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Session 6:
Full Piece and Harold Applications (Combining all components, Applying these techniques to other forms such as Harold, Personal Feedback)
Notes from Piero are in CAPS.
Exercise –
opposite energy exercise
Thematic and commentary scenes don’t specifically reference the source scene they are influenced by behaviors and mood. Details and specifics from the source scene should only show up in the run.
Source scene pointers –
This is definitely about both people in scene. How is it about them?
Repeat names, best to do so early on.
These characters can come back within the run.
Thematic scene pointer-
Vary thematic scenes if possible, so during initial source scene analysis pick more than one theme.
Run scene pointer-
Group scenes are possible, ground the painting (scene or movie) – less inventing, revisit information all-ready provided.
Don’t start out too fast because then the run has trouble accelerating.
“When joining a scene” pointers –
Complement, match, or take the opposite.
Deconstruction overall applications –
Source scenes are the first beats of scenes. They establish the information you need to follow up on within the long-form normally.
Thematic scenes (Yes, and) applies to most scenes.
Commentary scenes apply to second beats of scenes
Initiation of a scene is normally a premise-based start (commentary scene) (YES, OFTEN MORE THE CASE WITH 2ND OR 3RD BEATS)
Run scenes are third beat scenes – one person initiates with a strong idea on what items they are calling back from the source scene.
Overall it is more important to have a good scene than push your premise. Think of it as a pyramid. Half of the base is one character the other half of the base is the second character if the characters move in an outward direction of the triangle it is based on confusion level, the perpendicular line from the base center is the level of premise.
In the triangle, the higher the amount of premise in a scene, the smaller the area of understanding between the two characters that makes up the base of the triangle. The area outside the triangle is the bad scene area. (THE Y AXIS OF THE TRIANGLE IS THE AMOUNT/COMPLEXITY OF YOUR PREMISE AND THE X AXIS IS THE ABILITY OF EACH PLAYER TO UNDERSTAND THE OTHER’S PREMISE – 0 BEING COMPLETE UNDERSTANDING OF THE PREMISE. THE GREATER YOUR PREMISE, THE MORE DIFFICULT IT WILL BE FOR YOUR SCENE PARTNER TO UNDERSTAND WHAT YOU WANT FROM THEM SO YOU MUST BE WILLING TO DROP YOUR PREMISE.)
In a worst-case scenario, you should let go of the premise if the other player is confused and build one line at a time.
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