First of all, I have to disagree about the spontaneity thing. While there's a 1,000 hours of prep work that goes into acting, into movement, into everything that is art, it's nothing without spontaneity. Improv in particular has to have that at its core, and to say that no good art is spontaneous is insulting to me. Plus, there's what Christy talks about in direction - 95% of the time when you pull something out of your butt, it's crap. But 5% it's totally brilliant. This is not to downplay the importance of prep work and artistry, but man, to say that no good art is spontaneous? Nahhhh.
As for the rest - interesting understanding the thinking behind the three second game. I can dig it. But if I hadn't taken improv already, it would have put me more in my head, I think. As is, it did give me a couple seconds to center myself and stop letting my brain dictate. So that was cool.
The analysis on Chaplin and Keaton, though, that is pure gold. I particularly liked the interjection of training Robert Downy Jr. I love that biopic, his performance in it was so damned amazing with the physical comedy that I had to go back and watch as much Chaplin as I could (and since this was before the days of the Internet, that was like, five movies available at the library.) I kind of wish he'd talked about Harold Lloyd a little more, the guy was a genius as well - not as good as Keaton and Chaplin, but he was amazing in his own right. He's notable, too, being one of the few slapstick clowns who turned a profit with talkies. Mad Wednesday is one of my favorite films because of him.
Right. Workout log: I went dancing for the first time in ages, and not only did I need less alcohol to start dancing, but it felt so much more natural this go 'round. I wasn't in my head and I had a really good time. My muscles hurt all over the next day, but it was totally worth it. Also did some sit-ups over the course of the break, and I'm getting some really good core strengthening as a result.
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