theatresports schools challenge 2016 - impro...

Theatresports Schools

Challenge 2016

2016 Theatresports ® Schools Challenge Handbook

For more information, visit www.improaustralia.com.au

THEATRESPORTS® WORKSHOP 19th-20th APRIL, 2016

ONLY $110 (that’s 2 days for the price of 1!)

Impro Australia is holding a two-day workshop to help students master the games of the Theatresports® Schools Challenge and

improvise better scenes.

It will be hosted by Sydney’s top improvisation tutors & Theatresports® champions. Students will learn the structure of the various games, how to create richer characters, better narratives,

more detailed settings and how to make their scenes more entertaining.

Tuesday 19th & Wednesday 20th April, 2016 10am - 4pm each day Cost $110 (incl. GST)

Glebe Town Hall, St Johns Rd Glebe For students aged 14 – 18 years only

TEACHERS WITH TEAMS IN THE TSC

CAN ATTEND FOR FREE (just tell us you’re coming)!

To book your place, email [email protected] by 5pm, Thursday 24th March

Places are strictly limited so book as soon as you can!

For more information about all things Theatresports®, visit www.improaustralia.com.au


A very happy welcome to another exciting year of Improvisation and Theatresports! We are very proud of our Theatresports in Schools program. This is the 12th year of the Theatresports Schools Challenge, and the 3rd year of our Junior TSC for years 7 & 8. Last year we had another superb season, and an awesome Junior Grand Final at the Actor’s Centre Australia. From our early days at Belvoir St Theatre in the mid-80’s, education and teaching has been at the core of our work. Working with high schools to build appreciation of improvisation and the wonderful benefits it brings is such a joy for our teachers and performers. It has been so exciting to see the standard of improvisation rise progressively each year – the students and teams just keep getting better! And it works both ways. Your involvement in the TSC has changed the impro and acting world in Australia. Not that long ago, a young performer in her late teens might have had only had a vague idea about improvisation, but now it’s quite normal for her to already have years of training and experience under her belt through high quality programs in schools. Improvisation is now part of what directors and agents expect an actor and performer to have a proper grounding in - and we are so proud to be able to work with you to make improvisation accessible for so many students and stars of the future! Marko Mustac Artistic Director & Chairperson, Impro Australia

Every year I get so excited that we’re running the Theatresports Schools Challenge again. This is our 12th year and we’re hoping to make it even bigger by introducing a primary school division for years 5 & 6, and a free program for indigenous youth in Redfern. The joy I get isn’t just from the improvisation (the random and brilliant things that come out in the scenes), it’s from seeing students finally find that place where they shine. We’ve all got talents but if it’s not in sport or academia, it’s sometimes hard to know what they are. Every year, I see the students’ confidence grow, their skills increase, and audiences love them even more. And I learn that a lot of them are struggling in other areas of school and outside it – but they love Theatresports and want to do it all the time. I’m honoured that in some way I can give them that chance. In a time when there seems to be more prejudice and less equality, I love that we bring together public, private & systemic school students of different genders, orientations, cultural and social backgrounds. And I love watching them meet, improvise together in the workshops, watch each other on stage, laugh and congratulate each other on great scenes, and have fun. But the thing I’m most thankful for is the teachers who’ve made Theatresports happen at their schools, who run training sessions for free outside their already full workload, who bring the students along to the workshops, heats and finals, and mean we can actually have a Theatresports Schools Challenge. See you at the heats! Jon Williams, Director, Theatresports Schools Challenge, & Impro Australia Schools program


TABLE OF CONTENTS Page

What’s new for this year’s Theatresports® Schools Challenge (TSC)? 1

What is the Theatresports® Schools Challenge (TSC)? 3

TSC Rules 5

TSC Judging Criteria 9

Improvisation Tips 11

TSC Format – Intermediate & Senior divisions 14

TSC Format – Junior division 17

Up to 1 Minute Games Descriptions (alphabetical order) 18


Up to 2 Minute Open Scene Description 23


School workshops and shows 30

Courses for teachers, coaches & parents 32

Where else can I see live improvisation? 33

The trade mark for the word Theatresports® in performance in NSW is held by Impro Australia Ltd. All schools taking part in the TSC receive a free Theatresports® performance license for the year. Otherwise permission is required to put on Theatresports® shows outside the TSC.

Theatresports was created by Keith Johnstone TM & Copyright 1970 – 2016

All Rights Reserved

Exclusively Licensed by International Theatresports Institute


1

What’s new for this year’s TSC? THERE ARE NO TIE BREAKERS / ”STATUES” GAME. If there is a tie for second place in the semi-finals (as only 2 teams can go through to the Grand Final) it will be decided by the teams’ cumulative scores (adding their heat & semi-final scores together) – the team with the higher score continues through. If there is still a tie in the scores, the judges will choose the team they feel played more consistently and in the “spirit of improvisation” to continue on. The judges’ decision is final. ALL PARTICIPATING STUDENTS & TEACHERS RECEIVE A FREE HARD COPY OF THE TSC HANDBOOK (mailed out in March) - this handbook is for all divisions. ALL PARTICIPATING STUDENTS RECEIVE A FREE 90 MINUTE IMPRO WORKSHOP PRIOR TO EACH HEAT - Call time for all heats is 4pm for a 4.30pm workshop. ALL TEAMS ARE GIVEN FEEDBACK ON STAGE AFTER EACH HEAT - Judges/hosts will give all teams specific advice on where and how they can improve. This will take around 10 minutes all up. It is not a forum for discussing specific scores. Feedback on scoring should be emailed to [email protected]. FOR GAMES, Space Jump is not in the games lists. Emotional Replay & Point of View Replay are the same “game” entry (as are Genre Replay & Historical Replay) so there can only be a maximum of 4 Replays per night. Musical games are available in the Semi-Finals and Grand Finals only. Please read the game descriptions for all the games you intend to play and if you have any questions, please email [email protected].

AUDIENCE TICKETS for heats & semi finals remain $5 FOR STUDENTS, $10 FOR ADULTS and are only available at the door at heats & semi-finals from 6.45pm on the night. EVERY PARTICIPATING STUDENT GETS A $10 TICKET TO THE TSC GRAND FINAL (saving $15 per ticket) – they will be sent a special code in order to claim this after the semi-finals. ALL PARTICIPATING SCHOOLS RECEIVE A 1 YEAR THEATRESPORTS® LICENSE to perform Theatresports® shows at your school (for fun or fundraising) all year round.


3

What is the Theatresports® Schools Challenge?

Since 2005, Impro Australia (IA) has organized and run the Theatresports® Schools Challenge (TSC) – an improvised drama competition for high school students across Sydney and NSW. The TSC involves 160 different school teams across 3 divisions. It is made up of an Intermediate division (school years 9-10) & Senior division (school years 11-12) in Term 2, and a Junior division in Term 4 (school years 7-8). Teams of 3 to 5 students from each school perform with teams from other schools in their region, and are challenged to create 1, 2 & 3 minute improvised scenes live on stage. The scenes are judged by 3 improvisation professionals scoring between 1 and 5. To help schools prepare for the TSC, we have produced this handbook. It contains a list of the Theatresports® games used, game descriptions and tips on improvisation. PLEASE READ IT THOROUGHLY. You will be emailed the dates your team is to perform (decided by geographical region) – but if you can’t make the assigned heat, we will do our best to fit you into another (but it’ll require more travel time). HEATS – The call time for teams is 4pm for a 4.30pm briefing and skills workshop. At 6pm, there will be a 45 minute break, then a group warm up at 6:45pm. The performance begins at 7pm sharp and runs for approximately two hours. Teams will remain on stage for 10 minutes after the show for feedback (teachers/coaches are welcome). SEMI-FINALS – There are NO Skills Workshops for the semi-finals. The call time for teams is 5.30pm for a 6pm briefing and a warm up. The show begins at 7pm sharp and runs for approximately two hours. If you or your team are running late, you must call the TSC schools contact (emailed to you), and speak to the workshop host when you arrive. If you don’t, we’ll consider that your team has pulled out.

The TSC GRAND FINALS will be held at the Enmore Theatre on SUNDAY 19th JUNE, 2016

(2pm Intermediate, 5pm Senior).


5

TSC RULES Teams can contain 3 – 5 players only. Only 5 players will be allowed onto stage to represent the school for a show (no subs or reserves). Impro Australia hosts will warm up the teams before each show and run the show itself; calling teams up, explaining the games they’ve chosen, giving the scene suggestions, timing the scenes and adding up the scores.

In Round 1, (up to one-minute games) teams are called up one by one and can choose any one-minute game they like from the list provided. The host will explain the game and provide the teams with a suggestion (ie. an activity or location) which must be used. Each game from the list can only be played twice per show ie. if the first two teams choose ‘poem’, none of the remaining teams can choose ‘poem’. As such, all teams should have four game options prepared for each game round.

In Round 2, (up to two minute games) teams are called up in a different order and choose any two-minute game they like from the games list provided. The host explains the game and provides the teams with a suggestion. Again, each game can only be played twice per show, so all teams should have four game options prepared for this round.

Round 3, Open Scenes (up to two minutes). Teams are called up in a different order again and given only a title, location or activity. They must perform an improvised scene from that suggestion alone. No ‘handles’ or game structures can be used. There is no Open Scene round in the Junior division.

In Round 4, (up-to-three-minute games), teams are called up in a different order again and choose any 3-minute game they like from the list. Each game can only be played twice so have at least four games prepared.


7

TIMING Each team will have 5 seconds to prepare before the scene begins. The timekeeper will blow a whistle to start the scene. In 2 & 3 minute games the timekeeper will call “halfway” in the middle of the scene. In every scene, the timekeeper will ring a bell when the scene has 20 seconds remaining. Players must find an ending to the scene – do not add new material at this stage. The timekeeper will then blow a final whistle when the time is up and the team must stop improvising. In replay scenes, each section/replay is only 30 seconds so teams will get a warning bell at 20 seconds then a final whistle at 30 seconds for each section. Remember, a team can find an ending at any time before

the final bell! HOST CALLS The hosts are there to support the players and may ‘side coach’ scenes when necessary (for reasons of safety, good taste or to remind the team of basic improvisational skills). This involves the hosts calling “freeze” and giving a single clear instruction. It may be repeated if teams do not seem to hear & take on the note. Teams are not penalised by the judges if the host side coaches them, it’s simply to make sure all teams and the audience have an enjoyable show. In some cases, a host may restart a scene if the specific game rules have been forgotten. JUDGING Each scene is scored by three Impro Australia judges. They give scores between 1 and 5 in their respective categories; technique, narrative and entertainment (see the Judging Criteria for more details on what these categories include); 1 being the lowest, 5 being the highest. The scores are then added together and the teams with the highest combined totals advance to the next round. It is expected that teams will follow the set requirements of

the games they choose to play.


8

GAME CHOICE Teams cannot play the same games in their heats & semi finals. We want to see how well you improvise (with different restrictions not just tricks you’ve learned for certain games or structures you’ve practiced a lot). Remember, the basic skills of improvisation and a strong story with good characters is what we’re looking for - not how well you play the game (so don’t get caught up in the game restrictions). If you are a beginning team we recommend mastering the basic/standard games first (see the Junior Division list) before you try the more complex ones. If you are an experienced team, find a game that extends on the skills of the ones you’ve played in the past. Don’t worry - teams only need to know 4 games in each round so you just need to practice 1 new game per round for your semi-final to replace the ones you’ve already played. The other 3 that you practiced can still be used.

If a team is found to have repeated a game they will not be allowed to continue to the next level

(ie. the Grand Final). APPROPRIATE CLOTHING Students must wear footwear and appropriate clothing at all times ie. long pants or tracksuit pants not dresses, shorts or tights, t-shirts or shirts not singlets - for reasons of modesty.

Students without footwear will not be

permitted on stage.


9

Judging Criteria

Each judge focuses on a different aspect of improvisation (technique, narrative and entertainment). Each score is a wholistic mark across all the elements listed in that category not individual points for each element listed. Scores are out of a maximum of 5 for each category. Remember to carefully read the criteria to see what you are being judged on. The judges’ scores are a guide for improvising better; if you continually score low in one category, then that’s what you need to work on in the next round or heat. Technique Judge - Looks at improvisation skills (making offers, accepting, yielding and extending offers, advancing the scene, naming things, creating characters and relationships) and general stagecraft. ‘CROWE’ refers to having a clear Character, Relationship with the other characters, Objective, Where (environment/location) and Emotions. 1 - offers were largely blocked, no real extending or advancing of scene,

- no real characters portrayed, no real CROWE. 2 - offers were made and accepted, basic characters presented,

- minimal CROWE. 3 - basic improvisation skills demonstrated (accepting, extending,

yielding, advancing, naming), some characterisation, - some CROWE demonstrated.

4 - solid improvisation skills demonstrated (accepting, extending,

yielding, advancing, naming, tag/strong ending), - solid CROWE demonstrated.

5 - strong improvisation skills demonstrated (accepting, extending,

yielding, advancing, naming, tag/strong ending), - strong CROWE demonstrated.

It is expected that teams follow the set requirements of the games they choose. If a team fails to meet the requirements, 1 or 2 technique points may be taken away. Remember, the technique judge’s focus is on basic improvisation skills (and the other 2 judges don’t look at the “game” being played) so don’t get caught up on only playing the game restriction. They are simply there to make you surprise yourself and add an unexpected offer or complication to the story.


10

Narrative Judge - Looks at storyline, plot and character development. 1 minimal or no story (did not make sense, difficult to follow),

characters unchanged/did little, did not have clear orientation, complication or resolution, poor use of title.

2 basic/limited story, characters performed basic task, characters

changed little, had orientation, complication and/or resolution of some kind, some use of title.

3 adequate or sound story, characters slightly changed, had a clear orientation, complication and/or resolution, good use of title.

4 substantial story, a character was changed, had a strong orientation, complication and/or resolution, substantial use of title.

5 sophisticated and exemplary story (scene built to a climax), characters were rich and changed, had a great orientation, complication and resolution, inventive and exemplary use of title.

Entertainment Judge - Looks for strong dramatic and/or comedic moments and strong performances including general stagecraft. 1 no real pace to scene, no dramatic or comic moments, no engaging

characters, minimal or no physicality, acting or stagecraft.

2 limited pacing, some dramatic or comic moments, mildly engaging characters, limited physicality, acting and stagecraft.

3 some pacing to the scene (we want to see what happens next), some dramatic or comic moments, some engaging characters, adequate audience engagement, adequate physicality, acting and stagecraft.

4 good pacing to the scene (we were interested in the characters and their journey), solid dramatic or comic moments, engaging characters, good physicality, acting & stagecraft.

5 great pacing to the scene (we were fascinated by the characters and their journey), strong dramatic or comic moments, highly engaging characters, strong physicality, acting and stagecraft, sophisticated manipulation of audience engagement and concept originality.

Theatresports® Schools Challenge Handbook

11

Improvisation Tips START SLOWLY AND CLEARLY! Set up who and where you are as simply and clearly as you can (One person may be enough to do this). It helps your team as well as the audience. Then get to the heart of the story. The scene’s major event needn’t be the end point – let the event happen and see what effect that event has on the characters and the story. NAME EVERYTHING! - objects, people, issues – straight up. It’s easier to play a scene (and easier for an audience to be engaged by your scene) if you know who and what you’re dealing with. SAY “YES, AND” If you say no or ‘BLOCK’ offers, the scene will not go anywhere. ‘ACCEPT’ the first offer and act on it. Say “Yes, and…” then react to it. Once you’ve dealt with it, move on to the next offer - advance the scene. YIELD! If two people mention different offers, one of you needs to yield (give up your idea and focus on the other - you may come back to your idea later). Follow one offer at a time. DO IT, DON’T TALK ABOUT IT! Every line of dialogue is an offer that drives you to action. Make an offer that says where to go next or what to do and then start doing it. Don’t keep talking. Take action to solve problems and take your time to be clear with anything you’re miming. MAKE STATEMENTS, NOT QUESTIONS! – Say “Follow me to the river!” rather than “Which way is the river?” If you have questions about your character or the scene, answer them yourself. Questions just take up valuable time. Name everything quickly and move on. IF YOU GET STUCK, CHANGE! - Change time/location/ emotion to keep the story moving forward. BE AFFECTED! Everything should mean a lot to you in the scene. If someone makes an offer, react to it emotionally and say what’s meaningful/ important about it to your character. This RAISES THE STAKES of the story. LET YOUR CHARACTER BE CHANGED! Real drama is seeing a character be changed during the scene. Make your character end the scene different (emotionally, physically, mentally) to how you started the scene.


13

DON’T BE AFRAID TO SUCCEED! - Finding something or doing something is always preferable to spending time and failing. Find it/succeed and see where it takes you. ONLY COME ON WHEN YOU’RE NEEDED! - Don’t enter a scene just for the sake of it. Most scenes only really need two main characters at a time. See what the scene needs - make an offer then exit again - or stay off to call changes or the end of the scene. Don't be afraid to be props or objects in the scene too, or come on as an object to set the scene. DON'T GAG! Don't put pressure on yourself to come up with a funny/clever idea. Focus on the story and make ‘ordinary’ offers. Avoid inappropriate offers (content involving sex, violence and bodily functions are a sure sign of nervousness). And say “yes” to the idea, don’t just say something for a laugh (a one liner or “block”) that doesn’t extend it. END THE SCENE YOURSELF! It's better if you finish strong and early. Make a clear gesture that it's over. When you hear the bell, use what time you've got left to wrap the scene up - don't introduce new characters or ideas. You don't have to stretch to fill the time limits.

If you're going to fail,

FAIL BRILLIANTLY AND ENJOY IT!

REMEMBER, IT'S ONLY A GAME.


14

TSC FORMAT: HEATS/SEMI FINALS INTERMEDIATE & SENIOR DIVISION

ROUND ONE GAMES (Up to 1 minute) • COMMERCIAL • DEATH IN A MINUTE • GIBBERISH SCENE • I LOVE YOU • MIME

• POEM • SLOW MOTION COMMENTARY • SOUND EFFECTS • WORD AT A TIME STORY

ROUND TWO GAMES (Up to 2 minutes) • ALPHABET • ASIDES • CHARACTER DUB • CHARACTER SWAP • DOUBLE FIGURES • EMOTIONAL REPLAY/ POINT OF

VIEW REPLAY • EMOTIONAL SWAP • FIRST LINE, LAST LINE • FOUR SQUARE EMOTIONS • GENRE REPLAY / HISTORICAL

REPLAY • HUMAN PROPS • LAST LETTER, FIRST LETTER

• MIME INTERPRETER • MIRROR FACES • NUMBER WORDS • PERSUASION • PUPPETS • RHYMING COUPLETS • SHARED STORY with/without genre • SONG - Semi-Finals &

Grand Final only • SPEAKING IN ONE VOICE • STATUS TRANSITION • SUBTITLES • TOUCH TO TALK

ROUND THREE (Up to 2 minutes)

OPEN SCENE Scene title is given but no ‘game’ is to be played

ROUND FOUR GAMES (Up to 3 minutes) NOTE: Games with a # may only be played at the Semi-Finals & Grand Finals

• ANIMAL CHARACTERS • BALLET # • BROADWAY MUSICAL # • EMOTIONAL

ROLLERCOASTER • GENRE

ROLLERCOASTER

• HE SAID, SHE SAID • INNER SONG # • OPERA # • OSCAR WINNING

MOMENTS • PLAY IN THE STYLE OF • PLAYBOOK

• POP UP STORY BOOK • REMINISCENCE • SHAKESPEARE • SING ABOUT IT # • STUNT DOUBLES • TIME WARP • TYPEWRITER


17

JUNIOR DIVISION

NOTE: Games with a # may only be played at the Finals & Grand Finals

ROUND ONE GAMES (Up to 1 minute)

• DEATH IN A MINUTE • I LOVE YOU • MIME SCENE • GIBBERISH SCENE

• POEM • SLOW MOTION COMMENTARY • SOUND EFFECTS • WORD AT A TIME STORY

ROUND TWO GAMES (Up to 2 minutes)

• ALPHABET • DOUBLE FIGURES • EMOTIONAL SWAP • HUMAN PROPS • N WORDS

• PUPPETS • SHARED STORY

with/without genre • SONG # (SF/GF only) • SPEAKING IN ONE VOICE • SUBTITLES

ROUND THREE GAMES (Up to 3 minutes)

• BALLET # (SF/GF only) • EMOTIONAL REPLAY (see 2 min

Games – 45 seconds per replay) • EMOTIONAL ROLLERCOASTER • GENRE REPLAY (see 2 min Games

– 45 seconds per replay) • OPERA # (SF/GF only)

• PLAY IN THE STYLE OF • PLAYBOOK • POP UP STORY BOOK • SING ABOUT IT # (SF/GF only) • STUNT DOUBLES • TYPEWRITER


18

TSC GAME DESCRIPTIONS UP TO 1 MINUTE GAMES ROUND 1 (all divisions)

C O M M E R C I A L SUGGESTION: An absurd product or service. The team creates an original commercial to show the purpose/benefits of the given product or service. NOTE: try to find styles other than interview infomercial. See Improvisation: the Guide p.147.

D E A T H I N A M I N U T E SUGGESTION: A specific safe location. In one minute, at least one of the characters in the scene must die by accident in the set environment and their death be justified and reacted to by the other characters. It must be a death, not a suicide or murder. See Improvisation: the Guide p.354.

G I B B E R I S H S C E N E SUGGESTION: A specific activity or location. A scene is played where the performers can only speak in gibberish (a made up language). They must play the actions, emotions and events to create a story.I L O V E Y O U SUGGESTION: A specific unromantic activity or location. The team plays a scene in which the words “I love you” must be spoken by one of the characters and the words justified and reacted to by other characters.M I M E SUGGESTION: A specific activity or location. A scene is played entirely without speaking or sound effects. The players must play the actions, emotions and events big & clear to create a story.P O E M SUGGESTION: Title of poem (involving an object or activity). The team perform an original poem in strict player rotation using any rhyming style (ABAB, AAAB, AABB). See Improvisation: the Guide p.139. S L O W M O T IO N C O M M E N T A R Y SUGGESTION: An everyday activity. One, two or three players mime an activity in slow motion. The remaining players provide a sports-style commentary from the side of stage justifying every mimed action. Avoid having the characters fight constantly; someone needs to succeed. See Improvisation: the Guide p.182. S O U N D E F F E C T S SUGGESTION: A specific activity or location. A scene is played out with sound effects provided by players offstage. Onstage players may speak freely but must react and justify all sound effects. See Improvisation: the Guide p.148. W O R D A T A T I M E S T O R Y SUGGESTION: Title of story (with a specific activity or location). All team members tell a story speaking one word at a time in rotation. They may physicalise the story as they tell it. See Improvisation: the Guide p.132.

• JUNIOR & INTERMEDIATE teams are given an activity (to aid narrative) suggestion

• SENIORS are given a location suggestion


19

UP TO 2 MINUTE GAMES ROUND 2 (all divisions) A L P H A B E T SUGGESTION: A specific activity or location. Players improvise a scene where each character starts their next line of dialogue with a word starting with the next letter of the alphabet. See Improvisation: the Guide p.265.

A S ID E S ( IN N E R M O N O L O G U E ) SUGGESTION: A specific activity or location. The team plays a scene where any player may step forward to the audience and declare their secret feelings or intentions (all others players should freeze). These asides are not "heard" by the other characters in the scene. Once a player has finished their aside, they step back into the scene and the scene continues.

C H A R A C T E R D U B ( V O I C E S O F F ) SUGGESTION: A specific activity or location. The team plays out a scene with offstage players providing the voices for the onstage players. The onstage players must mouth along to their provided voices (as best they can) and give physical offers for the scene. See Improvisation: the Guide p.191.

C H A R A C T E R S W A P SUGGESTION: A specific activity or location. The team performs a scene during which the host will call “Swap” at any time. When “Swap” is called the onstage players must immediately become one of the other characters on stage (taking on their spot, physical pose and character). The more different the characters, the easier it is.

D O U B L E F I G U R E S SUGGESTION: A specific occupation or activity. Two players provide the arms for the other players to create “double figure” characters. The scene can be played as an expert being interviewed or as an actual scene. See Improvisation: the Guide p.239.

E M O T I O N A L / P O I N T O F V I E W ( P O V ) R E P L A Y

> EMOTIONAL REPLAY SUGGESTION: A specific activity or location & 3 specific emotions. The team plays a 20-30 second neutral scene (with dialogue and actions but no emotions). They then replay the scene three times (30 seconds per scene). For each replay the host will call a different emotion and that emotion must affect every character and action. Try to follow the basic events and dialogue of the neutral scene each time but the emotion can change them. See Improvisation: the Guide p.345.

> POINT OF VIEW REPLAY SUGGESTION: A specific activity or location. The team plays a 20-30 second normal scene. The scene is then replayed three times, each time from a different character’s point of view (30 seconds per scene). The host will call out which of the key character’s POV the replay is from. For each replay, the POV character becomes the “hero” and other players perform exaggerated/caricature versions of themselves (what the POV character thinks of them). The basic events of the first scene should be followed but specific actions and dialogue can change.

Can only be chosen twice per night i.e. 1 emotional & 1 POV

replay or 2 emotional replays or 2 POV

replays only


20

E M O T I O N A L S W A P SUGGESTION: A specific activity or location & 2 opposite emotions. Two players start a scene with contrasting emotions. Through the scene both players undergo an emotional change due to events, what is said to them etc. By the end of the scene, each character has the other emotion to the one they started with. See Improvisation: the Guide p.344.

F I R S T L I N E , L A S T L I N E SUGGESTION: An opening line and a closing line. The players are given a first line of dialogue and an unrelated last line of dialogue. The scene must begin with the first line and develop until it ends with the last line given. See Improvisation: the Guide p.263.

F O U R S Q U A R E E M O T I O N S SUGGESTION: A specific activity or location. The stage is divided into four areas or squares and a different emotion is assigned to each. During the scene, players must change their emotion to the relevant square as they move from one area to another and justify the change. See Improvisation: the Guide p. 349.

G E N R E O R H I S T O R I C A L R E P L A Y

> GENRE REPLAY SUGGESTION: A specific activity or location & 3 different genres/styles. The team plays a short 20-30 second scene. They then replay the scene three times (30 seconds per scene). For each replay the host will call a different genre and the players must adapt the original scene to suit that genre. The basic events of the first scene should be followed each time but the specific characters, dialogue, objects and actions should change to suit the genre.

> HISTORICAL REPLAY SUGGESTION: Specific activity or location, 3 different historical periods. The team plays a short 20-30 second scene. They then replay the scene three times (30 seconds per scene). For each replay the host will call a different period of history and the players must adapt the original scene to suit that period. The basic events of the first scene should be followed each time but the specific characters, dialogue, objects and actions should change to suit the time period.

HUMAN PROPS SUGGESTION: A specific location. The team plays a given scene with one or two players being characters in that setting and the others forming every physical object in the scene as they’re named or needed. Players must interact with the human props (use them).

L A S T L E T T E R , F I R S T L E T T E R SUGGESTION: A specific activity or location. A scene is performed where the last letter of one player’s dialogue must be the first letter of the next players line of dialogue, continuing throughout the scene.

These can only be chosen twice per

night i.e. 1 genre & 1 historical or

2 genre or 2 historical only.


21

MIME INTERPRETER SUGGESTION: A specific occupation or activity. One team member interviews another on a given topic. The other players act as their interpreters, standing behind or to the side of them. The interpreters must ‘sign’ or mime as much as possible of what is being said by their respective main player. NOTE: The player(s) acting as interpreters must create their own physical interpretation of the spoken words, they should not use actual sign language.

M I R R O R F A C E S SUGGESTION: A specific activity or location, facial expressions for each player. The host(s) will provide individual facial expressions for each player to mimic. The scene is then played with the facial expressions serving as the basis for each player’s character. See Improvisation: the Guide p.379.

N U M B E R W O R D S SUGGESTION: A specific activity or location. The team plays a scene where the host will call out numbers at random points. That number is the number of words each player must say whenever they speak until the host calls out another number. See Improvisation: the Guide p.264.

P E R S U A S I O N SUGGESTION: A specific activity or location. One player is initially resistant to an idea or course of action. The other players must ‘persuade’ them (with verbal and physical offers) to finally yield to/accept the idea or action and act on it. See Improvisation: the Guide p.353.

P U P P E T S SUGGESTION: A specific activity or location. One to four members of the team are puppets. The remaining player(s) are the puppeteers. The puppets can speak, but they can’t move unless moved by their puppeteer. The puppets must justify every move they make. See Improvisation: the Guide p.242.

R H Y M I N G C O U P L E T S SUGGESTION: A specific activity or location. The team plays a scene speaking entirely in rhyming couplets. Players may either rhyme with themselves (speak two lines) or set up rhymes with a line that the next player’s line rhymes with. See Improvisation: the Guide p.143.

S H A R E D S T O R Y : W I T H / W I T H O U T G E N R E S SUGGESTION: An original story title (include a name, activity or location) & a choice of genres. The team tells a story in strict rotation with each player speaking the next line or segment to advance the story. NOTE: Players can ask to be given a single genre for the whole team to use OR each get their own individual genre that they must speak in OR tell story with no specific genre. See Improvisation: the Guide p.139.


22

S O N G Semi-Finals + Grand Final only

SUGGESTION: An original song title (including a subject, metaphor...). The team performs an original song based on the title given. The team can request a specific style of music from the musician. See Improvisation: the Guide page 149.

S P E A K I N G I N O N E V O I C E SUGGESTION: A specific activity or location. A scene is performed with two or more players combining to speak with one voice (speaking the same words at the same time) and moving as one character. See Improvisation: the Guide p.133.

S T A T U S T R A N S I T I O N SUGGESTION: A specific activity or location. Two players begin the scene with opposite status characters; one begins high status, the other low status. As a result of their interaction (what is said or what occurs) or other characters in the scene, a status transition occurs. The high status becomes low status by the end of the scene and vice versa. The characters remain the same, only their status relationship changes. See Improvisation: the Guide p.328.

S U B T I T L E S SUGGESTION: An original story title (including name and activity). Two players improvise a scene in gibberish. Each line spoken is then translated into English by offstage players. The action should continue while the translation is being made for each line. The gibberish cannot be an existing language. See Improvisation: the Guide p.189.

T O U C H T O T A L K SUGGESTION: A specific activity or location . Players perform a scene where they can only speak when they are in physical contact with another player in the scene. This contact should be natural and logical for the characters in the scene, not just clinging onto each other so they can speak. Silent reactions and actions are what work best in the scene. See Improvisation: the Guide p.226.


23

UP TO 3 MINUTE GAMES

ROUND 4 - Intermediate & Senior divisions (ROUND 3 for Junior) A N IM A L C H A R A C T E R S SUGGESTION: A specific activity or location, specific animals The team plays a scene where each player’s human character has the characteristics (emotion, action and energy) of the given animal. They do NOT play the scene as animals. See Improvisation: the Guide p.378 “Wild Kingdom”.

B A L L E T - Semi-Finals and Grand Final only SUGGESTION: A specific activity, occupation or location (or title including them). The team perform an original ballet, telling a story through the physicality of dance/mime. One player may narrate or introduce the dances in the story offstage. See Improvisation: the Guide p.259.

B R O A D W A Y M U S IC A L - Semi-Finals and Grand Final only SUGGESTION: A specific activity, occupation or location (or title including them). The team perform an original Broadway-style musical, using a mixture of dialogue, song & dance. The songs performed must be original, not songs from existing musicals.

E M O T I O N A L OR G E N R E R O L L E R C O A S T E R > EMOTIONAL ROLLERCOASTER SUGGESTION: A specific activity or location, series of emotions called during scene. The team performs a normal scene (with no strong emotions) then change their emotional state as the host calls out different emotions during the scene. They must justify the changes each time in what they say or do. The basic story/purpose of the scene must continue. > GENRE ROLLERCOASTER SUGGESTION: A specific activity or location, series of genres called during scene. The team performs a normal contemporary scene (with emotions) then change the style of the scene and their characterisation as the host calls out different genres or styles. Elements of the setting and specific objects and wants can change to suit the genre but the basic story/purpose of the scene must remain.

UP TO 2 MINUTE OPEN SCENE ROUND 3 - Intermediate & Senior divisions only

(NOT USED in Junior Division)

OPEN SCENE SUGGESTION: A specific activity or location or title. The team improvises a scene establishing their environment, characters and story. No handles or game structures can be used. The scene can have a style or genre though (but it should come from the title not be a set one practiced in advance). See Improvisation: the Guide p.33.

These can only be chosen twice per

night ie. 1 emotional &

1 genre, 2 emotional or 2

genre


24

HE SAID/SHE SAID SUGGESTION: A specific activity or occupation. A scene is played with offstage players providing narration/direction after each line of dialogue. Onstage Player A gives a line of dialogue. Offstage Player says, “He/She said” and gives player A a physical stage direction (which Player A must immediately do). Onstage Player B then responds with a line of dialogue and offstage player says “He/She said” and gives player B a stage direction (which player B immediately does). This can also be played where players A and B provide the “He/She Saids” for each other onstage (A says a line of dialogue then B says “He/She Said” and gives A a direction then B then continues with their own line of dialogue and A follows with “He/She Said” etc). See Improvisation: the Guide p.230.

INNER SONG - Semi-Finals and Grand Final only SUGGESTION: A specific activity or location. The team performs a given scene and during it, the host calls on individual players to sing their inner thoughts and feelings about the events taking place or their feelings towards the other character/s. The scene freezes while the singer briefly sings then goes back to the normal scene where it left off. The other characters have not heard the song.

O P E R A - Semi-Finals and Grand Final only SUGGESTION: Title (including a specific activity, occupation or object). An original opera is performed where the scene/s play out with all characters singing all their lines (no lines are spoken). The singing does not necessarily have to rhyme. See Improvisation: the Guide p. 248. O S C A R W IN N IN G M O M E N T SUGGESTION: A specific activity or location. A scene is played during which the host will call “Oscar Winning Moment” for each player in the scene at some point. When this occurs, the nominated player performs a moment of high emotion (it could be telling their backstory or struggle or true feelings) a performance worthy of winning an Oscar. The piece is heard by the other characters. At the end of it, the scene continues in the normal style, incorporating the information given. They do not step forward and give an Oscar Award acceptance speech.

2015 GRAND FINAL Junior Champions

Arden Anglican School


25

PLAY IN THE STYLE OF SUGGESTION: A well known story/fairy tale and the choice of 3 genres. The team chooses a genre in which to tell the story and then improvise the story, changing story elements (characters, objects, environments, dialogue) to suit the genre. The basic series of events should be followed in some way BUT the story should go in a different direction. See Improvisation: the Guide p.257.

P L A Y B O O K SUGGESTION: A specific activity or location. The team plays a scene where one player is only able to say lines taken from a book provided. The other players must justify the words/offers made by their teammate (reading from the book) and keep the scene and story moving. See Improvisation: the Guide p.267.

P O P U P S T O R Y B O O K SUGGESTION: A random title involving a character, activity or location. One player is the narrator and tells the audience an original story with pictures provided by the other players. The other players form frozen images from the story when prompted. As the narrator turns each page, the players jump into different positions to show the next part of the story. The narrator must justify the frozen images each time and continue the story. From time to time the narrator may ‘pull the tab’ or “press a button” so a character performs a simple action, or speaks a few simple words.


26

R E M IN IS C E N C E SUGGESTION: A specific activity or location. Two characters sit at the side of stage reminiscing about an event in their past (from the suggestion). As they mention specific moments, they freeze and the other players appear on stage and perform that moment, extending on it. The narrating characters must then justify what has happened and continue the story taking that information on, like in Typewriter. It is not a game where 2 people just talk and the others simply mime out what is being said. See Improvisation: the Guide p.193.S H A K E S P E A R E SUGGESTION: An original title including a name, occupation, or object. The team create an original scene in the style of Shakespeare; using the type of language & symbolism, story elements and themes seen in Shakespeare. Players can not just quote lines from existing Shakespearean plays. Further, Shakespearean language is not just adding “th” onto the end of every word.

S IN G A B O U T IT - Semi-Finals and Grand Final only SUGGESTION: A specific activity or location. The players perform a scene. At any point, the host will call “Sing About It” and the last player to speak or do something must sing a short original song about what they are feeling/thinking/doing. Once the player stops singing, the scene continues using normal dialogue until “Sing about it” is called again for another character. The songs only need to be a couple of lines long (preferably with some form of rhyme) and must be made up on the spot not be songs which already exist. See Improvisation: the Guide p.253.

STUNT DOUBLES SUGGESTION: An everyday activity or location. Two players improvise a scene. Whenever they are about to perform an action, they freeze and call “Stunt Doubles”. Two offstage players run on and replace both players as their ‘stunt doubles’; assuming the same physical poses. They perform the said action in slow-motion mime, advancing the scene. When the action is done, the stunt doubles freeze, call “First Players” and the original players take the exact physical positions the stunt doubles ended up in. They continue the scene from there, justifying the positions and reacting to what has happened. See Improvisation: the Guide p.262.


27

T I M E W A R P SUGGESTION: An everyday activity or location. The team plays a scene. At any point the host may call “Time Warp”, and nominate a change in time and/or place (5 minutes later, a day before etc). The players freeze and the story jumps to the new time/place where things have changed. Remember, something (that the audience did not get to see) has to have happened or the character dynamic needs to have changed when time moved forwards or backwards and we see the players react to that. See Improvisation: the Guide p.272.

T Y P E W R I T E R SUGGESTION: First line of story given. One player sits at the side of the scene as narrator. The narrator must use the first line given and set up the setting and characters. After each scene is set up, the other players enter and perform the remainder of it – speaking dialogue etc. They extend on the action the narrator has set up and the narrator comes back in & must justify what has happened and continue the story. The narrator can speak while the other players are performing to add emotions and actions into the scene and jump the action to the next part of the story. It is not a game where 1 person just narrates the whole time and the others simply mime out what they say. See Improvisation: the Guide p.243.


28

2015 TSC GRAND FINAL Intermediate (above) and Senior Casts (below)


29

2015 TSC GRAND FINAL CHAMPIONS Senior Champions, St Ignatius’ College, RIverview (above),

Intermediate Champions, St Aloysius College, Milson’s Point (below)


30

SCHOOL WORKSHOPS AND SHOWS Impro Australia also create tailored drama workshops to suit your educational needs: from basic improvisation skills for primary and high school students, to Theatresports® games training, to specific requirements like the HSC Group Performance. We can help organise and host in-school Theatresports® competitions. And we can provide 50-100 minute Theatresports® entertainment shows, by our Impro professionals, to demonstrate improvisation and games or to provide a fun interactive performance for students and year groups. Introduction to Improvisation workshop (years 3 - 12) - teaching the basic skills and terminology of improvisation (accepting offers, extending them, yielding, creating a narrative) with specific exercises & games which students can use in class (& Theatresports® competitions). Theatresports® Games workshop (years 7 - 12) – focusing on specific and advanced game skills including characterisation, style and genre, working with physical and verbal restrictions, creating environments and transitions. We can focus on the specific games or styles you want, even the musical ones! Stage 4-6 Drama Syllabus outcomes covered include: STAGE 4: 4.1.1, 4.1.2, 4.1.3, 4.1.4, 4.2.1, 4.2.3, 4.3.1, 4.3.3 STAGE 5: 5.1.1, 5.1.2, 5.1.3, 5.1.4, 5.2.1, 5.2.3, 5.3.1, 5.3.3 STAGE 6: P1.1, P1.2, P1.3, P1.5, P1.6, P1.7, P1.8,

P2.1, P2.3, P2.4, P2.5, P2.6, P3.1 Playbuilding & Group Performance workshop (For school years 5 – 12) To help students work more effectively and efficiently on group performance pieces, this workshop involves teaching “theme” brainstorming techniques, creating dramatic scene images, transitioning smoothly from one scene to the next, and using a process of improvising a variety of scenes rather than arguing over ideas. Groups who improvise together find the Group Performance process a lot easier than those who don’t! Stage 6 Drama syllabus outcomes covered: H1.1, H1.2, H1.3, H1.3, H1.4, H1.8, H1.9, H2.1, H2.2, H2.4, H3.3, H3.5

SEE NEXT PAGE FOR PRICES


31

How much do workshops & shows cost? Drama workshops q 100 minute session (double period) for 20-30 students

Prices start at $300 ($10-15 per student) q Half day (2 x 100 minute sessions) for 20-30 students

Prices start at $450 ($15-25 per student) q Full day (3 x 100 minute sessions) for 20-30 students

Prices start at $600 ($20-$30 per student) Theatresports® Competit ions At Your School Impro Australia can provide Theatresports® tutors to warm up the teams (even take a workshop) and host the show, providing all suggestions. We can also provide judges and musicians if needed (at additional cost). Price for 2 hosts to warm up, run the show, provide suggestions, score & time keep start at $600 Theatresports® Entertainment Shows 50-100 minute interactive Theatresports® show with professional improvisers performing games & scenes & explaining them. We use student volunteers from the audience in scenes as well. Prices start at $7-$10 per student (minimum 100 students)

If you would like more information on Impro Australia workshops or performances at your school, please email our schools coordinator:

[email protected]


32

FOR TEACHERS, COACHES & PARENTS Whether you're just starting out and want to learn to speak on your feet or you have some improvisation experience under your belt and want to extend your skills to the stage, Impro Australia has a course for you. Our courses encourage you to play and to challenge yourself while learning in a relaxed "you-can-do-no-wrong" environment.

Our Courses start at $320 for 8 weeks (2 hrs/wk)

Level 1: Thinking On Your Feet Have fun and learn the fundamental skills and principles of improvisation with Impro Australia, the improvisation experts. This is a great course to hone your creative and presentational skills, improve audition techniques, learn basic theatrical concepts, spark your imagination and physical expression in a very entertaining and interactive atmosphere.

Level 2: Taking It To The Stage Level 2 revisits and strengthens the skills learnt in Level 1. Also, you’ll be coached through a number of impro game structures and the course finishes with an improvised performance for your family & friends.

Level 3: Setting The Scene Level 3 looks at storytelling & “open” scene play (i.e. no game structures), encouraging participants to focus on character, relationship and narrative. Great for actors! This course also leads to a public performance. The course finishes with an improvised performance for family & friends.

For further information, please visit: improaustralia.com.au and see our “Courses” page or email [email protected]


33

Where else can I see live Improvisation? To receive the latest information and special offers,

simply go to our website and subscribe to our newsletter: www.improaustralia.com.au

Or follow us on Facebook by liking our

Theatresports Schools Challenge and Impro Australia pages

UPCOMING SHOWS (Tickets available through Ticketek)

THEATRESPORTS® NATIONAL CHAMPIONSHIPS

6.30PM – SUN 24 APRIL 2016 - Enmore Theatre

THEATRESPORTS® SCHOOLS CHALLENGE GRAND FINALS 2PM (Intermediate) & 5PM (Senior) SUN 19 JUNE 2016 - Enmore Theatre

CELEBRITY THEATRESPORTS® fundraiser for CanTeen 8PM – SAT 6 AUGUST 2016 - Enmore Theatre

THEATRESPORTS® CRANSTON CUP SEASON September - November, Factory Theatre Marrickville

THEATRESPORTS® CRANSTON CUP GRAND FINAL 8PM – SUN 27 NOVEMBER 2016 - Enmore Theatre

This handbook contains extracts from Improvisation: the Guide by Lyn Pierse that are used with the permission of the publishers. This handbook is copyright © Impro Australia, Improcorp and ish group respectively and

may not be reproduced in part or whole without written permission.

TSC Handbook designed by Ronelle & John Knowles @ Solid Lines Creative.

SPECIAL TICKET DEAL – BUY 2 SHOWS GET 1 SHOW FREE! GET TICKETS TO THE THEATRESPORTS NATIONALS, CELEBRITY THEATRESPORTS

& CRANSTON CUP GRAND FINAL AND ONLY PAY FOR 2 SHOW S Go to ticketek.com.au & search “THEATRESPORTS”

theatresports schools challenge 2016 - impro...

Documents