October 20 - Solo

I remember learning how to eat in a restaurant by myself when I was in Australia. The tip I can offer is to just not care that you're eating alone. Because seriously, everyone has to eat and just because there isn't someone there with you doesn't mean you can't splurge on something fancy from time to time. 

Tonight, I treated myself to a fancy Korean vegan restaurant experience. Well, Asian, anyway. They have everything from vegan sushi to pho to pad Thai. But it is very dimly lit and slightly higher priced than the sammiches I've been grabbing for a quick dinner. And I'm eating with a napkin on my lap instead of balled up in my fist. It's been nice. It's been fun. A little something nice just for me. And even though I feel a little odd with the servers standing so close to my table, practically watching me eat, I would do it again. 

Oh, and one more tip: when eating solo, tip well. Any weirdness that the servers may have felt about you goes away once they know you're a generous and polite diner. 

May 9 - Stuff

There is this funny division between "actors" and "improvisers" that I don't necessarily think should be there. Now, keep in mind, I've done improv and I've done scripted theatre, but I've done more scripted theatre than improv. I've not studied improv as intensely as some - I kind of know what a Harold is, but I likely couldn't do one. Granted, some of the troupes I've seen performing Harold's can't really do them either, but that is beside the point. But I have done two fully improvised films and I used to be part of a short-form improv troupe when I was in college. Anyway. 

It seems to me that improvisers think actors do really weird stuff and actors think improvisers are crazy. I could be wrong in both assessments, but that is my impression of the two groups. I also think this is unfortunate because I think both art forms have elements that the other would benefit greatly from if each side didn't spend so much time thinking the other was crazy. 

For example, I improvise all of the time when I perform. The way my lines come out, how I move through the space, how my scene partner's words effect me - these things all change from performance to performance depending on all sorts of things. Maybe there is something in my way on the stage, so I have to change a traffic pattern to make my cross. Maybe my scene partner is really angry one night, so I have to step it up or we'll look like we're in different plays. There are all kinds of things that can effect a performance and if I am going to live truthfully on stage, I have to be open to these changes. I have to be open to going with what is in front of me. Yes, I do it in the context of the show, but it is still a form of improvisation, and one that can be invaluable to straight-play actors. 

And I think improvisers can benefit from the idea of working within a certain framework. Whether it is a short form game or a long form show, there are certain things that happen on stage that you have to go with and stick to. It's just like working within the world that the playwright created for you, except you and your fellow performers are the playwrights. 

Which is all to say, it kind of bugs me that performers have to split themselves into various performance style camps. I think learning all of them allows us to be more well-rounded, versatile performers. 

Or something. I don't know. I have a show to do now.