(the video of the following are posted here. To see the solo, skip ahead to 34:20 and for the group go to almost the end)
The 2006 National Fine Arts Festival in Orlando is over now, and I’d like to reflect on a couple of the winners in the Human Video Category, and compare the two. First, let me tell you about the two entries. The first was a Human Video Solo that chronicled the life of one man and the choices he made. Each scene was distinct, but it maintained continuity by introducing each life change in a unique way. Each milestone had it’s own snapshot picture. As the Young man grows up, his choices (small though they seem in the moment) lead him down a path to destruction. It is there in his moment of Crisis that God, the master of the universe, meets him and saves him from a tragic fate. Each choice is undone, and he becomes again like a child, shown by re living each snapshot in reverse. The second video won the Nation Merit Award for Small Group Human Video. It began by relating Biblical stories that were disconnected, then they portrayed a time of worship, then a girl was lifted into the air. Each scene was made distinct by a dropping of character to prepare for the next big and “impressive” move. The “story” was incoherent, the “moves” unimpressive, and the result ineffective. One of these videos left the audience inspired, the other left them bewildered. It is my intent to explain why. As I compare each element of these videos, keep in mind that the goal of Christian theatre is to communicate a message, and that “effectiveness” is measured by how many people in the audience understand your message. Though both of these videos won the Nation Award of Merit, they differ greatly in their storytelling, their movement, and their character development.
Complete storyline is a necessary component of any effective piece of Christian theatre. Why? Well, a complete story arch is not an arbitrary standard pulled from thin air. It is based on the way human beings process information. For thousands of years people have told stories, and great men and women have studied the way the best stories are told and have mapped out for us how they are to be related. Following these standards is not limiting. It does not put a limit on the amount of creativity you can use to choreograph a Human Video. Rather, knowing proper storytelling technique empowers you to tell great stories. So what is it exactly that these great men and women have decided that all great stories must have? The elements of: exposition, conflict, climax, and resolution or denouement. In the merit winner in the Human Video solo category, you can clearly see each of these elements. The exposition (the part in which the principle themes are presented) is clear and concise. It is much easier to identify with a universal image than a specific one, and the author of this human video knows that full well. He begins with a child saying his prayers at bedtime. This type of image sucks you into the story and makes you want to know where this child is going. The small group merit winner was somewhat less effective. Immediately one’s attention is grabbed by the story of David and goliath, but then that scene is followed up by a litany of unrelated scenes. If these scenes were related in the minds of the video’s creator(s) they connection was lost on a good deal of the audience. The conflict portrayed in the solo human video was man vs. himself. There are different types of conflict (man vs. man, man vs. Nature/God, man vs. himself) and any of those conflicts are valid and can be shown in a multiplicity of ways. The next step in the storytelling process is the climax; it is the point at which there is no turning back. This comes in the solo when the man is about to take his own life. Since the neither the exposition nor the conflict in the small group video was present, there was no climax to the narrative. The final step in the storytelling process is the resolution. In the human video solo this is shown when Jesus is re-introduced. No longer is he the mysterious, formless God to whom the little Child prays and the adolescent points, but he is God in human form. Jesus has seen the suffering of his child and meets him in his hour of greatest need. It is then that a transformation occurs. Whether symbolic of the feelings of the protagonist, or merely a reminder to the audience, the re-introduction of the snapshots in reverse brings the audience back to the beginning. It shows how the protagonist got to this point, and reminds you that each choice you make is significant. The message of the Group Human Video appears to be that worship is somehow important and that it makes one feel good, but exactly WHY is unclear. There is no story arch to follow. Without a coherent storyline, a video which had such potential, can be rendered useless. Not only does an effective human video need a great story, but also, it needs continuous motion.
Continuous motion does not mean that the actors on stage must constantly be expending energy in a ceaseless barrage of movement, (on the contrary, if you read other blog posts of mine you will note that physical energy=/=expending energy) but it means that each movement must flow into the next. This kind of care and attention to detail will produce a video that is powerfully effective. When one movement flows into the next, it provides the audience with an advantage in deciphering the meaning of the video. Often times Human Videos can be quite vague and ethereal, any help you can give the audience, any trope you can use to keep them following the story, you must use. Complicated and difficult movements can sometimes hurt rather than help in keeping the audience on the same page. Sometimes you just need to “Keep It Simple Stupid.” The winner of the Solo Human Video Award of Merit had a continuity of movement that is unlike any that I have ever seen. His movements were seamless; each one flowed into the next keeping the audience in tune with his storytelling. Here is where he is like a great storyteller. If you were to go and see a storyteller perform, their voice would carry you from one plot point to the next; he did the same thing with his movement and elegant musical transitions. In contrast, the Human Video Group went another direction in their storytelling. Instead of mapping out clear plot points and making their movements seamless, they attempted to dazzle the audience with fantastical pictures, and move them with emotionally charged spiritual Subject matter. What happened in the attempt was that in-between each interesting and dynamic movement there were huge gaps that left the audience trying to find the connection points. There were great stage pictures that were created. That is not a point that can be successfully disputed. Even now I can recall moments when the audience collectively caught their breath or gazed in wonder. It was in the dead space between these movements that ruined their “continuous movement.” Each time a stage picture was completed, the actors disconnected themselves from the story and from the moment they had created in order to prepare for the next big move. Not one of the actors onstage was continuously committed to their movement, and not being connected to their movement showed a lack of commitment to their characters.
Character, Aristotle said, is plot. What he means is that storyline and plot are made based upon who your characters are. A commitment to character development is essential for a story to be effective. When an audience enters a theatre, they engage in a tacit agreement with those on the stage to believe what it is that they are performing is really happening. This “willing suspension of disbelief” (as it is known in the theatre) is a fragile thing. The actors on stage must work to keep it strong and in tact. The actor’s job of creating a strong attachment to character begins long before the performance. Whether the actor works from the inside out or the outside in, the work is long and difficult. In order for the audience to believe that the character you are portraying is a real character (and in so doing, re-enforce that “willing suspension of disbelief”) you must know the character yourself. This is a great problem in Human Video as most people assume that the song (or their face) will do the work for them. Creating a memorable character requires much more than that. Answering specific questions about your character, even before you know the movement will lend credibility to your character. It will lead you from one movement to the next. Once you know where they are from, what they want, and what they are willing to do to get it, you can then convincingly transition from one plot point to the next without dropping character or losing your audience. The advantage that the Human Video solo performer had was that he needed to do only the developing of two characters. He was able to take one “from the cradle to the grave,” and only disconnect from that character once to become Jesus. When you choose a script that requires 20 or 30 characters, it is nearly impossible for you to effectively connect with each one of them. The result is a watered-down and ineffectual story populated with imprecise and almost ghostly characters.
Though both this human video solo and this human video group won the Nation Award of Merit, you can clearly see that they are very different. By examining their storytelling, their movement, and their character development you can see why one drove the audience from laughter to tears and back again, and the other left the majority of them scratching their heads. My intention in writing this post is not to hurt feelings, nor is it to be divisive, but merely to point out the difference in the two videos and comment on the effectiveness of both.
Thursday, August 17, 2006
Tuesday, July 25, 2006
Fine Arts Festival Checklist
So you've made it past Districts, you've been chilling all summer, and now it's almost time for Nationals.
If you're in a panic as to what to do before NFAF, here's a sample checklist:
1. Pray, pray and pray some more.
We all know despite waht they say, that Fne Arts is a competition. We compete for the highest scores. But often times we focus on the scores, and loose sight of why we do Fine Arts at all. Fine Arts was designed to help us develop our gifts and talents for Ministry and God's glory. When we focus only on the points, we loose the real meaning of Fine Arts. Setting aside some time to pray is like Watching a Christmas Carol, It's a Wonderful Life, and reading the book of Luke at Christmas time. it reminds us of the true meaning of the system.
2. Invite some company over
A lot of times when preparing a human video, we surroud ourselves with people who think like we do. People from our church, our town, even our district can red between the lines of what we're trying to do or say with our video. But when you compete on a national scale, sometimes things can get lost. Things that seem so obvious to us, are incomprehensible to people from other regions, or even peopel with different cultural identities. Try inviting someone from outside your church (preferably somone who has never seen a human video or who is a non- christian) and ask them what they think of it. Try not to give them any "set-up" information, and take all of theircommments to heart. If they didn't get something, don't try to explain it, try to think of a better way to communicate it with in the video. You won't be able to explain anything to the judges.
3. Change it up a bit.
You've been practicing to the same song over and over again, so you're probably pretty tired of it. Try going through the whole video to another song, Classical music can work well. This can also help your coach or adult sponsors to see where the story holes in your video might be. Keeping time in your head will also help you if for some reason you can't hear the music at the time of performance.
5. Go chill out.
Take some time out with your group to just hang out. Bond as a team. One of the best parts about being involved in a group effort is bonding. Have fun!
6. Keep work time work time.
The way you practice is the way you perform. If you have been doing nothing but goofing off during rehersal, it will show when it comes to performance time. When you practice, leave problems at the door and focus on the task at hand. It will help you immeasurably in your persuit of a video worthy of merit.
That's all I can think of right now, guys. Have a great time in Orlando, and if you see me, don't forget to say "hi!"
:D
If you're in a panic as to what to do before NFAF, here's a sample checklist:
1. Pray, pray and pray some more.
We all know despite waht they say, that Fne Arts is a competition. We compete for the highest scores. But often times we focus on the scores, and loose sight of why we do Fine Arts at all. Fine Arts was designed to help us develop our gifts and talents for Ministry and God's glory. When we focus only on the points, we loose the real meaning of Fine Arts. Setting aside some time to pray is like Watching a Christmas Carol, It's a Wonderful Life, and reading the book of Luke at Christmas time. it reminds us of the true meaning of the system.
2. Invite some company over
A lot of times when preparing a human video, we surroud ourselves with people who think like we do. People from our church, our town, even our district can red between the lines of what we're trying to do or say with our video. But when you compete on a national scale, sometimes things can get lost. Things that seem so obvious to us, are incomprehensible to people from other regions, or even peopel with different cultural identities. Try inviting someone from outside your church (preferably somone who has never seen a human video or who is a non- christian) and ask them what they think of it. Try not to give them any "set-up" information, and take all of theircommments to heart. If they didn't get something, don't try to explain it, try to think of a better way to communicate it with in the video. You won't be able to explain anything to the judges.
3. Change it up a bit.
You've been practicing to the same song over and over again, so you're probably pretty tired of it. Try going through the whole video to another song, Classical music can work well. This can also help your coach or adult sponsors to see where the story holes in your video might be. Keeping time in your head will also help you if for some reason you can't hear the music at the time of performance.
5. Go chill out.
Take some time out with your group to just hang out. Bond as a team. One of the best parts about being involved in a group effort is bonding. Have fun!
6. Keep work time work time.
The way you practice is the way you perform. If you have been doing nothing but goofing off during rehersal, it will show when it comes to performance time. When you practice, leave problems at the door and focus on the task at hand. It will help you immeasurably in your persuit of a video worthy of merit.
That's all I can think of right now, guys. Have a great time in Orlando, and if you see me, don't forget to say "hi!"
:D
Friday, January 06, 2006
Bringing Order to you Human Video- Character
The most important (and often one of the most neglected) element of writing a human video script is character. Encarta Encyclopedia defines the noun character in a number of ways. One that I think best fits here is this: “The set of qualities that make somebody or something distinctive, especially somebody’s qualities of mind and feeling.” While this definition generally refers to one’s character (who you are when no one is looking) I think it is helpful for us in theatre arts because it shows what is important about character development.
Without character development, everyone is the same. If you had a mother like mine then you might have heard, “If everyone were the same, imagine how boring life would be.” Who didn't hear that growing up? Did you get the same horrifying picture of 6 billion drones all dressed alike and monotonously going about their freakishly similar day? If not, count yourself lucky, it was truly horrifying for poor little me.
What happens all too often is that every "character" in a human video ends up being the same character (usually the “character” is no more than the actor making funny faces or looking constipated). The performers that are afflicted in this way do a fine job of being themselves, but a very poor job of acting. Sometimes they can even have a fantastic grasp of movement and style, but they still lack the essential nature of an actor; they cannot bring their characters to life.
To offset this, the performer usually puts an extraordinary effort into being him or herself. They over-exaggerate every little movement in order to emphasize the fact that they are doing something. This, while it may be stylistically unique and even interesting, does not lead to a dynamic communicative act with the audience.
The second most common defect in character development lies relying too heavily on character transitions. This failing develops out of a fantastic impulse, (to help the audience recognize the changing of characters) but does not even begin to touch the problem (poor character development).
What do I mean by “transitions”? Good question. “Transitions” are the kind of moves I talked about in my post about “Bad Habits”. Moving a hand in front of the face, spinning around or similar moves to show the audience that a character change has taken place. While I know that some advocate the use of these “techniques” let me assure you that they are little more than lazy dramatics. They indicate a lack of thought and a willingness to lean on a ill-conceived crutch rather than on a commitment to artful storytelling.
The impulse to insert these character “transitions” comes from, as I said, seeing the need for character development. This is a good thing. The people who use them are not bad dramatists, in fact quite the opposite. They have seen a deficit and have sought out a solution.
What makes these “transitions” wrong for Human Video is that they do not get to the heart of the problem. It is very similar to the Health Care system in America today. Doctors see a symptom say, back pain, and instead of treating the cause of the problem (recommending a better mattress or shoes) they throw drugs at the problem. Treating the symptom and not the sickness will never heal a person; and in theatre arts, it will never render your product worthy of merit.
So how does one make a distinction between one character and the next without using these transitions? So glad you asked; by treating the condition and not the symptom.
The condition is that the distinction between your characters is not clear. The way to make them more clear is not waving your arms about like a lunatic, but rather making the characters more distinct in your own mind.
What makes a child different from an old man? Posture? Speed of movement? Placement of the eyes? All these things must be taken into account during the process of character development.
Who is your character? What is their name? Do they have a favorite song? These may seem like insignificant details, but I assure you they will help distinguish one character from another in your own mind. When that has been done, your performance of both characters will differ so that the audience can see the difference.
There is a checklist I use in my acting classes and workshops that helps actors with character development. Here is that checklist:
1. Evaluate the role
Determine all the particulars that will give you clues about the character and how they move, act and re-act.
Fabricate what the script does not tell you.
2. Define goals of the characters --
What are the “Objectives”?
• Super objective -- the "Spine"; what character wants for the whole play. Also called the “through-line.” (50)
• Objective -- what the character wants for each scene
• Sub-objectives -- (Sometimes called "beats," or "units") these are changes of mood, intention, subject, etc., in a scene. (50)
3. Explore Character relationships:
All communication has at least two dimensions: the content of the message and the relationship of the message. We not only say things, but we say them in particular ways -- and the WAY we act often tends to develop, clarify, redefine a relationship.
4. Examine the Function that your role fulfills in the play.
Understand how your character relates to the theme and the action of the play.
Is your character:
A protagonist or antagonist?
A major or minor character?
5. Be Sensitive to the subtext.
Being sensitive to the actions and unspoken thoughts going through the mind of your character (what happens between the lines; the underlying emotional motivations for actions, and what your character says to others) can have a dramatic impact on how his or her motivations are interpreted by the audience.
6. Focus on your craft.
Know your role (in the overall production):
Pay attention to your own body, movement and placement.
How do you fit into the over all stage picture?
Make sure that your movement choices add to, and do not detract from,
the overall flow of the scene.
Adapted from: http://act.vtheatre.net/performance.html
Although this checklist speaks of a “text” and most Human videos lack a written “text” you can substitute the song and/or the ideas of the writer of the video. Whether that is you or it is someone you have never met, you are allowed to fill in the gaps. Fabricate whatever is not there for you.
You are an artist. In order to be an artist of merit, you must learn to be creative—to bring into existence that which was not there before.
Human Video
christian drama
church drama
evangelical drama
Without character development, everyone is the same. If you had a mother like mine then you might have heard, “If everyone were the same, imagine how boring life would be.” Who didn't hear that growing up? Did you get the same horrifying picture of 6 billion drones all dressed alike and monotonously going about their freakishly similar day? If not, count yourself lucky, it was truly horrifying for poor little me.
What happens all too often is that every "character" in a human video ends up being the same character (usually the “character” is no more than the actor making funny faces or looking constipated). The performers that are afflicted in this way do a fine job of being themselves, but a very poor job of acting. Sometimes they can even have a fantastic grasp of movement and style, but they still lack the essential nature of an actor; they cannot bring their characters to life.
To offset this, the performer usually puts an extraordinary effort into being him or herself. They over-exaggerate every little movement in order to emphasize the fact that they are doing something. This, while it may be stylistically unique and even interesting, does not lead to a dynamic communicative act with the audience.
The second most common defect in character development lies relying too heavily on character transitions. This failing develops out of a fantastic impulse, (to help the audience recognize the changing of characters) but does not even begin to touch the problem (poor character development).
What do I mean by “transitions”? Good question. “Transitions” are the kind of moves I talked about in my post about “Bad Habits”. Moving a hand in front of the face, spinning around or similar moves to show the audience that a character change has taken place. While I know that some advocate the use of these “techniques” let me assure you that they are little more than lazy dramatics. They indicate a lack of thought and a willingness to lean on a ill-conceived crutch rather than on a commitment to artful storytelling.
The impulse to insert these character “transitions” comes from, as I said, seeing the need for character development. This is a good thing. The people who use them are not bad dramatists, in fact quite the opposite. They have seen a deficit and have sought out a solution.
What makes these “transitions” wrong for Human Video is that they do not get to the heart of the problem. It is very similar to the Health Care system in America today. Doctors see a symptom say, back pain, and instead of treating the cause of the problem (recommending a better mattress or shoes) they throw drugs at the problem. Treating the symptom and not the sickness will never heal a person; and in theatre arts, it will never render your product worthy of merit.
So how does one make a distinction between one character and the next without using these transitions? So glad you asked; by treating the condition and not the symptom.
The condition is that the distinction between your characters is not clear. The way to make them more clear is not waving your arms about like a lunatic, but rather making the characters more distinct in your own mind.
What makes a child different from an old man? Posture? Speed of movement? Placement of the eyes? All these things must be taken into account during the process of character development.
Who is your character? What is their name? Do they have a favorite song? These may seem like insignificant details, but I assure you they will help distinguish one character from another in your own mind. When that has been done, your performance of both characters will differ so that the audience can see the difference.
There is a checklist I use in my acting classes and workshops that helps actors with character development. Here is that checklist:
1. Evaluate the role
Determine all the particulars that will give you clues about the character and how they move, act and re-act.
Fabricate what the script does not tell you.
2. Define goals of the characters --
What are the “Objectives”?
• Super objective -- the "Spine"; what character wants for the whole play. Also called the “through-line.” (50)
• Objective -- what the character wants for each scene
• Sub-objectives -- (Sometimes called "beats," or "units") these are changes of mood, intention, subject, etc., in a scene. (50)
3. Explore Character relationships:
All communication has at least two dimensions: the content of the message and the relationship of the message. We not only say things, but we say them in particular ways -- and the WAY we act often tends to develop, clarify, redefine a relationship.
4. Examine the Function that your role fulfills in the play.
Understand how your character relates to the theme and the action of the play.
Is your character:
A protagonist or antagonist?
A major or minor character?
5. Be Sensitive to the subtext.
Being sensitive to the actions and unspoken thoughts going through the mind of your character (what happens between the lines; the underlying emotional motivations for actions, and what your character says to others) can have a dramatic impact on how his or her motivations are interpreted by the audience.
6. Focus on your craft.
Know your role (in the overall production):
Pay attention to your own body, movement and placement.
How do you fit into the over all stage picture?
Make sure that your movement choices add to, and do not detract from,
the overall flow of the scene.
Adapted from: http://act.vtheatre.net/performance.html
Although this checklist speaks of a “text” and most Human videos lack a written “text” you can substitute the song and/or the ideas of the writer of the video. Whether that is you or it is someone you have never met, you are allowed to fill in the gaps. Fabricate whatever is not there for you.
You are an artist. In order to be an artist of merit, you must learn to be creative—to bring into existence that which was not there before.
Human Video
christian drama
church drama
evangelical drama
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