The Art of Play: The New Genre of Interactive Theatre

705 Pages·1997·4.87 MB·English

by  Gary Izzo

The Art of Play
The New Genre
of Interactive Theatre
GARY IZZO
Copyright © 1997 by Gary Izzo All rights reserved. No part of this book may be reproduced in any form or
by any electronic or mechanical means, including information storage and retrieval systems, without
permission in writing from the publisher, except by a reviewer, who may quote brief passages in a review.
ISBN-13: 978-1519794239
ISBN-10: 1519794231
Library of Congress Control Number: 2015921008
CreateSpace Independent Publishing Platform, North Charleston, SC
Editor: Lisa A. Barnett First Edition Production: Melissa L. Inglis Cover Art Design: Julia Register Digital
Re-editing: Alice LaFae
This book is dedicated to
the inner child in us all
and to Madi.
Contents
About the Author
Preface
Acknowledgments
BOOK I: THE ART OF PLAY
PART I: DEFINING A NEW GENRE
CHAPTER 1: What Is Interactive Theatre?
Stepping Through the Looking Glass Interactive Theatre is the Art of Play The Nature of Play and
the Child Interactive Theatre and the Temenos The Impact of Interactive Theatre On Its Audience
CHAPTER 2: Audience Inclusive Styles
Intimate Theatre Audience Participatory Theatre Variety Entertainment Improvisational Comedy
Street Theatre Interactive Theatre
CHAPTER 3: Theatre Without a Stage
"No Net" Theatre The Impact of Interactive Training on the Actor Where's My Seat?
CHAPTER 4: Action and Style
Illusion and Belief The Unity of Audience Style
CHAPTER 5: The Performance Environment
Subject of Show Environment Event Theme Characters Performance Elements
PART II: CHARACTER DEVELOPMENT
CHAPTER 6: Essential Qualities
Extraordinary Fascinating Identifiable Approachable Vulnerable Likable
CHAPTER 7: Elements of Characterization
Occupation Occupational Activities Passion Foible Virtue Primary Needs Primary Activities
Character Elements Lists
CHAPTER 8: Semblance
Physicality Vocal Quality Approach to Language Noise History Costuming Props
CHAPTER 9: Background
PART III: IMPROVISATION
CHAPTER 10: Ensemble Improvisation
Improv Exercises Teaching & the Rules of Improv
CHAPTER 11: Freeing the Imagination
The Actor's Relationship With Self Trust Spontaneity Emotional Blocks Cognitive Constraints
Free Association Incorporation
CHAPTER 12: Scene Work
The Actor's Relationship to the Actor Improv Pitfalls Positive Assumption Concentration
Listening Focus--Give and Take Interrogatives Second Support Dominance Transactions Trust,
Support, and Cooperation
CHAPTER 13: Narrative Skills
The Actor's Relationship to the Story Assumptions Who, What, Where Observation and
Memorization Keeping the Action on Stage Cancelling the Action Breaking the Routine
Reincorporation Motivated Exit Closure
PART IV: INTERACTIVE PERFORMANCE
CHAPTER 14: Scene Work in Character
Improv With Established Characters Active Choices Character Relationships Mythology
CHAPTER 15: The Performance Elements
Character Action Endowments Lazzi Conceitti Encounters Scenarios Attractions
PART V: INTERACTIVE TECHNIQUE
CHAPTER 16: Relating to the Guest
The Audience is on Your Side Be Sensitive About Who Wants to Play Be Sensitive to Guest
Reactions Be sensitive to the Whole Group Service Doesn’t Mean Servile Never Force Interaction
Make Eye Contact With the Guest Make Contact With Every Guest See Through the Character’s
Eyes Be Altruistic in Your Approach to Performance
CHAPTER 17: Creating Interaction
The Good, Better, Best of Interaction Start Small and Build Your Activity Repeat to Improve Ask
Guests Questions Approaching Cold Contacts Seek to Capture Interest, Not Demand Attention
Work with Intensity and Conviction Create Your Own Stage Passive Interaction Turning Passive
Activity Active Active Interaction Gossip About Other Characters Speak to be Overheard
Encourage Interaction Through Children Choose Guests Randomly
CHAPTER 18: Playing the "Bit"
The Byline Begin a Scene at the Middle Three Ways to Incorporate a Guest Always Assume the
Best Cooperation Make Your Active Choice an Object Tie Your Assumptions to the Period Be
Specific Use the Environment Assume What the Guest Says Is True Leave the Guest Room to
Respond Have Energy Play for the Scene Entertain the Guests, Not Each Other Never Break
Character, Ever The Sanctity of Bits
CHAPTER 19: Street Staging
Stage Position Finding the Light Splitting the Crowd Finding a Weenie Magnifying Your
Distance Clumping The Three Rule Physical Contact with the Guest Moving Guests Ignore
Distractions as Long as Possible Own Your Space Fill Your Space Be Great
CHAPTER 20: Survival Tools
Performance Preparation Dealing with Negative Emotions in Performance Maintaining
Concentration Escaping Self-Judgment Develop Your Character’s Routine Use the Language of
the Period Disarm Aggressive Behavior Changing the Subject Dealing with Anachronisms Code
Words Dealing with the Media Exit Lazzi Pace Yourself Follow Your Intuition Above All, Have
Fun! Transcending Interactive Theatre
BOOK II: ACTING INTERACTIVE THEATRE
PART 1: THE REHEARSAL PROCESS
CHAPTER 1: Preparation and Casting
Creating Ensemble Directing Interactive Theatre Preparation Casting Orientation Starting
Rehearsals
CHAPTER 2: Play Phase
Non-competitive Play Freeing the Imagination Period Style Workshops Attractions Rehearsals
CHAPTER 3: Preparation Phase
Discovery of Performance Elements Discovery of Character Elements Freeing the Imagination
Continues
CHAPTER 4: Choices Phase
Development of Character Choices Development of Semblance Improv Scene Work
CHAPTER 5: Development Phase
Advanced Character Development Scene Work in Character Background Improv Narrative Skills
Scenario Rehearsals
CHAPTER 6: Technique Phase
Interactive Technique Develop Character Lazzi and Endowments Advanced Improv Skills
CHAPTER 7: Performance Phase
Building Character Relationships Building a Mythology Opening
PART II: SHOW MAINTENANCE
CHAPTER 8: Maintaining the Ensemble
Group Trust Adding New Ensemble Members Backstage Behavior
CHAPTER 9: Maintaining the Technique
Skills Rehearsals Maintaining Character Character Relationships Maintaining Style
CHAPTER 10: Maintaining the Elements
Encounters A Final Note
Glossary
About the Author
G
ary Izzo is a stage director, producer, writer, performer, and creative
consultant, and was one of the first directors to experiment in the
interactive genre. As a teacher, he has trained hundreds of actors in improv,
interactive and participatory theatre. As a director and producer he began his
work in Renaissance festivals in the 1970's, and founded Creative Entertainment,
Inc., a company dedicated to the exploration and production of audience-
inclusive and environmental theatre styles.
Under Interactive Artists, Gary has worked as a show director/writer and
entertainment consultant for the Walt Disney World Co., and was an early
influence in Disney's use of live actors in interactive shows. He has designed and
developed numerous interactive attractions across the globe for major
entertainment companies such as Paramount Parks, Sea World, and Bush
Entertainment.
Preface
T
he form and content of theatre has always been shaped by what its culture
needs in order to express itself. New theatre forms emerge from changing
cultural conditions or attitudes. The information age we now revel in has
connected us intellectually and separated us physically. We were once content to
gather in community to watch as alternate reality played out upon the stage. We
watched life dramatized before us while we were safe and disconnected in our
seats, living it only vicariously from a distance. Ever since the written word was
popularized, theatre has been a physical representation of the imaging process
we experience when we read. Now, it seems, watching is not enough; we must
take part. We seek now to play out our lives ourselves upon the stage, still
within the same safety of make-believe.
Not surprisingly, even the software of our information age strives to be
interactive. Yet ideas will never replace touch. We must still connect as human
beings. Thus the place of live theatre in our culture will remain undiminished,
but it will, as it must, adapt. This book discusses the process and techniques of
“interactive” theatre, a new form of theatre that places the audience on the stage
and in the midst of the drama. Unlike its “participatory” cousins, interactive
theatre is both inclusive and reactive to its audience. It changes in response to
the audience’s influence. It also creates, or re-creates, a bond of community, and