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Tactics

Audience Activations

  • ask for concrete questions about the FP
  • set up false audience members to activate the dynamic of questions
  • propose to the audience to sit closer to talk

Formal patterns / Games

  • unisons

> «yeah, that’s it» > thighs clapping > postures («listening» / «relaxing») > «Oh, interesting» : shift forward > “education”: change position > silence > "An angel passed by": a sudden group stillness and silence > Momentum: a very busy physical activity

  • canons (repeat each other in a chain)
  • tic
  • to get affected by somebody else tic or physical attitude
  • ‘Roi Jean’ («I didn’t do that, he did / no, I didn’t do that, she did» etc.)
  • stuttering
  • loops
  • false starts
  • politeness round («no, you speak, no, you first», etc.)
  • mmmmh...
  • metaphorical language (cf. metaphor game card)
  • paraphrase
  • interrumption of somebody else
  • dropping an element and take it over later

Sentences

  • rhythm and lenght variation
  • starting and dropping
  • fading out
  • not to finish a sentence, to be continued by somebody else
  • fragments
  • answer questions the audience didn't ask

Functions

there are 2 basic functions that need activation during the whole performance:

  • describing the fictional performance (FP)
  • asking for questions

other functions can be used as support / variations:

  • conceptualising the FP
  • describing the process
  • conceptualising the process
  • making an ideological statement
  • telling an anecdote
  • getting personal
  • keeping silent
  • telling the collective’s history
  • showing (speaking or gesturing)
  • showing the process
  • showing a reference
  • define the role of each performer in the FP
  • not knowing
  • hesitating
  • amnesia
  • giving references that feed the feeling of the show

Self-reflexive other

My approach to Générique is absolutely conceptual, that means that when I'm performing it I DO NOT CREATE any concrete elements for the fictional performance. I try just to wait that the public or the other performers create the physical part of the fictional performance, and I justify it. I try to DO NOT CREATE a fictional thinking structure but to apply my normal conceptualization to an object that do not correspond to my work. That makes my conceptualization survive as an abstraction. Anyway, you will always be fictional even if you are not representing an other. Is the context that makes it fictional.


Theatrical events

  • entrances / exits
  • to come in later than the other players
  • whispering
  • private discussion / conflict
  • taking notes / having an idea (stop listening)
  • inverting the roles
  • fight / laugh attack
  • lights events
  • yawning
  • bannishing
  • quotes from the FP
    • songs
    • pre-existing dances
    • monologues or poems
    • technical demonstrations (tricks)
    • etc.
  • shitty stick (pass a hard question on to a partner)
  • golden stick (pass a great question on to a partner)
  • to get the public to be quiet
  • introduce real elements (sounds, objects, etc.)
  • falling into absurd for a while and then go back to coherence
  • III act, revelation of the game