THB,

Each of my acts for Disney over the past fourteen years have been tightly scripted and thoroughly rehearsed. This level of commitment and discipline gives me the freedom to step away from the script when guests interject themselves into my dialogue with the audience (this is encouraged)...and allows me to dovetail seamlessly right back into the script. Any performer that sounds 'dry' or 'forced' has a problem with acting, not the script. I perform well over a thousand shows annually at the resort and I believe a key reason my contract is faithfully renewed every year is because I know EXACTLY what I am going to do and SAY when I step in front of the guests.

It is hard work. Taking the high road as a professional requires it.

Mick

:ohyes: ... again!

I only partially agree with this, both are required a good script and the ability to deliver it. Great acting skills alone can't rescue a terrible script.

As far as the script itself is concerned the more personal the script is and the more of your own personality it includes the less acting ability is required. That is not to say that less work is required, you still need to know every detail of both the script and the floorwork. It's not just about knowing what you are going to say at any given moment, you need to know exactly where you are going to be, and what you are going to be doing.

I am a firm believer of being tightly scripted but flexible. Loose scripts are great when performing casually but generally speaking as a pro you will have a time slot that you have to hit exactly, a minute under or a minute over causes all manner of problems for the venue. If your script is too loose it becomes much harder to hit your timings and on stage time runs at a different speed, you may think you have loads of time only to see a guy in the wings frantically giving you the wind it up sign. a tight script keeps you on time to the second.

Trust me if you can't make your timings your chances of being re-booked go down drastically no matter how entertaining you are. Even a minute over has a huge knock on effect to the crew and every other performer.

Mark

For the record, Mark...I never said anything about a terrible script being acceptable.

Other than that slight nuance, we are saying the same things. Good post.

Yes we are in almost total agreement but I just wanted to point out that if you sound stilted and scripted it could equally be the script at fault although I think you are right that your acting skills play a massive part.

This is why I am not a great lover of having "patter" included with a routine. Even the greatest actor needs to be suited to the part he is playing. Actors are chosen not only for their acting ability but also their suitability to the role. Using a script written by somebody else forces you to adapt to the routine rather than adapting the routine to your personality and it is the lazy mans haven. There are many people out there regurgitating the patter that was used on the DVD they learned the trick from (and outside of my professional act I am equally as guilty of this).

Annemann's approach in his club act manuscript forces the person to put some thought into how they are going to present the act. He is spot on when he says if you don't know how to talk to people then do a silent act or find another profession. I would go further and say read this act to get insight on how to structure an act and then apply that knowledge (along with knowledge gained from other sources) to help you to build an original act suited to your persona.

Harsh as it may sound, if you can't create an original act which shows off your unique personality then you are not ready yet. Nothing wrong with that, as far as a mentalism act is concerned I am a million miles from ready.

Mark

There's never a matter of "either/or"

I'll second Phill recommendation for Celloboy's eBook.
If you're unfamiliar with the "rules" of improvisation and how they can help you in creating, scripting and performing you will find a lot of useful material there.

d

So...

max entertainment
scripting magic
celloboy book

Thanks for information ALL of you.

There's a big difference between the 'act' and the 'artist' or the 'talent'.

If there's no improv in the act, the artist is only an act, and not 'present' enough to cultivate an experience that changes people. They might as well be at home watching TV.

Learn the tools of improv. The most important tool is meditation. Meditation clears the mind of effort, and starts the performer 'being'.

Change the intention from getting power from the audience. Turn to creating inner power and then giving it to the audience, and then begin, through improv, to exchange power and build more power.

Lose the ego, and experience a shared experience.

Make the audience forget how badly you needed to be up there on stage. Make yourself forget the 10,000 hours that made you an expert, and just 'feel' them, on some level, as confidence and intention.

Scripting might be interesting, but presence is enlightening.

Jimmy Fingers

Great approach!

Yea it's best to have a script, and rehearse it well. When you get on the stage though, relax, and go with the flow.
Thought of a funny joke, just say it... don't restrain yourself.

Plans are not meant to be followed, they are your back up, so you don't look like you're winging it.
With time you'll find all the best jokes, moments etc...

Hey all,
A massive thanks to Phill and Dave for their comments on my book about improvisation. I have spent almost every day of the last chunk of my life dealing with improvisation techniques in shows and performance situations. I can't agree more with some of the points made here. I think improvisation is more about looking at what tools you have prepaired, and a foundation and having pillars can help massively. Those pillars need not be constrictive, or as tight as you might think as well. Its a subject that I find endlessly fascinating and have to dash off for a show now, but if you like improv stuff please do check out my book (http://improvisedmagic.psychomagic.co.uk/) and feel free to drop me any questions you might have at all!

Pete



P.S.
I am also currently looking into putting on an improv workshop where I can teach in person a full day course on everything I know about improv, my experiences, and how techniques can be used. It'd be either in the north of England or London, but if you are interested drop me a PM and I'll keep you up to date.

Hi Celloboy,

just made the purchase.

I am looking forward to reading your book.

I'm currently reading max entertainment.

Cant wait

THB
( the happy body )

Script. No question. Rehearsed over and over and over till you can make it sound natural - and it sounds natural to the audience. It has helped me SO often because the words are tumbling out, but another part of my brain is making sure the props are all in the right place, that I am doing the right thing with my hands at the right time. Unscripted and "winging it" you WILL fumble with the words. You WILL fumble with the props - the effect will be weakened. But make no mistak, you need to know that script so well that as soon as you say the first few words, you are on automatic pilot.

...unless you are Cello Boy, who has mastered the art of improv, and has a wonderful, natural talent for it, too. (I don't!)

And not to put the hard sell on Celloboy... but one of the things I enjoyed was how he shows how to apply the principles of Improv to Scripting!

d

Tight script rehearsed over and over,
along with steady performances
and listening to your audience
will give you all you need.