Leading the Blind

I still remember it like it was just yesterday. I am walking out of Second City's stone steps into Chicago's Old Town. I feel the cool air of a Chicago evening rushing against my body. I hear a continuous shuffle of passersby as if they are one and I am apart from them. Except that as they brush past me I feel them, feel their impatience. I see nothing. I feel the firm hand of my partner between my shoulder blades guiding me through an experience that will use all my senses. All except one: I am to keep my eyes shut for the entire duration of the exercise.

We walk down the street, cross the busy intersection, walk into a flower shop, smell and touch flowers until we are thrown out, go to a cafe, order coffee with a slice of lemon on the side, sit down, sip coffee, sniff lemon, sigh. It has been fifteen minutes and I have not opened my eyes! Meanwhile my partner has taken me on a guided sensory tour encouraging me to smell things, touch them, taste them, listen deeply for sounds far and near.

We overuse our sense of sight. Giving that one sense a rest allows us to use the other senses and experience the world in its fullness.

May the pulse be with you!

Abhay

Image: Mahatma Gandhi being led by a young boy.

Trust

We are an ensemble. We are to work together, not as individuals. We are not special, wannabe stars, but a theater group. The business of improvising is very serious. At the bottom of it lies a profound trust. Each of us completely trusts the other. Without trust there's no improv theater.

Trust as any other concept in improv must be developed through the physical rather than the mental. Lecturing you about trust does you absolutely no good. We must allow our bodies to learn to trust.

Catch Me Falling is a wonderful trust building exercise. We visit it often and physically partake of it's wisdom. Each time we do it a little more trust is built. By the time the workshop is over we'll trust each other with our lives. Well, at least we'll trust each other enough not to let anyone fall!

The group stands in a circle. One performer let's call her A stands in the middle of this circle. The circle closes in so that 1. Each person in the circle is very close to A, 2. Each person in the circle has one leg behind them for stability and support, knees slightly bent and hands up, palms facing A. Now A closes her eyes and keeping her knees straight, arms loosely held by her sides, starts falling! Whoever is closest to the direction of her fall works together to catch her and gently pushes her in a different direction. The group standing in a circle work together. When A starts falling towards you, you and your neighbors on either side spring into action to gently and together catch A and just as gently then to push A in another direction. A is simply enjoying the sensation of being gently tossed around like a rag doll trusting that whatever happens the group is not going to let her fall.

Feeling the complete and unconditional support of group in a real, physical way creates the groundwork for creativity and play. By the way, don't be afraid to laugh when playing this game. Just make damn sure whatever happens you never let A fall.

Adjust the size of the circle. Try out various diameters. If A is big and heavy let the circle move in. If A is small and light let the circle expand a bit. Experiment!

The best place to 'catch' A is the back, shoulders, shoulder blades, and upper chest. No grabbing (unless you are saving A from really falling) just soft, caring, open palms.

May the pulse be with you!

Abhay

Image: Stonehenge.