I have been thinking about how I improvise a piece. Firstly, I let my body do something. It may assume a static shape or start moving in a certain way. I am following the pulse.
Secondly, once the physicality is established, the pulse will move me to what I call one of the four "S"es: silence, sound, speaking, singing. Speaking or singing can be in gibberish. I do not consciously make a choice amongst the four "S"es. When I trust and follow the pulse I seem to be guided along in making that choice, perhaps subconsciously.
Improv for me starts with the physical discovery of the pulse. There is no room for thinking here. If we were to allow for a simplistic mind-body dichotomy, improv definitely starts in the body and stays in the body.
The body has its own logic and sense of direction. That is why it is pointless for me to worry about being clever, funny, or staying on track. I simply take the leap.
Once I completely accept the primacy of the pulse in the body for creating an improvisation, I am also free to explore improv as more than a narrative art. A narrative performance tells a story. The pulse may well guide me to tell a story or be in one but it may just as well guide me to a very different place. A place that has no stories to tell and yet a place I treasure.
Like the small red bottlecap that I loved as a child and played with more than anything else.
May the pulse be with you!
Abhay
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