist's life
-takes a long time to identify new imagry - and there is always images you have - sometimes an image you've never seen - you follow or regret - this increases our wisdom @ artists - thats an initiation - 50% pf technique is search - an artist's job is search
PRINCIPLE: No one is except from having to face themselves.
Sourceroom with 7 characters
- go to Energy if you feel grief
-masque/mask is great for rage - because its a pure passion and you discover it in masque/mask - like a new being in the world
-Momentum can be described succinct in the neck - you can describe arches with the neck
PRINCIPLE: Perpectual Motion
- look for rhythums of different body parts
- cat neck from shoulderblade up - watch for becoming blind - once your blind you are a danger to yourself and the people around you.
Q: What do we @ artistis do with violence?
- anger is a luxery we cannot afford
- in a river there are classical roles: The Leader, The hidden Leader, the rebel, the victim, the nurse, the silent partner, the derailer
- we use these roles to see if there is anyone that can contain us - trying to prove that there is no one that can contain us - and that we're no good - we have that instinct - we introduce secrets
- 1st think tht happens in group violence
- group will circle the violence
- sometimes no one will take the violence
- or group will see the image and they will see it too
-if nobody sees you - you may feel that no one can contain you - but you need to find a body that will contain the image - that way you can present it to the group
- need to work it especially if you are ecitable
-we often all start in violent and corrupt (Japanese Theatre)
- we have a workgroup thats taught in silence / a silent room
- hitting yourself is violence and an indication thta you have no idea of your presence - as that violence comes in ytansfer it into full body voice, chorepgraphy, instrument, breath
- adgknowledge that you are interrested in taking someone out
- words and colour (writing and painting) have different issues than working bodies - we train ourselves to be out of control - so we train in 80/20
-we play out of control - you score tightly when playing passions
*** Where you put your eyes, thats about the size, thats about the size of it.
-always go for the bodypart thats blind, that never changes
-80/20 keeps you in the sphere of choice & expression
Q: Whats an oblique?
- Jung says what drives us mad is the presence of the intolerable image
"It is the corruption of beauty that drives men mad"
-he choose Medusa as a metaphor for this process
- in your little people, bring them up and see them?
-when you have a life experience that is so strong that we don't want to expolit it (3 years for a recent death) - you can work it in a sourceroom, but you don't sell it to the people
OR
- we're in /paid to do a play, choreography etc where an intolerable source comes up and you don't want to sell that source
- in either case you find an oblique
- take the life of our images
- there are four guides to images : the child, the world, the self, the elder
- search for an oblique
TO FIND AN OBLIQUE
1. you take the experience - the feeling of the experience
2. walk in nature and look for an image in nature (rock, bench) that corrolates to the exact feeling
-a static image, no clouds, streams are hard too
- an entity
-use that image ot olique when the intolerable images comes up
- slip the oblique in @ a source
- for a death you take three years with an oblique
- play the oblique like you play the source
-why aggradize ourselves and others through our suffering?
- artists need happiness, to tell the truth, a kitchen table life & money in the bank
- artists derve thse things - so why don't we do it? - why are we spilling all over ourselves.
- are we so preciuos that we have to sell ourselves?- we need to survive - we don't have to sell ourselves
-Byron & Shelly could afford to suffer - they were rich
Q: Can we work two sources at the same time?
- an old gyspy saying: With one ass, one cannot ride two horses
- a source can be run on a babywheel
- some transformations go from a - b
- some transformations go from a1 - a2
- some transformations go from a1 - peek a1 - denoucement (like in Tom High / Tom Low)
- transformations can run within themselves
- look for static bodyparts
PRINCIPLE: 3 X rule
- watch the pacing of feet etc.
- The trance - a bodypart may feed you but it can also take something away from you - weight on that bodypart can help
- make a sound on each part
- if you can't make sound - try another resonator
- teacher takes your hand to add companionship - the innocent you take along - also sometimes for force of hands
- If there is Force in a bodypart
- Try the principle: Left / Right dissassociation
PRINCIPLE: Go deeper / Go Deeper Search Further Search Further
- sometimes Go Shallower Go Shallower is the way to go deeper
in the violence work the teacher throws themselves on a body part and you try to throw them off until the student begins to understand that that body part can take them into an image / corporal / plastique etc.
- then you try to keep teacher on you - the body part begins to work - still work the weight of the image
- Wait for the Weight - thats how you know you have an image - you can feel the weight
- if you can get a breath to MASK, it will give you content - it will be a breath you'll never forget
Songs: Day 5
1. Im going away
Im going away
Im going to stay
& then Im comin home
Im gonna miss you honey in the days to come
when the winter winds begin to blow the ground os covered up with snow
im gonna miss you honey
in the days they says to come
2. So long its been good to know ya
So long its been good to know ya
honey
so long its been good to know ya
so long its been good to know ya
but a dusty old dust storm is bustin my home
and I godda keep moving along
Im going away
Im going to stay
& then Im comin home
Im gonna miss you honey in the days to come
when the winter winds begin to blow the ground os covered up with snow
im gonna miss you honey
in the days they says to come
2. So long its been good to know ya
So long its been good to know ya
honey
so long its been good to know ya
so long its been good to know ya
but a dusty old dust storm is bustin my home
and I godda keep moving along
Thursday, August 16, 2007
Day 4: Notes
Day Four: Linda Putnam Notes
August 16th, 2007
OVERVIEW
MORNING
30 minutes Led River (Linda)
15 Minutes Led River (Thrasso, paul, Hilary and tanya)
15 Minutes Group River
Pierre
LUNCH
AFTERNOON
Read out loud Tom Low / Tom High poems
Baby Wheel / 6 Part Ladder
===================
MORNING NOTES
In any of this work you can have an arena for DONT PLAY
DONT PLAY is a physically set area where you can go when you have an out - the only rule in don't play is that you have to keep talking about the work
See the image, say the image
Pierre
1. say the line
2. characters enact the line
=================
AFTERNOON NOTES
Q: Is 50/50 Tom High / Tom Low the same as the Return in the Corpse?
- yes - same as return to source - so you can find a judgementless place
- by the time you hit 50/50 in TH/TL 50 will be different in the progression - there is jugement in the progression from High to Low and vice versa - your task is to neutralize that judgement in the 50/50
- judgement is funny - we judge or states as much as we judge the content - thats why the questions are the more important than the answers - so we can figure out our range
Q; Where did the term Tom High / Tom Low come from?
- the name of the man that the technique was put on in the workgroup - Tom Crawly who took Grotowski's workshop in the States. The name given because the Polish name was unpronouceable
- we can work the Baby Wheel (anger, grief, joy)
- we have judgements about these 3 big states - grew up where someone owned these 3 big states - so right away we learned Baby Wheel within a certain tombre in it - Our job is to say: So? What's the next line? What are you going to do now?
- we fool around with a few more way s to express than in our kitchen life - our everyday life - we can work some tools into our everyday lives - so we can have a different relationship with our beloved and our enemies
- we work range in the room so we don't have to experience everything in our lives - all art is a teacher
- there is a quality of thought to the body - there is nothing wrong with image
- one of the reasons we'll push body through form
Q: Why?
- we desire judgement and speed - however, being an independent in training means you have time and patience with no desire for sucess or sucess dependednt on the teacher
GAP - the space between thought and body
Q: Is thought an image?
- we get hung up in the idea that technique isn't authentic - that it takes us away from authenticity - artist needs to develop a belief that you can be authentic through technique and you need to practice to be authentic - PRACTICE identifying what is AUTHENTIC - the brain is a body prastique - just another body part
Q; What is authentic? Why is something you wrote today more authentic than yesterday?
- when you're brought up in technique you may decide you don't belong in technique
- none of us know HOW
- technique can feel empty @ times
BABYWHEEL
Exercise
1. Take the word / image
2. Start in two lines / corridors if in a group, or in a caged river if your alone
3. inhale source
4. exhale source in anger and then to neutral
5. inhale source
6. exhale source in grief to neutral
7. inhale source
8. exhale source in joy to neutral
repeat
- call it for yourself (go faster and faster) until you feel the wheel begin to spin and run and then just run the wheel
Q; Why?
- the road to inconsolable tears - stop questioning and start studying impulse
Q: With the Babywheel, there are three primararies and are all pther emotions carried in between?
Q; How do you get off the wheel?
- you have to introduce rest
-right after sorrow intoduce rest
-stop in joy
- this is a transformation - its a trip - in a life it may take years to transform from one image in a babywheel to another
Q: How long does it take to learn forgiveness?
- life sucks but Im grateful to people along the way
- you have to know how to run the wheel - but also have to get off the wheel
Anger
. .
. .
. .
Grief .
. .
. .
. .
Sorrow
Six part Wheel / Ladder
6 part state of being / transformation
Envy
to
Happiness
to
Anger
to
Sorrow
to
Lonliness
to
Peacefulness
to
REST
1. Use a simple sentence that is envy as happiness expresses it
ex. Im so happy for you
2. use a simple sentence for envy the way anger would have it
ex. Its always been easy for you
3. Use a simple sentence for envy as sorrow would have it
ex. I never have luck like that
4. Use a simple sentence the way lonliness would hve it
ex. Are you going to Europe?
5. Use a simple sentence that is envy as peacefulness would have it.
ex. I loved Europe.
6. Use a simple sentence that is envy as REST would have it
ex. Call me when you get back.
- Rest has something to do with accepting your envy
- rest is when you desire the source more than the expression of the source
- rest is the feeling that you have everything you need
August 16th, 2007
OVERVIEW
MORNING
30 minutes Led River (Linda)
15 Minutes Led River (Thrasso, paul, Hilary and tanya)
15 Minutes Group River
Pierre
LUNCH
AFTERNOON
Read out loud Tom Low / Tom High poems
Baby Wheel / 6 Part Ladder
===================
MORNING NOTES
In any of this work you can have an arena for DONT PLAY
DONT PLAY is a physically set area where you can go when you have an out - the only rule in don't play is that you have to keep talking about the work
See the image, say the image
Pierre
1. say the line
2. characters enact the line
=================
AFTERNOON NOTES
Q: Is 50/50 Tom High / Tom Low the same as the Return in the Corpse?
- yes - same as return to source - so you can find a judgementless place
- by the time you hit 50/50 in TH/TL 50 will be different in the progression - there is jugement in the progression from High to Low and vice versa - your task is to neutralize that judgement in the 50/50
- judgement is funny - we judge or states as much as we judge the content - thats why the questions are the more important than the answers - so we can figure out our range
Q; Where did the term Tom High / Tom Low come from?
- the name of the man that the technique was put on in the workgroup - Tom Crawly who took Grotowski's workshop in the States. The name given because the Polish name was unpronouceable
- we can work the Baby Wheel (anger, grief, joy)
- we have judgements about these 3 big states - grew up where someone owned these 3 big states - so right away we learned Baby Wheel within a certain tombre in it - Our job is to say: So? What's the next line? What are you going to do now?
- we fool around with a few more way s to express than in our kitchen life - our everyday life - we can work some tools into our everyday lives - so we can have a different relationship with our beloved and our enemies
- we work range in the room so we don't have to experience everything in our lives - all art is a teacher
- there is a quality of thought to the body - there is nothing wrong with image
- one of the reasons we'll push body through form
Q: Why?
- we desire judgement and speed - however, being an independent in training means you have time and patience with no desire for sucess or sucess dependednt on the teacher
GAP - the space between thought and body
Q: Is thought an image?
- we get hung up in the idea that technique isn't authentic - that it takes us away from authenticity - artist needs to develop a belief that you can be authentic through technique and you need to practice to be authentic - PRACTICE identifying what is AUTHENTIC - the brain is a body prastique - just another body part
Q; What is authentic? Why is something you wrote today more authentic than yesterday?
- when you're brought up in technique you may decide you don't belong in technique
- none of us know HOW
- technique can feel empty @ times
BABYWHEEL
Exercise
1. Take the word / image
2. Start in two lines / corridors if in a group, or in a caged river if your alone
3. inhale source
4. exhale source in anger and then to neutral
5. inhale source
6. exhale source in grief to neutral
7. inhale source
8. exhale source in joy to neutral
repeat
- call it for yourself (go faster and faster) until you feel the wheel begin to spin and run and then just run the wheel
Q; Why?
- the road to inconsolable tears - stop questioning and start studying impulse
Q: With the Babywheel, there are three primararies and are all pther emotions carried in between?
Q; How do you get off the wheel?
- you have to introduce rest
-right after sorrow intoduce rest
-stop in joy
- this is a transformation - its a trip - in a life it may take years to transform from one image in a babywheel to another
Q: How long does it take to learn forgiveness?
- life sucks but Im grateful to people along the way
- you have to know how to run the wheel - but also have to get off the wheel
Anger
. .
. .
. .
Grief .
. .
. .
. .
Sorrow
Six part Wheel / Ladder
6 part state of being / transformation
Envy
to
Happiness
to
Anger
to
Sorrow
to
Lonliness
to
Peacefulness
to
REST
1. Use a simple sentence that is envy as happiness expresses it
ex. Im so happy for you
2. use a simple sentence for envy the way anger would have it
ex. Its always been easy for you
3. Use a simple sentence for envy as sorrow would have it
ex. I never have luck like that
4. Use a simple sentence the way lonliness would hve it
ex. Are you going to Europe?
5. Use a simple sentence that is envy as peacefulness would have it.
ex. I loved Europe.
6. Use a simple sentence that is envy as REST would have it
ex. Call me when you get back.
- Rest has something to do with accepting your envy
- rest is when you desire the source more than the expression of the source
- rest is the feeling that you have everything you need
Day four: Songs????
Does anybody have the sngs for today??? Anyone out there can post them. Im looking on the internet for some...
Wednesday, August 15, 2007
Day 3: Notes
Day Three : Notes
August 15th, 2007
Linda Putnam
OVERVIEW
MORNING
30 minutes Led Plastiques (Some corporal) River by Linda
15 Minutes Lollow the Leader River by either Hillary, Paul or Tanya
15 Minutes Open Floor
- either follow your leader, and if you are complled to follow another image do so
- slip the screen
- no touching - touch is forbidden in your basics - if there is adknowledge the person
ex. Tanya touches Linda in a river
Both stop
Tanya refers to herself saying "Tanya" and then Linda "Linda"
Linda refers to herself "Linda" and then to Tanya "Tanya"
Then shake hands and continue
LUNCH
AFTERNOON OVERVIEW
Actors Notebook
Tom High Tom Low poems
Reduce to Source exercise
7 Character stages
Corpse with 7 Character stages
=========================
AFTERNOON
Q: When you perform can you move from TH / TL or do you use it in particles? How do you work it?
- can build the character by memorizing the stops and then run them through your script
The actors notebook
Three columns
COLUMN 1 COLUMN 2 COLUMN 3
Everything someone says Everything the character Everything I want
about your character says about themself the character to be
Column 3 will lead you to the next character you want to play
- you have to justify everything the audience hears about the character - you have to justify whats in the text - Thats Column 1 & 2
- Column 3 you can slip in if its justified in the text
- Once you have this column read it like a novel
- Then Inhale the Q: Who is this person?
- Exhale an get a spectre / an expression and write that down
- Inhale I feel ____.
- Find two centres
- put these in your body - 1 is a primary source - a source tht has weight - the 2nd source is weak or a fragile body part - get the two body parts going simultaneously - the engine the drive is the primary source - we'll throwing our weight around in the priimary source like the corporals - if you land you have to know how to fall
- I want____ and I need ___> can also be answered - or can fool around with it in the room
- images - there are universal images - with an ensemble you cn make a list of all the repeated images
- if you like having your craft be a craft, form can work for you - if you are a natural there is more risk of falling on the ice
- enjoy the precision especially if you're on the edge
- TH / TL is a precise form
- covers all the physical body including extremitites
Q: Is the primary source a place of indication?
- its the place where you actually build the character from
- the weight bearing source is usually in your torso - the Pelvic Floor is part of the Vunerable triangle
- thighs are a fertile source
- women are the outside thigh
men are the inside of the thigh
- Shoulderblades can be weight barring (shoulderstnads)
5 mysteries (cat) - this is where you get your flips or your backbends
-tripod handstand / push throughs in The Cat - you can find your five mysteries here- if you get backaches in this work it may come from carrying the 5 mysteries too high in the spine
- A primary source can be carried by: The Shoulderblades, The Pectorals, The ribcage, and the pelvic saddle
- can carry a primary source through left/ right Dissociation
PRINCIPLE: Left / Right Dissociation
- neck isn't a great primary source - you need to save it for voice and focus - could be secondary
- sound / breath endurance is a more complicated struggle as you age
- 2nd source is a body part, but could also be a value
In performance one gives themselves three valuses:
1 has to be related to character or choreography
1 has to be related to the performer / actor
1 has to be related to that night / that particular perfomance
After the show, Hunker and see how you did with these values
- values could be ensemble, have known everything you did (lines, choreography etc)
- its a form of self-reference - a way to ask yourself questions before someone else does
Q; Did you jelly your image?
- im Improv and theatre we say YES before NO - you carry others and not yourself to you can grasp reality whenever you need to
SHOWED TH/ TL Poems
Excersise with Poems
do the same excersie as yesterday with your I feel word except run the TH / TL from High to Low to High instead
Excersise
1. take 10 minutes to reduce your poem to a single source
2. perform your poem for yourself
3. inhale
4. exhale I feel ____.
5. Find a word or an image that resonates for you.
*** never get so far away from your basics that you lose your basics
Source Work
7 Character Stages
The 7 Character Stages Are:
1. Energy
2. Presence / Absence of Light
3. Creature
4. Masque / mask
5. Personae
6. Characiture (spelling?)
7. Character
Presnece / Absence of light
- night / day
- its what exists in the presence of light and what does not exist in the presence of light and vice versa
Creature
- an animal
Mask
- a recongnizable human with no reference in time
- passion - they are passion - creations
- help organize a character through an inner rythum - they are presentational
Personae
- upright human being who knows a bit about time - time is close to them
Characiture
- this stage has unfourtanetly been denegrated @ fake - is a wonderful artform
- characiture is a upright human character lacking moral fiber ex. Chaplin, Marx Bros.
- a pure re-action
- a full character but something is missing or askew
Character
- a human being with moral fiber
Q: How do 7 characters relate to time?
- in physical performance Time is facinating
- In ENERGY - time is meaningless
- clown shows can be made out of time
- PRESENCE / ABSENCE of LIGHT - has time becuase in herant within the term is the passage of time (we pass into and out of light and dark)
-CREATURE has time (Im hungry, I need to mate, I have to attack)
Book to Read: Why Zebras Don't Get Ulcers
- CREATURE is on 24 hour time
- MASK - time is vast
- mask knows about the passage of time as a concept of living or dying but there is nothing as a reference
-total innocent
- run these 7 through the Corpse
THE CORPSE
- the corpse never fails to produce material if you can endure it
Stand in the Perfect T
In the Perfect T:
1. The outside of the feet line up with the armpit
2 knees are over the bigtoes
3 ribcage is over the pelvis
4 butt loose
5 pelvic floor falss
6 put a two finger space in the armpits and let the arm fall
7 palms rest facing out
8 eyeballs @ face height - facing forward
Now Duplicate this lying down
to get to lying pose:
1 hands move inward
2 head rolls down
3 chin rolls down
4 roll down / tower in reverse
5 take top and under of kneww - lift and drop it to lying down
do this for both knees
6 roll down to floor from ribcage
7 drop the chin and drop the hands
8 roll down to the floor
- nose is in line with the public bone
-hold the feeling of the floor with your feet
-hold the feeling of the air with your hands
-eyes are on the horizon
-inhale source
- exhale and go through 7 stages of chracter
PLAY THE RETURN
When your impulse is gone, your lost, you have an out - return to the corpse
breathe / drop the source into the diaphram
and go
HUNKER
- position is very uncomfortable or impossible to hold
- get into hunker position - see your work
- Q yourself on an inhale: What is the nature of my experience?
- exhale 3 simple answers
- Q; Take one of the three answers inhale and Q yourself: What is the nature of ________?
- exhale 3 answers
- take a look at your work
- say thank you to your maker
- look up / see the room / see your street clothes
- when you work in the presence/absence of light you get the eye
PRINCIPLE: Only go as far as you know how to get back
- if your lost look for the breath of the source round - you may be censoring by fudging the RETURN if you have a judgement - you may miss a level of the 7 character stages
-put the source into the breath and the Corpse competley before you go back in - get the breath and then drop in the source
Q; If you lose the source: Where are you dropping the content and replacing it with imagination?
August 15th, 2007
Linda Putnam
OVERVIEW
MORNING
30 minutes Led Plastiques (Some corporal) River by Linda
15 Minutes Lollow the Leader River by either Hillary, Paul or Tanya
15 Minutes Open Floor
- either follow your leader, and if you are complled to follow another image do so
- slip the screen
- no touching - touch is forbidden in your basics - if there is adknowledge the person
ex. Tanya touches Linda in a river
Both stop
Tanya refers to herself saying "Tanya" and then Linda "Linda"
Linda refers to herself "Linda" and then to Tanya "Tanya"
Then shake hands and continue
LUNCH
AFTERNOON OVERVIEW
Actors Notebook
Tom High Tom Low poems
Reduce to Source exercise
7 Character stages
Corpse with 7 Character stages
=========================
AFTERNOON
Q: When you perform can you move from TH / TL or do you use it in particles? How do you work it?
- can build the character by memorizing the stops and then run them through your script
The actors notebook
Three columns
COLUMN 1 COLUMN 2 COLUMN 3
Everything someone says Everything the character Everything I want
about your character says about themself the character to be
Column 3 will lead you to the next character you want to play
- you have to justify everything the audience hears about the character - you have to justify whats in the text - Thats Column 1 & 2
- Column 3 you can slip in if its justified in the text
- Once you have this column read it like a novel
- Then Inhale the Q: Who is this person?
- Exhale an get a spectre / an expression and write that down
- Inhale I feel ____.
- Find two centres
- put these in your body - 1 is a primary source - a source tht has weight - the 2nd source is weak or a fragile body part - get the two body parts going simultaneously - the engine the drive is the primary source - we'll throwing our weight around in the priimary source like the corporals - if you land you have to know how to fall
- I want____ and I need ___> can also be answered - or can fool around with it in the room
- images - there are universal images - with an ensemble you cn make a list of all the repeated images
- if you like having your craft be a craft, form can work for you - if you are a natural there is more risk of falling on the ice
- enjoy the precision especially if you're on the edge
- TH / TL is a precise form
- covers all the physical body including extremitites
Q: Is the primary source a place of indication?
- its the place where you actually build the character from
- the weight bearing source is usually in your torso - the Pelvic Floor is part of the Vunerable triangle
- thighs are a fertile source
- women are the outside thigh
men are the inside of the thigh
- Shoulderblades can be weight barring (shoulderstnads)
5 mysteries (cat) - this is where you get your flips or your backbends
-tripod handstand / push throughs in The Cat - you can find your five mysteries here- if you get backaches in this work it may come from carrying the 5 mysteries too high in the spine
- A primary source can be carried by: The Shoulderblades, The Pectorals, The ribcage, and the pelvic saddle
- can carry a primary source through left/ right Dissociation
PRINCIPLE: Left / Right Dissociation
- neck isn't a great primary source - you need to save it for voice and focus - could be secondary
- sound / breath endurance is a more complicated struggle as you age
- 2nd source is a body part, but could also be a value
In performance one gives themselves three valuses:
1 has to be related to character or choreography
1 has to be related to the performer / actor
1 has to be related to that night / that particular perfomance
After the show, Hunker and see how you did with these values
- values could be ensemble, have known everything you did (lines, choreography etc)
- its a form of self-reference - a way to ask yourself questions before someone else does
Q; Did you jelly your image?
- im Improv and theatre we say YES before NO - you carry others and not yourself to you can grasp reality whenever you need to
SHOWED TH/ TL Poems
Excersise with Poems
do the same excersie as yesterday with your I feel word except run the TH / TL from High to Low to High instead
Excersise
1. take 10 minutes to reduce your poem to a single source
2. perform your poem for yourself
3. inhale
4. exhale I feel ____.
5. Find a word or an image that resonates for you.
*** never get so far away from your basics that you lose your basics
Source Work
7 Character Stages
The 7 Character Stages Are:
1. Energy
2. Presence / Absence of Light
3. Creature
4. Masque / mask
5. Personae
6. Characiture (spelling?)
7. Character
Presnece / Absence of light
- night / day
- its what exists in the presence of light and what does not exist in the presence of light and vice versa
Creature
- an animal
Mask
- a recongnizable human with no reference in time
- passion - they are passion - creations
- help organize a character through an inner rythum - they are presentational
Personae
- upright human being who knows a bit about time - time is close to them
Characiture
- this stage has unfourtanetly been denegrated @ fake - is a wonderful artform
- characiture is a upright human character lacking moral fiber ex. Chaplin, Marx Bros.
- a pure re-action
- a full character but something is missing or askew
Character
- a human being with moral fiber
Q: How do 7 characters relate to time?
- in physical performance Time is facinating
- In ENERGY - time is meaningless
- clown shows can be made out of time
- PRESENCE / ABSENCE of LIGHT - has time becuase in herant within the term is the passage of time (we pass into and out of light and dark)
-CREATURE has time (Im hungry, I need to mate, I have to attack)
Book to Read: Why Zebras Don't Get Ulcers
- CREATURE is on 24 hour time
- MASK - time is vast
- mask knows about the passage of time as a concept of living or dying but there is nothing as a reference
-total innocent
- run these 7 through the Corpse
THE CORPSE
- the corpse never fails to produce material if you can endure it
Stand in the Perfect T
In the Perfect T:
1. The outside of the feet line up with the armpit
2 knees are over the bigtoes
3 ribcage is over the pelvis
4 butt loose
5 pelvic floor falss
6 put a two finger space in the armpits and let the arm fall
7 palms rest facing out
8 eyeballs @ face height - facing forward
Now Duplicate this lying down
to get to lying pose:
1 hands move inward
2 head rolls down
3 chin rolls down
4 roll down / tower in reverse
5 take top and under of kneww - lift and drop it to lying down
do this for both knees
6 roll down to floor from ribcage
7 drop the chin and drop the hands
8 roll down to the floor
- nose is in line with the public bone
-hold the feeling of the floor with your feet
-hold the feeling of the air with your hands
-eyes are on the horizon
-inhale source
- exhale and go through 7 stages of chracter
PLAY THE RETURN
When your impulse is gone, your lost, you have an out - return to the corpse
breathe / drop the source into the diaphram
and go
HUNKER
- position is very uncomfortable or impossible to hold
- get into hunker position - see your work
- Q yourself on an inhale: What is the nature of my experience?
- exhale 3 simple answers
- Q; Take one of the three answers inhale and Q yourself: What is the nature of ________?
- exhale 3 answers
- take a look at your work
- say thank you to your maker
- look up / see the room / see your street clothes
- when you work in the presence/absence of light you get the eye
PRINCIPLE: Only go as far as you know how to get back
- if your lost look for the breath of the source round - you may be censoring by fudging the RETURN if you have a judgement - you may miss a level of the 7 character stages
-put the source into the breath and the Corpse competley before you go back in - get the breath and then drop in the source
Q; If you lose the source: Where are you dropping the content and replacing it with imagination?
Songs: Day 3
Song #1 "Oh Lord take me to the river"
Oh lord take me to the river
cause I been cryin
lord I been cryin'
oh lord wrap me round
in a smile that never ends
cause I been cryin
for oh so long
Song #2 "I been driving"
I been driving (swing hands like an shovel, make Thud sound off shovel on beat)
on bald mountain (thud)
on bald mountain (thud)
you here to hear a me wail (thud)
you hear to hear a me wail (thud)
all the way to the jail (thud)
all the way to the jail (thud)
write a letter to the govenor )thud)
write a letter to the govenor (thud)
get me outta this jail (thud)
get me outta this jail (thud)
Song # 3 " Blue Hogan's Goat"
Blue Hogan's goat was feelin fine
ate 2 red shirts right off the vine
Bill took a stick
gave him a whack
He tied that goat to the railroad tracks
the whistle blew; the train was nigh
the goat cried out in fear and pain
coughed up the shirts and flogged that train
Oh lord take me to the river
cause I been cryin
lord I been cryin'
oh lord wrap me round
in a smile that never ends
cause I been cryin
for oh so long
Song #2 "I been driving"
I been driving (swing hands like an shovel, make Thud sound off shovel on beat)
on bald mountain (thud)
on bald mountain (thud)
you here to hear a me wail (thud)
you hear to hear a me wail (thud)
all the way to the jail (thud)
all the way to the jail (thud)
write a letter to the govenor )thud)
write a letter to the govenor (thud)
get me outta this jail (thud)
get me outta this jail (thud)
Song # 3 " Blue Hogan's Goat"
Blue Hogan's goat was feelin fine
ate 2 red shirts right off the vine
Bill took a stick
gave him a whack
He tied that goat to the railroad tracks
the whistle blew; the train was nigh
the goat cried out in fear and pain
coughed up the shirts and flogged that train
Day 2: Notes
Day 2: Linda Putnam Workshop
August 14th, 2007
OVERVIEW
MORNING
1/2 hour plastique river (led by Linda)
1/2 hour Led River (led by assistants Hilary, Paul and Tanya)
LUNCH
AFTERNOON
Tom High/Tom Low
Show Image People and Word People
=====================
MORNING
Instructions for group Seed River (15 minutes)
1. Remember your source word - the one you gave yourself after performing your haiku
2. Inhale and see that word in your mind
3. See what world that word creates for you
- Linda will come into your river to work with you on an image
- at the end of each river COME BACK so that you can be ready for you next one.
- question yourself: How many steps from the front door to the back door? Do math. Count the items in your laundry
- dont fall prey to the trance - come out all the way so you'll be available for your day and the next time you go back into the work
-trance is an ancient form and we don't abuse it
- We can use rituals to get out of trnce lie HUNKER
- imagry is what we use to create but also to go mad - we want all the artists to stay with us not freak out on their body
**** Something for the group to think about
- group is to big to carry - to much for teacher type (Linda) to carry - her limit is 16
- so we need to carry ouw energy - if you don't understand work it through before you collapse
Collapse - when the torso falls into the body, when the energy drops into the body
Q: How can I Lift a Collapse?
- lifts are hard & vunerable - you want to collapse, but that will take you out and Linda with you.
- lets keep the group going.
LUNCH
=====
AFTERNOON
Q: Why slip a screen? 9Why can't a wall be a wall?)
- when you work in an imaginary world - bringing in the real world will always dominant - the real world will dominate
- if you have an answer thena what will run your river? - a river is run by questions - the real world obliterates questions - as artists we are interested in what is between us and the real world - so we slip a screen
- take the image and work with that image - a skirt is just a skirt - when you slip a screen it can be whatever you want it to be
- image is effemeral
PRINCIPLE: When the image is gone, the image is gone
- slip a screen over hair, body, clothes - its practical
-screen helps you question the image - we can't do anything to make an image stay and go - all we can do is follow an image
TOM HIGH TOM LOW
(*** for reference I use TH = Tom High
TL = Tom Low for short hand)
Take a source - a judgementless source, because a source is just a place, that's what a source is, once you add judgement you're in a river & then the River begins to run.
- Tom High is the highest expression of that source
- Tom Low is the lowest expression of that source
- Tom 50 is the source - may be defined by gravity though not always
- once you figure out Tom High and To Low then you run TH - TL and back again
Tom High = 100% High
Tom 3/4 = 25% Tom Low / 75% Tom High
Tom 50 = 50 TL/50TH
Tom 1/4 = 25% Tom High / 75% Tom Low
Tom Low = 100% Tom Low
- after you have TH to TL and TL to TH you can start to add body parts
- you'll work in a progression - like a transformation swing
Tom Low goes from the feet to Tom 50 which goes from the centre and then to Tom Full which is the upper carriage/ torso
Tom 50 is when the lower body come up to the centre and the top half of the body comes down to the centre and they meet
Tom High
- is a lift
- bring the energy up to the top of the body from the centre
- like gravity
Tom 1/4 takes 25% of Tom High into the body
Tom High / Tom Low is a map and you can go anywhere in your body
Full Low goes in both directions in towards centre
Full High goes in both directions away from centre
- your always working with gravity - gravity has to be taken into account in TH / TL
the centre is expressive
You can use the 4 bodies: Open/Bound, Beautiful / Grotesque as a source
Th/Tl energy shifts are potent - energy shifts are potent
The energy in TH / TL is concentrated on centre - a finger above and below the navel
Tom High
- we can carry our deepest tragedies here - because if the lift it seems light
- when we are working TH /TL progressions you stop at neutral when your not sure where you are going
Tom Neutral is a settle into judgement
- your making and releasing tension in opposion - its never all up or all down
- never go so far away from your basics that you have to go back
PRINCLIPLE: Never go further than you know how to get back from
- a passion can only last 5 minutes - if its longer your pumping / your re-fueling
*** The artists gift is the ability to gaze at horror - and our responsibility is to refrain from inducing horror
- on a natural impulse you can only go 5 minutes - if you do go forward, KNOW THAT YOU ARE RE-FULELING - I want you to be rich and I want you to be honest, but you can't always have both
- the curse of our ability to gaze at horror is the road to the inconsolable tear
Tom Neutral is a breather - its a standing corpse - you can move it if you move into your legs
- Showing our haiku image/word/gestures is reducing one source to another source - we went from haiku to another source
Neutral is defined by your source - 50/Neutral of the progression - each 50 will be different depending on the source - there is no content
- you can talk about a mystery until the cows come home, but its still amystery - a source is a mystery
- every artist has to walk 80 / 20 - we're getting the wisdom of immortality - of way more than our little lives - but we have to remeber that we're human - immortality doesn't give a good god damn about mortality - so thats why we work 80/20
- you have to pass through 50 to go anywhere else
-instead of letting the source stop by desire let it stop by impulse
- Th/Tl can be a tool to keep the image around - remember your river had narrow banks
-@ you lift to TH or go into TL the source may have to change - a word may be altered, a gesture added to, an image given a gesture etc. etc.
- on the lift or drop in TH / TL try a word on every exhale - go in gradations up or down
-if you fight the direction, that's the actor - feel the fight
- some sources will defy neutral
-in WORD try resonators
- when your lst return to Neutral
PRINCIPLE: Play the Return
- Pay attention to the body, it will give you directions / paths to move you / images to follow / Rivers to Run
- transfering violence - the sound of the passion is the source as it goes into the diaphram - thats what we look for
Q: What happens to you as you move from 50 to 3/4 TH /TL? (or in any other part of the transformation cycle)?
- try on each exhale a word
Q: What happens if another person takes on your source? - can you learn something about your transformations?
Q: Arer you going blind in the wrok?
- one can use the gestures to hide - we all want to find places to hide - this is aplace to explore HIDE / SHOW - what we hide / what we show
- when in WORD check for resonation
- You can have a Tom High Body and a Tom Low Voice and vice versa
- keep putting the voice in the body
- be careful
- we're creating character her - a NOT - ME
-go with the ease of it
- keep your eyes open
-eyeballs can domineer an image - they can't carry the weight but it can carry the force - if eyeballs carry weight - try putting that weight in other body part - this is if the eyeballs carry off the eyelids
-when you use WORD, you can play with language
-like stops on a map - you can work with the road between the steps - the ROAD is the most intreiging part
TH / TL are the stops
- its the way the source room moves through you up and down that you need to find - not the destination
-you can articulate the road betweenTH and TL WORD by using langauge
Q: How do you get your voice to follow your body on a journey?
- in a source we have to learn to desire the source more than the expression of the source
- desire that violence more than the expression of that violence - if we can understand that we can start to choose what we want to do with it
-when we're in the heat of a passion - we hope for thought / intelligence - so we don't anililate our source
- neutralize the skull hinge in Neutral then you begin to express
- if your going for a ride TH / TL can be as vast as we are
- you can work opposing tensions, in torque
- in our work small voice is the first voice of violence - because that voice doesn't have permission and there is a fear that the body won't be able to handle it - its an indication of the silent scream - it takes more than 1 breath to express a life of violence
HOMEWORK: In Tom High / Tom Low
1. Think of your word that completed your sentence I feel____.
Inhale
Exhale
Write a line
2 Go into Tom Low - Inhale= write a second line
3 Tom 3/4 = write a third line
4 Tom 50 = 4th line
5 Tom 1/4 - 5th line
6 Tom High - 6th line
7 Tom High = 7th line
8 Tom 1/4 = 8th line
9 Tom 50 = 9th line
10 Tom 3/4 = 10th line
Tom Low = 11 th line
Bring it in next day
- if you dry up go back to the seed / 1st line
August 14th, 2007
OVERVIEW
MORNING
1/2 hour plastique river (led by Linda)
1/2 hour Led River (led by assistants Hilary, Paul and Tanya)
LUNCH
AFTERNOON
Tom High/Tom Low
Show Image People and Word People
=====================
MORNING
Instructions for group Seed River (15 minutes)
1. Remember your source word - the one you gave yourself after performing your haiku
2. Inhale and see that word in your mind
3. See what world that word creates for you
- Linda will come into your river to work with you on an image
- at the end of each river COME BACK so that you can be ready for you next one.
- question yourself: How many steps from the front door to the back door? Do math. Count the items in your laundry
- dont fall prey to the trance - come out all the way so you'll be available for your day and the next time you go back into the work
-trance is an ancient form and we don't abuse it
- We can use rituals to get out of trnce lie HUNKER
- imagry is what we use to create but also to go mad - we want all the artists to stay with us not freak out on their body
**** Something for the group to think about
- group is to big to carry - to much for teacher type (Linda) to carry - her limit is 16
- so we need to carry ouw energy - if you don't understand work it through before you collapse
Collapse - when the torso falls into the body, when the energy drops into the body
Q: How can I Lift a Collapse?
- lifts are hard & vunerable - you want to collapse, but that will take you out and Linda with you.
- lets keep the group going.
LUNCH
=====
AFTERNOON
Q: Why slip a screen? 9Why can't a wall be a wall?)
- when you work in an imaginary world - bringing in the real world will always dominant - the real world will dominate
- if you have an answer thena what will run your river? - a river is run by questions - the real world obliterates questions - as artists we are interested in what is between us and the real world - so we slip a screen
- take the image and work with that image - a skirt is just a skirt - when you slip a screen it can be whatever you want it to be
- image is effemeral
PRINCIPLE: When the image is gone, the image is gone
- slip a screen over hair, body, clothes - its practical
-screen helps you question the image - we can't do anything to make an image stay and go - all we can do is follow an image
TOM HIGH TOM LOW
(*** for reference I use TH = Tom High
TL = Tom Low for short hand)
Take a source - a judgementless source, because a source is just a place, that's what a source is, once you add judgement you're in a river & then the River begins to run.
- Tom High is the highest expression of that source
- Tom Low is the lowest expression of that source
- Tom 50 is the source - may be defined by gravity though not always
- once you figure out Tom High and To Low then you run TH - TL and back again
Tom High = 100% High
Tom 3/4 = 25% Tom Low / 75% Tom High
Tom 50 = 50 TL/50TH
Tom 1/4 = 25% Tom High / 75% Tom Low
Tom Low = 100% Tom Low
- after you have TH to TL and TL to TH you can start to add body parts
- you'll work in a progression - like a transformation swing
Tom Low goes from the feet to Tom 50 which goes from the centre and then to Tom Full which is the upper carriage/ torso
Tom 50 is when the lower body come up to the centre and the top half of the body comes down to the centre and they meet
Tom High
- is a lift
- bring the energy up to the top of the body from the centre
- like gravity
Tom 1/4 takes 25% of Tom High into the body
Tom High / Tom Low is a map and you can go anywhere in your body
Full Low goes in both directions in towards centre
Full High goes in both directions away from centre
- your always working with gravity - gravity has to be taken into account in TH / TL
the centre is expressive
You can use the 4 bodies: Open/Bound, Beautiful / Grotesque as a source
Th/Tl energy shifts are potent - energy shifts are potent
The energy in TH / TL is concentrated on centre - a finger above and below the navel
Tom High
- we can carry our deepest tragedies here - because if the lift it seems light
- when we are working TH /TL progressions you stop at neutral when your not sure where you are going
Tom Neutral is a settle into judgement
- your making and releasing tension in opposion - its never all up or all down
- never go so far away from your basics that you have to go back
PRINCLIPLE: Never go further than you know how to get back from
- a passion can only last 5 minutes - if its longer your pumping / your re-fueling
*** The artists gift is the ability to gaze at horror - and our responsibility is to refrain from inducing horror
- on a natural impulse you can only go 5 minutes - if you do go forward, KNOW THAT YOU ARE RE-FULELING - I want you to be rich and I want you to be honest, but you can't always have both
- the curse of our ability to gaze at horror is the road to the inconsolable tear
Tom Neutral is a breather - its a standing corpse - you can move it if you move into your legs
- Showing our haiku image/word/gestures is reducing one source to another source - we went from haiku to another source
Neutral is defined by your source - 50/Neutral of the progression - each 50 will be different depending on the source - there is no content
- you can talk about a mystery until the cows come home, but its still amystery - a source is a mystery
- every artist has to walk 80 / 20 - we're getting the wisdom of immortality - of way more than our little lives - but we have to remeber that we're human - immortality doesn't give a good god damn about mortality - so thats why we work 80/20
- you have to pass through 50 to go anywhere else
-instead of letting the source stop by desire let it stop by impulse
- Th/Tl can be a tool to keep the image around - remember your river had narrow banks
-@ you lift to TH or go into TL the source may have to change - a word may be altered, a gesture added to, an image given a gesture etc. etc.
- on the lift or drop in TH / TL try a word on every exhale - go in gradations up or down
-if you fight the direction, that's the actor - feel the fight
- some sources will defy neutral
-in WORD try resonators
- when your lst return to Neutral
PRINCIPLE: Play the Return
- Pay attention to the body, it will give you directions / paths to move you / images to follow / Rivers to Run
- transfering violence - the sound of the passion is the source as it goes into the diaphram - thats what we look for
Q: What happens to you as you move from 50 to 3/4 TH /TL? (or in any other part of the transformation cycle)?
- try on each exhale a word
Q: What happens if another person takes on your source? - can you learn something about your transformations?
Q: Arer you going blind in the wrok?
- one can use the gestures to hide - we all want to find places to hide - this is aplace to explore HIDE / SHOW - what we hide / what we show
- when in WORD check for resonation
- You can have a Tom High Body and a Tom Low Voice and vice versa
- keep putting the voice in the body
- be careful
- we're creating character her - a NOT - ME
-go with the ease of it
- keep your eyes open
-eyeballs can domineer an image - they can't carry the weight but it can carry the force - if eyeballs carry weight - try putting that weight in other body part - this is if the eyeballs carry off the eyelids
-when you use WORD, you can play with language
-like stops on a map - you can work with the road between the steps - the ROAD is the most intreiging part
TH / TL are the stops
- its the way the source room moves through you up and down that you need to find - not the destination
-you can articulate the road betweenTH and TL WORD by using langauge
Q: How do you get your voice to follow your body on a journey?
- in a source we have to learn to desire the source more than the expression of the source
- desire that violence more than the expression of that violence - if we can understand that we can start to choose what we want to do with it
-when we're in the heat of a passion - we hope for thought / intelligence - so we don't anililate our source
- neutralize the skull hinge in Neutral then you begin to express
- if your going for a ride TH / TL can be as vast as we are
- you can work opposing tensions, in torque
- in our work small voice is the first voice of violence - because that voice doesn't have permission and there is a fear that the body won't be able to handle it - its an indication of the silent scream - it takes more than 1 breath to express a life of violence
HOMEWORK: In Tom High / Tom Low
1. Think of your word that completed your sentence I feel____.
Inhale
Exhale
Write a line
2 Go into Tom Low - Inhale= write a second line
3 Tom 3/4 = write a third line
4 Tom 50 = 4th line
5 Tom 1/4 - 5th line
6 Tom High - 6th line
7 Tom High = 7th line
8 Tom 1/4 = 8th line
9 Tom 50 = 9th line
10 Tom 3/4 = 10th line
Tom Low = 11 th line
Bring it in next day
- if you dry up go back to the seed / 1st line
Songs: Day 2
Song 1
Didn't it Rain
Didn't it rain
Didn't it rain
Oh didn't it Rain Rain Rain
Oh didn't it rain
(Repeat)
Song 2
Can you hear me?
Can you hear me?
Are you listening?
Don't you know that I am right here by your side?
(Repeat)
Song 3
I don't know why I love ya
I don't know why I love ya like I love ya
I don't know why I just do.
Didn't it Rain
Didn't it rain
Didn't it rain
Oh didn't it Rain Rain Rain
Oh didn't it rain
(Repeat)
Song 2
Can you hear me?
Can you hear me?
Are you listening?
Don't you know that I am right here by your side?
(Repeat)
Song 3
I don't know why I love ya
I don't know why I love ya like I love ya
I don't know why I just do.
Monday, August 13, 2007
Day 1 Notes
Day 1 - August 13th, 2007
Linda Putnam Workshop
OVERVIEW
Morning Curriculum
30 Minute led Plastiques
Song "Amazing Grace"
LUNCH
Afternoon Curriculum
Intro to Haiku / Sourcework
Topeka Bodega
Countoffs
Show Haiku's / One ups
Tom High / Tom Low
===============================
Morning Notes
This class is a study in IMPULSE
- its a study of impulse and @ this point literature is second
- the haiku form is our starting point
- originally you write 5 in a day - 3 and 2 floaters
- you can edit two Haiku's for source but at first do them freestyle meaning don't edit them
Question: Why do we censor Impulse?
- we have an urge to express - that is the most important at first - get it out and then look at the process of where and how we got the material - we do this in the workroom so we can figure out expression without an audience and all of they're formalitites
Afternoon Notes
Ran Haiku's in a group
Called out numbers so we can get order in which to show - this is our order for the entire week
- We're going to use the Haiku as a working source
- you've created the Haiku out of an impulse and a breath
- single breath= single impulse
- this is a working source
Question: What is the nature of a single, uncensored impulse?
- you can put 17 syllables all in one breath
- if you are censoring, have "Shoulds", resistance you can't do a haiku or any working source in one breath / impulse - it takes all the bodies to process resistance
- we are trying for one impulse top express a state of being
-Westeners have trouble with Haiku because they have problems with states of being - we feel we are human doings not human beings
-we identify ourselves by names and not states
- a state of being is like a tree - we don't go around identifying trees - we experience the state of tree - we are experiencing a response to a state of being
- whether we ever accomplish a 17 syllable haiku isn't the point - we use it to try and explore single impulses / states of being
- there are forms that ask us to consider states of being (mediation etc) but we're artists so we're exploring a state of being through IMAGE.
Haiku Performance
1. Recite or Perform the haiku
Walk up
Small Bow
inhale and Recite or perform
small bow
inhale and Recite or perform
small bow
2. Ask yourself silently in one breath I feel ____________ (fill in the blank)
3. Before you sit see your performances in your minds eye and pick 1 / either:
a WORD, GESTURE or IMAGE
just one of these not all three
this is like a Hunker Review
- we're training ourselves in the sourceroom to see our work - not judgements or standards
- we're trying to learn YOUR WORK and therefore the excersises are often purposely vague
- there are many ways to reduce source:
I need____
I feel_____
I am _____
I want_____
- answer any of these on a single breath
TOPEKA BODEGA
1. Say Topeka Bodega on each step, as you step forward 7 steps
2. say Bodega Topeka on each step, stepping backwards 7 steps
3. Say Topeka Bodega on each step, as you step left 7 steps
4. Say Bodega Topeka on each step, as you step right 7 steps.
Repeat as necassary.
Show Haiku's / Performances
Part 2 of Haiku Assignment
Divide the room into three groups:
The Image Group (the ?? people)
The Word Group (The thinking people)
The Gesture Group (the close to the spine people)
Tom High / Tom Low
Take the source (Image, word or Gesture)
- get to know your source / material / terrain
Gesture - has beggining, middle and end
Word - has clarity in pronouciation, vowels, constanants, resonators etc.
Image - set the image, get the image to stay (not slip, no scrubbing)
Image is...
I see the image = Action
I say the Image = Re-action
- a gesture can encompass a corporal and a plastique can encompass an image
- the bodies for passion are usually in Corporals / Images
- What gives tragedy illusion is a corporal image that is then puts within a plastique - thats tragedy in action because you take a passion and contain it
- we all have to portray passions we are not comfortable with
- we are all prepearing to show the BREATHE of human experience - so we learn source in order to create the illusion for real - a technique is what gives us the ability to create art
Question: How does one contain a passion within tragedy?
Tom High / Tom Low
Take the Source (image, gesture, word)
Ask - What is the nature of _____?
- words - consanants carry meaning
Ask - What is my state of being when I explore this source?
Ask - Where do I feel this state in my body? Then use EXTENSIONS - extend your state into that body part and extend that body part
- once it starts its like a Zebra - you can't stop it
- if you're off voice in your cource try again - its a judgement
- in the work touch is not done with appetite - no one has desire or hunger for anyone - its about the work
- in extensions - use any body part to match the extension of the state- don't forget your anus, your underarms in your extensions
- you have the use of 7 resonators
- test the lie - don't hold onto the lie.
- once you have the extension, pick the peek of that extension - than put a song etc. overtop of the peek, something other than the word / image or gesture
- can take the extension and internalize the voice while you corporal the peek of the extension
take the extension - internalize the voice and body - than put that into a plastique
- be friendly in the work - but don't trust
- take that extension and put it into plastiques, crossings, blocking for scenes etc.
- - follow the breath of the technique
- breath naturally
-feel the extension from head to toe
- follow the extension from head to toe
- take a corporal and put it into a plastique
-put it into a gross motor source (I want to kill you, love you, eat you)
Tom High / Tom Low
1. Get to know your Source AS YOU SAW IT
2. Practice it a few times until you have a respeatable source. Call this Tom Neutral or Tom 50%
3. take this Neutral or 50% and Lift it up
From Neutral to Tom 3/4 (75%) and eventually from Tom 3/4 (75%) to Tom High / Tom Full
- play this up - whatever it means to you
-lift the source up - may have to add gestures, words, images etc.
- take into account that at each lift you're addinh yo your story / soource - a continuation - source may change
-rythum may change, size, intensity etc.
Question: What is a Blindfall?
- its when you're eyes go blind, when you don't recognize where you are in space - if you go blind try the gesture while you say everything that you see and then keep practicing
- test the lie - make sure you're not hiding - take responsibility
- Blindfall is when you have no return for the audience - may be internal but no Return
-play the return
-Sourcework is hard - you show things that are inside you through form and form reveals
- sometimes you mistrust the container
-when you're in one source look for the other - if your in gessture look for word and/or image and vice versa
-when the image is around you, see the image roll past the face and eyes
- you can run Tom High / Tom Low From Tom 50 to 75 and back to 50 in one impulse.
Question: How do you know when a gesture is complete?
- - breath may be bigger than the body excecuted
- the source many be heldback - the body may not allow the source room - you may feel the source shaking or shimmering in the body
Question: How do you allow room in the body for your source?
- follow the breath - let the body follow the breath - when you feel the body shimmering, improvise to let the source in - the source will settle - and then the image is gone, and
When the Image is gone, the image is gone
Question: When you do an Image / Source where are you're eyes?
eyes in the body
eyes in the room
eyes outside the room
eyes on the horizon
- if the eyes carry death activate the feet bottoms - they can help the eyes to carry death
Ask yourself - Are you locking your joints?
- release the joints in order to find a more satisfying container for the source
-in source artists have a negotiation with vunerability - howpresent they are going to be in the form - we need to provide patience foe the artist to have this negotiation
-get your creature eye in the room
To keep balance: Focus eye on Image, Image eye on feet
-if you can't resolve an image and keep going off balance you may need to redirect or go backwards. in other words you may have a double image / you are working two images
- always do your balance structures right before you go onstage
Wild Horse Corporal (starts in the T posistion see an image one way, than the other, back and forth until you go off balance)
Question: Are you satisfied?
- there is no satisfaction only yearning
-use the breath
- this group has polite breathing - alot of Diminished Breath - this means we are lying - we want our performance to be admired without coming along with our audience
-Release inhibitions
Question: Why?
- inhibitions are not exactly wrong - only if its a lie
-as artists - we are the consciousness of our society - its not our fault if society doesn't want consciousness
What is the truth?
- when we don't search for truth, we live a lie.
example. If 10 people are starving and 1 person is eating, what do you want to say to the 1 person whose eating?
- if you inhibit what you want to say to that person than you're lying
-we're practicing source progression - one source to another source to another etc. etc.
-Tom Neutral is Tom 50
-its YOUR Tom 50
-when you lift whats the idea of lift?
-watch the trance - get to know the plastiques of the movement / source - ask yourself what is this doing to me?
- if your source has TORQUE - can=violence
-Hold onto the image
-Where you put your eyes thats about the size thats about the size of it
-Men have difficulty expressing fear, women intellect
-follow the image - the an inhale and push it out - push out the image - and let it produce a re-action to the image
-this is called the INSIDE/OUTSIDE Line
-you walk it
Inside / Outside Line
-if the source / work is all inside the body - no audience can go there unless the performer agrees to take them - and there are a multitude of ways to hide/escape/mpt worry about the form or the transformation that the image requires for expression.
-in this work the image is out, you must bring the image out.
-use breath and practice
Inside/Outside
Takes the source (image etc.)
inhale
drop into source
pull source outside
"where the hand goes
the eyes goes
where the eyes go
the heart goes
where the heart goes
so goes the way of the world"
-use plastiques / corporals / breathers to bring out source
- in kiss rivers you don't wait - you follow with the body until the kiss comes back and on and on
- How we explore imagry is a mystery
- the only score that you don't want to lose is the family of gestures etc - the order may disappear but you always have the family
- when one takes the image out it will be surprising to that artist what arrives
-as a group we need to organize our vunerability - these techniques are going to pull out things that aren't going to be polite - they may be raw
Question: The need for sanctuary - whats that like?
- in a source room - to find range, we must create a safe place to explore our resistance
- in this work a teacher can teach you how to strip down but will not strip you down
the Strip Down has to do with the 5 Bodies:
Physical - take off clothes / neutral
Political - values are put to the test
Social - understandings of society are tested
Emotional - rage, grief, joy, relief. We see our emotional range. We Q: Who are we?
Spirtual - body of Flight. Linda doesn't teach this one for money
- as theatre people we study the human condition
Question: If you want to take the audience with you when your working an internal image, how do you do it?
- take them in with your eyes
-your gestures
example. A backhand gesture life in an adult takes the images inside the body - work the gesture, go out with the eyes see them and them bring them into the world of the source with you.
HOMEWORK: For Tommorow.
Picture Yourself today
Find an image, word, gesture etc.
& hum
get some sound
if humming comes easy
try lalalala
if lalalala comes easy
try song.
Bring in a word, humming, song tommorow
Note: When we perform for one another we:
1 Do not insult each others person
2 Do not respond to each others performance
- breath your response through your nose
if something happens that is truly offensive then we stop and talk about it
Linda Putnam Workshop
OVERVIEW
Morning Curriculum
30 Minute led Plastiques
Song "Amazing Grace"
LUNCH
Afternoon Curriculum
Intro to Haiku / Sourcework
Topeka Bodega
Countoffs
Show Haiku's / One ups
Tom High / Tom Low
===============================
Morning Notes
This class is a study in IMPULSE
- its a study of impulse and @ this point literature is second
- the haiku form is our starting point
- originally you write 5 in a day - 3 and 2 floaters
- you can edit two Haiku's for source but at first do them freestyle meaning don't edit them
Question: Why do we censor Impulse?
- we have an urge to express - that is the most important at first - get it out and then look at the process of where and how we got the material - we do this in the workroom so we can figure out expression without an audience and all of they're formalitites
Afternoon Notes
Ran Haiku's in a group
Called out numbers so we can get order in which to show - this is our order for the entire week
- We're going to use the Haiku as a working source
- you've created the Haiku out of an impulse and a breath
- single breath= single impulse
- this is a working source
Question: What is the nature of a single, uncensored impulse?
- you can put 17 syllables all in one breath
- if you are censoring, have "Shoulds", resistance you can't do a haiku or any working source in one breath / impulse - it takes all the bodies to process resistance
- we are trying for one impulse top express a state of being
-Westeners have trouble with Haiku because they have problems with states of being - we feel we are human doings not human beings
-we identify ourselves by names and not states
- a state of being is like a tree - we don't go around identifying trees - we experience the state of tree - we are experiencing a response to a state of being
- whether we ever accomplish a 17 syllable haiku isn't the point - we use it to try and explore single impulses / states of being
- there are forms that ask us to consider states of being (mediation etc) but we're artists so we're exploring a state of being through IMAGE.
Haiku Performance
1. Recite or Perform the haiku
Walk up
Small Bow
inhale and Recite or perform
small bow
inhale and Recite or perform
small bow
2. Ask yourself silently in one breath I feel ____________ (fill in the blank)
3. Before you sit see your performances in your minds eye and pick 1 / either:
a WORD, GESTURE or IMAGE
just one of these not all three
this is like a Hunker Review
- we're training ourselves in the sourceroom to see our work - not judgements or standards
- we're trying to learn YOUR WORK and therefore the excersises are often purposely vague
- there are many ways to reduce source:
I need____
I feel_____
I am _____
I want_____
- answer any of these on a single breath
TOPEKA BODEGA
1. Say Topeka Bodega on each step, as you step forward 7 steps
2. say Bodega Topeka on each step, stepping backwards 7 steps
3. Say Topeka Bodega on each step, as you step left 7 steps
4. Say Bodega Topeka on each step, as you step right 7 steps.
Repeat as necassary.
Show Haiku's / Performances
Part 2 of Haiku Assignment
Divide the room into three groups:
The Image Group (the ?? people)
The Word Group (The thinking people)
The Gesture Group (the close to the spine people)
Tom High / Tom Low
Take the source (Image, word or Gesture)
- get to know your source / material / terrain
Gesture - has beggining, middle and end
Word - has clarity in pronouciation, vowels, constanants, resonators etc.
Image - set the image, get the image to stay (not slip, no scrubbing)
Image is...
I see the image = Action
I say the Image = Re-action
- a gesture can encompass a corporal and a plastique can encompass an image
- the bodies for passion are usually in Corporals / Images
- What gives tragedy illusion is a corporal image that is then puts within a plastique - thats tragedy in action because you take a passion and contain it
- we all have to portray passions we are not comfortable with
- we are all prepearing to show the BREATHE of human experience - so we learn source in order to create the illusion for real - a technique is what gives us the ability to create art
Question: How does one contain a passion within tragedy?
Tom High / Tom Low
Take the Source (image, gesture, word)
Ask - What is the nature of _____?
- words - consanants carry meaning
Ask - What is my state of being when I explore this source?
Ask - Where do I feel this state in my body? Then use EXTENSIONS - extend your state into that body part and extend that body part
- once it starts its like a Zebra - you can't stop it
- if you're off voice in your cource try again - its a judgement
- in the work touch is not done with appetite - no one has desire or hunger for anyone - its about the work
- in extensions - use any body part to match the extension of the state- don't forget your anus, your underarms in your extensions
- you have the use of 7 resonators
- test the lie - don't hold onto the lie.
- once you have the extension, pick the peek of that extension - than put a song etc. overtop of the peek, something other than the word / image or gesture
- can take the extension and internalize the voice while you corporal the peek of the extension
take the extension - internalize the voice and body - than put that into a plastique
- be friendly in the work - but don't trust
- take that extension and put it into plastiques, crossings, blocking for scenes etc.
- - follow the breath of the technique
- breath naturally
-feel the extension from head to toe
- follow the extension from head to toe
- take a corporal and put it into a plastique
-put it into a gross motor source (I want to kill you, love you, eat you)
Tom High / Tom Low
1. Get to know your Source AS YOU SAW IT
2. Practice it a few times until you have a respeatable source. Call this Tom Neutral or Tom 50%
3. take this Neutral or 50% and Lift it up
From Neutral to Tom 3/4 (75%) and eventually from Tom 3/4 (75%) to Tom High / Tom Full
- play this up - whatever it means to you
-lift the source up - may have to add gestures, words, images etc.
- take into account that at each lift you're addinh yo your story / soource - a continuation - source may change
-rythum may change, size, intensity etc.
Question: What is a Blindfall?
- its when you're eyes go blind, when you don't recognize where you are in space - if you go blind try the gesture while you say everything that you see and then keep practicing
- test the lie - make sure you're not hiding - take responsibility
- Blindfall is when you have no return for the audience - may be internal but no Return
-play the return
-Sourcework is hard - you show things that are inside you through form and form reveals
- sometimes you mistrust the container
-when you're in one source look for the other - if your in gessture look for word and/or image and vice versa
-when the image is around you, see the image roll past the face and eyes
- you can run Tom High / Tom Low From Tom 50 to 75 and back to 50 in one impulse.
Question: How do you know when a gesture is complete?
- - breath may be bigger than the body excecuted
- the source many be heldback - the body may not allow the source room - you may feel the source shaking or shimmering in the body
Question: How do you allow room in the body for your source?
- follow the breath - let the body follow the breath - when you feel the body shimmering, improvise to let the source in - the source will settle - and then the image is gone, and
When the Image is gone, the image is gone
Question: When you do an Image / Source where are you're eyes?
eyes in the body
eyes in the room
eyes outside the room
eyes on the horizon
- if the eyes carry death activate the feet bottoms - they can help the eyes to carry death
Ask yourself - Are you locking your joints?
- release the joints in order to find a more satisfying container for the source
-in source artists have a negotiation with vunerability - howpresent they are going to be in the form - we need to provide patience foe the artist to have this negotiation
-get your creature eye in the room
To keep balance: Focus eye on Image, Image eye on feet
-if you can't resolve an image and keep going off balance you may need to redirect or go backwards. in other words you may have a double image / you are working two images
- always do your balance structures right before you go onstage
Wild Horse Corporal (starts in the T posistion see an image one way, than the other, back and forth until you go off balance)
Question: Are you satisfied?
- there is no satisfaction only yearning
-use the breath
- this group has polite breathing - alot of Diminished Breath - this means we are lying - we want our performance to be admired without coming along with our audience
-Release inhibitions
Question: Why?
- inhibitions are not exactly wrong - only if its a lie
-as artists - we are the consciousness of our society - its not our fault if society doesn't want consciousness
What is the truth?
- when we don't search for truth, we live a lie.
example. If 10 people are starving and 1 person is eating, what do you want to say to the 1 person whose eating?
- if you inhibit what you want to say to that person than you're lying
-we're practicing source progression - one source to another source to another etc. etc.
-Tom Neutral is Tom 50
-its YOUR Tom 50
-when you lift whats the idea of lift?
-watch the trance - get to know the plastiques of the movement / source - ask yourself what is this doing to me?
- if your source has TORQUE - can=violence
-Hold onto the image
-Where you put your eyes thats about the size thats about the size of it
-Men have difficulty expressing fear, women intellect
-follow the image - the an inhale and push it out - push out the image - and let it produce a re-action to the image
-this is called the INSIDE/OUTSIDE Line
-you walk it
Inside / Outside Line
-if the source / work is all inside the body - no audience can go there unless the performer agrees to take them - and there are a multitude of ways to hide/escape/mpt worry about the form or the transformation that the image requires for expression.
-in this work the image is out, you must bring the image out.
-use breath and practice
Inside/Outside
Takes the source (image etc.)
inhale
drop into source
pull source outside
"where the hand goes
the eyes goes
where the eyes go
the heart goes
where the heart goes
so goes the way of the world"
-use plastiques / corporals / breathers to bring out source
- in kiss rivers you don't wait - you follow with the body until the kiss comes back and on and on
- How we explore imagry is a mystery
- the only score that you don't want to lose is the family of gestures etc - the order may disappear but you always have the family
- when one takes the image out it will be surprising to that artist what arrives
-as a group we need to organize our vunerability - these techniques are going to pull out things that aren't going to be polite - they may be raw
Question: The need for sanctuary - whats that like?
- in a source room - to find range, we must create a safe place to explore our resistance
- in this work a teacher can teach you how to strip down but will not strip you down
the Strip Down has to do with the 5 Bodies:
Physical - take off clothes / neutral
Political - values are put to the test
Social - understandings of society are tested
Emotional - rage, grief, joy, relief. We see our emotional range. We Q: Who are we?
Spirtual - body of Flight. Linda doesn't teach this one for money
- as theatre people we study the human condition
Question: If you want to take the audience with you when your working an internal image, how do you do it?
- take them in with your eyes
-your gestures
example. A backhand gesture life in an adult takes the images inside the body - work the gesture, go out with the eyes see them and them bring them into the world of the source with you.
HOMEWORK: For Tommorow.
Picture Yourself today
Find an image, word, gesture etc.
& hum
get some sound
if humming comes easy
try lalalala
if lalalala comes easy
try song.
Bring in a word, humming, song tommorow
Note: When we perform for one another we:
1 Do not insult each others person
2 Do not respond to each others performance
- breath your response through your nose
if something happens that is truly offensive then we stop and talk about it
Day 1: Song "Amazing Grace"
Hey All,
We learned a song today called Amazing Grace, which I desperatly tried to write down, but could not. If anyof you know a verse, post it and we'll try to collect it in full for you.
Here's some fragments:
Everynight he sits alone in his trailer behind the midway
drinking whiskey & soda & staring at his worn out ??? travel poster
now the moral of the message and the lesson to learn from side show Dan's Big blunder
don't take a girl for granted cause you might be standin in the presence of a natural wonder
Amazing Grace
how sweet she was
?????
Now Flying Paul the Canonball and Snake man Johnny Hiss
PegLeg Raythe buck???bay and Mysterio the mentalist
??? The great and little eddie small all thought Grace coulda been
??????????????????????????????/
We learned a song today called Amazing Grace, which I desperatly tried to write down, but could not. If anyof you know a verse, post it and we'll try to collect it in full for you.
Here's some fragments:
Everynight he sits alone in his trailer behind the midway
drinking whiskey & soda & staring at his worn out ??? travel poster
now the moral of the message and the lesson to learn from side show Dan's Big blunder
don't take a girl for granted cause you might be standin in the presence of a natural wonder
Amazing Grace
how sweet she was
?????
Now Flying Paul the Canonball and Snake man Johnny Hiss
PegLeg Raythe buck???bay and Mysterio the mentalist
??? The great and little eddie small all thought Grace coulda been
??????????????????????????????/
Sunday, August 12, 2007
Hello & Assignment
Hi All,
Welcome to the Linda Putnam blog. I will be updating this blog daily with all the notes I compile for each day of the workshop. I will try as hard as I can to update before 7pm, but this may not always be possible - so I will have the workshop notes completed by Saturday August 18th, after which they will forever be on this blog for your reference.
Also find below the assignment you were hopefully all given before Day 1 of the workshop.
I am happy to be in the room with all of you and look forward to this week. I have been excited to work in this way again, and am excited to share my work with you all.
Tanya Marquardt
Teaching Assistant
Linda Putnam Workshop
Way Out West 2007
===========
Source Room Assignment
Dear Friend:
Thank you for your interest in signing up for the five day SourceGroup. We have a very short time to study a very big subject. Because of our time constraint I am sending you an initial assignmentso you will come to the first class with a "working source" fullyprepared in advance. Also, by writing, I hope to bypass a lengthyintroductory explanation to acquaint the "newcomers" and remind the"old-timers" of the type of work we will be doing and to overcome ourtendency to debate and discuss theory before we get on our feet.
Although the concept of source may be different for each of us, forall of us source exploration is personal, intimate, and mysterious.At the same time as we feel exhilarated by breaking free from therestraints of commercial pressure and judgment, we are suspicious oflingering in uncharted terrains of vague feelings, instincts, andimagery. We fear that without the context of performance we will become self-indulgent and loose direction. In this sense, source workis difficult and controversial.
Popular artistic theory tends to define exploration and performanceas opposites. Certainly, we all crave the relief of results or performance. After all, performing reassures us that our standards of "good" and "bad" have validity. We can "measure" success. We feel justified that our work has "value". And these are good and essential states for any artist to experience.
Yet, just as any performance requires rehearsal in order to be worthyof an audience, our capacities for compassion and empathy (those ancient theatre values) continually need to be reassessed and revitalized in order to make us worthy of translating human experience, behavior, and imagery into art. Source work is a formalbody of techniques and skills we use to achieve this.
Source work is completely different from performance or result workand has a completely different set of standards, work styles and goals. Most strikingly, in the source room we work without judgment toward ourselves, our work, towards others or their work. We create a work environment where personal and group imagery can be discoveredand developed. Our goal is to learn specific techniques whichprovide context and direction for source explorations. These techniques give us the means to loosen inhibitions with which personality and society bind us. Our source studies inform our artistry and expand our range of understanding of art and life.The technique I am assigning now, to be done as homework, will not be the only technique we will learn. During successive classes we will study other ways to tap source material and build progressions from"raw" source into artistic expression.
HAIKU ASSIGNMENT
HAIKU is an ancient poetry form with strict traditions. It is a 17syllable poem written in three lines of 5 syllables, 7 syllables, 5 syllables. Beyond this, much is written concerning the content,style, and requirements that make a poem a HAIKU. For our purposes we will reduce the HAIKU form to its most vague and simplistic definition: a poem of 17 syllables that represents a state of being.
In one day write 3 different HAIKU: one upon waking, one at noon, and one before sleep. (Please count syllables AFTER the poem is written. No need at this point to get strung out on exactly 17 syllables or a 5-7-5 pattern. But try for the feel of it. We are using HAIKU tohelp ourselves comprehend an uncensored single impulse image. Perhaps as we become intrigued by and skilled at creating these images, the formal traditions of HAKIU might become fascinating,inducing us to study the form).
Proceed in the following manner:1) Feel the specific time of day.2) Fully comprehend the state of being you are experiencing in the environment you inhabit at the moment.3) Inhale 4) Exhale and try to compose a HAIKU in that one exhalation
Should you desire to work sounded but without language or in silence follow the assignment for writing steps 1 thru 3, then 4) Exhale and complete your series work up a movement series of 17 syllables or beats. Holding the image you have 3 breaths to complete your movement series. 5) Immediately repeat series as exactly as possible. (Be strict. For example, one spin is a single syllable, three spins andthree syllables. A jump or a leap is at least two syllables - up anddown. Keep it simple and precise.)
Whether written or in a movement series, you can practice this assignment for as many days as you wish, but please, at a minimum, prepare at least one full day of 3 HAIKU. Pick one favorite out ofall those you have created, memorize and bring to the first class.
If you have questions, you can contact Tanya Marquardt, workshop coordinator
and teaching assistant at 778.329.6021 or at tanya_marquardt@yahoo.ca.
I look forward to seeing you Monday, August 13th.
Regards,
Linda Putnam
Welcome to the Linda Putnam blog. I will be updating this blog daily with all the notes I compile for each day of the workshop. I will try as hard as I can to update before 7pm, but this may not always be possible - so I will have the workshop notes completed by Saturday August 18th, after which they will forever be on this blog for your reference.
Also find below the assignment you were hopefully all given before Day 1 of the workshop.
I am happy to be in the room with all of you and look forward to this week. I have been excited to work in this way again, and am excited to share my work with you all.
Tanya Marquardt
Teaching Assistant
Linda Putnam Workshop
Way Out West 2007
===========
Source Room Assignment
Dear Friend:
Thank you for your interest in signing up for the five day SourceGroup. We have a very short time to study a very big subject. Because of our time constraint I am sending you an initial assignmentso you will come to the first class with a "working source" fullyprepared in advance. Also, by writing, I hope to bypass a lengthyintroductory explanation to acquaint the "newcomers" and remind the"old-timers" of the type of work we will be doing and to overcome ourtendency to debate and discuss theory before we get on our feet.
Although the concept of source may be different for each of us, forall of us source exploration is personal, intimate, and mysterious.At the same time as we feel exhilarated by breaking free from therestraints of commercial pressure and judgment, we are suspicious oflingering in uncharted terrains of vague feelings, instincts, andimagery. We fear that without the context of performance we will become self-indulgent and loose direction. In this sense, source workis difficult and controversial.
Popular artistic theory tends to define exploration and performanceas opposites. Certainly, we all crave the relief of results or performance. After all, performing reassures us that our standards of "good" and "bad" have validity. We can "measure" success. We feel justified that our work has "value". And these are good and essential states for any artist to experience.
Yet, just as any performance requires rehearsal in order to be worthyof an audience, our capacities for compassion and empathy (those ancient theatre values) continually need to be reassessed and revitalized in order to make us worthy of translating human experience, behavior, and imagery into art. Source work is a formalbody of techniques and skills we use to achieve this.
Source work is completely different from performance or result workand has a completely different set of standards, work styles and goals. Most strikingly, in the source room we work without judgment toward ourselves, our work, towards others or their work. We create a work environment where personal and group imagery can be discoveredand developed. Our goal is to learn specific techniques whichprovide context and direction for source explorations. These techniques give us the means to loosen inhibitions with which personality and society bind us. Our source studies inform our artistry and expand our range of understanding of art and life.The technique I am assigning now, to be done as homework, will not be the only technique we will learn. During successive classes we will study other ways to tap source material and build progressions from"raw" source into artistic expression.
HAIKU ASSIGNMENT
HAIKU is an ancient poetry form with strict traditions. It is a 17syllable poem written in three lines of 5 syllables, 7 syllables, 5 syllables. Beyond this, much is written concerning the content,style, and requirements that make a poem a HAIKU. For our purposes we will reduce the HAIKU form to its most vague and simplistic definition: a poem of 17 syllables that represents a state of being.
In one day write 3 different HAIKU: one upon waking, one at noon, and one before sleep. (Please count syllables AFTER the poem is written. No need at this point to get strung out on exactly 17 syllables or a 5-7-5 pattern. But try for the feel of it. We are using HAIKU tohelp ourselves comprehend an uncensored single impulse image. Perhaps as we become intrigued by and skilled at creating these images, the formal traditions of HAKIU might become fascinating,inducing us to study the form).
Proceed in the following manner:1) Feel the specific time of day.2) Fully comprehend the state of being you are experiencing in the environment you inhabit at the moment.3) Inhale 4) Exhale and try to compose a HAIKU in that one exhalation
Should you desire to work sounded but without language or in silence follow the assignment for writing steps 1 thru 3, then 4) Exhale and complete your series work up a movement series of 17 syllables or beats. Holding the image you have 3 breaths to complete your movement series. 5) Immediately repeat series as exactly as possible. (Be strict. For example, one spin is a single syllable, three spins andthree syllables. A jump or a leap is at least two syllables - up anddown. Keep it simple and precise.)
Whether written or in a movement series, you can practice this assignment for as many days as you wish, but please, at a minimum, prepare at least one full day of 3 HAIKU. Pick one favorite out ofall those you have created, memorize and bring to the first class.
If you have questions, you can contact Tanya Marquardt, workshop coordinator
and teaching assistant at 778.329.6021 or at tanya_marquardt@yahoo.ca.
I look forward to seeing you Monday, August 13th.
Regards,
Linda Putnam
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