|
Lest you think
the title refers to a sexual double- entendre of some sort of Carlos
Castaneda/ Don Juan metaphysical mushroom-eating hallucination, let
me define the term, “Kiss the Lizard.”
This term was
born one night in a class, during the performance of a fairy-tale
opera. The princess had to free the prince from a reptilian curse
with a kiss. The woman playing the princess was getting caught up in
the ecstasy of the moment and finishing her big aria. Her eyes were
closed and she was in another world. All she had to do was finish
her song and kiss the lizard, and then everyone in the class could
go home.
I looked at my
watch; saw there were only five minutes left in the class, and
started thinking to myself as she was singing, “Kiss the
Lizard.” I started to say “Kiss the Lizard” softly, and
proceeding to repeat the term, gradually getting louder and louder,
as the rest of the class joined me in what became a chant…”Kiss
the Lizard! Kiss the Lizard!”
Eventually, the
princess took the hint and did what needed to be done and the story
resolved happily ever after.
“Kiss the
Lizard” became a regular side-coaching term to use when anyone was
stalling, avoiding, waffling, negotiating, or, in any way, not
getting to whatever comes next. It’s interesting that even though
the improviser’s role is that of a storyteller, we sometimes shy
away from that which will progress the action, “up the ante” or
conclude the story. Often audiences more clearly see where a scene
needs to go than the players.
I’ve seen
scenes struggle because players won’t use any of the options
before them. No information is being given and no action is being
taken. I call it “Circling the Airport.” The scene is in the air
and looking for a place to land, but no progress is being made.
It is
interesting how scenes of confrontation can fall flat when the
players accept a stalemate by not being willing to follow through on
their goals. In the example of an “I’m leaving you” scene,
very often an ultimatum is followed by a lengthy discussion and no
action. If one party has reached the point of ending the
relationship and the other is being non-responsive, dismissive or
argumentative, why keep the scene/relationship going? I’ve asked
actors, “Why don’t you leave?” and gotten responses like
“Can I do that?” and “Then the scene will be over too soon and
he’ll be onstage all by himself.”
There’s a
difference between abandoning your partner and doing what needs to
be done. Being left alone on stage can actually help end the scene
by showing someone’s real reaction to what just happened. Does he
cry, get drunk or immediately call an old flame?
Do what you
would do in real life! If you don’t leave, what is keeping you
there? If you don’t want someone to leave, what are you prepared
to do to keep him or her there? The “Kiss the Lizard” in this
case, would be to at least attempt to leave and find out the
consequences of that action, rather than avoid taking action at all.
If you open a
door in a scene either literally or figuratively, or in life for
that matter, you must go through it. If you just stand in front of
the door and talk about going through it, then nothing has happened
and you won’t get to the “what comes next.”
I’m reminded
of the story of Elaine May auditioning with actors for “The
Compass Players” in Chicago in the 1950’s. The actors were told
that they were to improvise a scene where they were to go into the
bar and pickup the girl. The actors would sit down and try to make
witty small talk and Elaine would say, “Let’s go back to your
place.” If they continued the audition, trying to be funny instead
of getting up and leaving with Elaine, they weren’t considered.
The actors got
confused, because they didn’t expect the lizard to be kissed so
quickly and without a fight. They were probably more focused on “doing well” than on listening and reacting
to the moment, two essential skills for any improviser (and actor).
Improv Basics Class. Register Now! Save
$25!
Viola used to
constantly coach us “Show us, don’t tell us.” One of the
meanings of that is to do it, rather than talk about it. Whether you
might jump out a window or try to kiss someone, it is better for the
scene to act on the impulse and then deal with the consequences,
rather than discuss “what if?”
Doug Kassel,
October 7th, 2003.
How
to be a Better Improviser- Dan Goldstein
Guide for
improving your improv acting.
What's
Talent and How Do I Get Some? - Doug Kassel
Give
yourself time to learn and grow.
The Rules of Improv Part I
- David Alger
Some
basic and advanced "rules" to make your scenes stronger.
Making Sense of the Merkle -
Doug Kassel
Free
association and sound games for improving expressiveness. |