Art Appreciation report about Improvisation, Lecture notes of Art

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ART

APPRECIATION

“IMPROVISATION IN

VARIOUS ARTFORMS”

Reported by:

MARIANO, GERALD C.

SPCPC - BSIT-

Submitted to:

MA. THERESA RAMIREZ

“Improvisation in various artforms ”

Objective

1. Utilize our body as the basic tool in expression and communication
2. Strengthen our initiative and artistic sensibilities What is Improvisation?
   • Improvisation is the activity of making or doing something not planned beforehand, using whatever can be found.
   • Improvisation, in the performing arts is a very spontaneous performance without specific or scripted preparation.

• https://en.wikipedia.org/wiki/Improvisation
  • Improvisation is the art of acting and reacting , in the moment, to one's surroundings.
  • This can result in the invention of new thought patterns and/or new ways to act.
  • This invention cycle occurs more often when it is accompanied with a thorough and/or intuitive understanding of the skills with which one is improvising. https://www.newworldencyclopedia.org/entry/Improvisation

https://en.wikipedia.org/wiki/ Contactimprovisation

5Rhythms is flowing, staccato, chaos, lyrical, and stillness

 Flowing We physically practice the art of being fluid in our bodies Flowing is the impulse to follow the flow of one’s energy, to be true to oneself, listen and attend to one’s needs, be receptive to one’s inner and outer world. When we open up to the flow of our physical beings, all other possibilities open.  Staccato We physically practice the power of masculine energy. It is percussive and strong and promotes connection with the rest of the world. Staccato is the gateway to the heart. It shows us how to step out into the world connected to our feet and feelings. It is the part of us that stands up for what we care about and who/ what we love.  Chaos We physically practice releasing our bodies. We let go of the head, spine, hips, feet, and move faster than we can think. Chaos breaks us free from our illusions. It takes us on a journey from ‘I can’t’ to ‘I will’ The simple practices of Chaos immediately bring us back to our bodies, to the moment. This rhythm liberates us from all ideas about who we are and gives us a real experience of being total, free, intuitive, and creative.  Lyrical We practice how to break out of destructive patterns and surrender to the depths of the fluid, creative repetitions of our soulful selves.

Lyrical is expansive and connects us to our humanity, timeless rhythms, repetitions, patterns, and cycles. Lyrical is more of a state of being than a rhythm. Stillness Being still and doing nothing are different. Stillness moves, both within and all around us. The dance is our vehicle, our destination is the Rhythm of Stillness; our challenge is to be a vessel that keeps moving and changing. Each time we dance into Stillness we practice the art of making humble and mindful endings. This carries through to all of our endings in life - the end of this dance, this day, this relationship, or this life cycle. Good endings mean taking responsibility for the whole journey, distilling wisdom from our experience so that we may begin the next wave or cycle clean of carrying the past with us https://www.ronhagendoorn.com/about-5rhythms.htm

2. SOUND/MUSICAL improvisation  Musical improvisation (also known as musical extemporization) is the creative activity of immediate ("in the moment") musical composition, which combines performance with communication of emotions and instrumental technique as well as spontaneous response to other musicians.  Sometimes musical ideas in improvisation are spontaneous, but may be based on chord changes in classical music and many other kinds of music.  One definition is a “performance given extempore without planning or preparation.”  Another definition is to "play or sing (music) extemporaneously, by inventing variations on a melody or creating new melodies, rhythms and harmonies.

doing and come up with an answer. When you ask your partner and open ended question, you put the burden of coming up with something "interesting" on your partner - so you are no longer doing a scene together but forcing one person has to do more work than you are willing to do. 3) You don't have to be funny.

• The hidden riddle of improv is that the harder you try not to be funny the more funny your scene is going to be. Why? Because it's the very best kind of improv scene you can do is an "interesting" scene, not necessarily a "funny" one.
• When you do an interesting scene, a very surprising thing happens… the funny comes out all by it's self.
• The best ways to go are to stick to your character, stick to the story that is being told, and to stay within the reality of the scene you are playing. 4) You can look good if you make your partner look good.
• When you are in a scene, the better you make your partner look the better the scene is going to be and, as a direct result, the better you are going to look.
• All too often, I've seen players enter a scene and I can just tell they have some really great idea about the character they are going to play or an idea they want to do.
• This is wonderful, but guess what? Your partner probably has absolutely no idea what's cooking in your evil little mind, and so has no idea how to react. And no matter how brilliant your idea might be, it's practically worthless if the scene as a whole goes bad. 5) Tell a story.

• Storytelling is probably the easiest rule to remember but the hardest one to do.
• The real magic of improv is when we see the players take totally random suggestions (like a plumber and a cab driver selling shoes in a leper colony) and somehow "make it work".
• If all these unrelated elements are going to come together then it's going to happen in the course of an interesting tale. So that's just what the players are going to try and do, tell us all a story.