The three basic acting strategies of the Carousel Concept:

 METAMORPHOSIC ACTING - MIMETIC ACTING - NOMADIC ACTING 

Metamorphosic acting as strategy for the mainplayer

What is metamorphosic acting?

Metamorphosic acting is an act of devotion and electrification

Metamorphosic acting is a fluid and conscious movement. It is a constant process of becoming for the main player who stays open to all incidents arising in the improvisational situation during the encounter with the supporting players. Transformation into other forms of being happens through a permanent mutual insemination affected by the supporting player, the circumstances of the rehearsal situation and a conscious awareness about the presence of the audience. The metamorphosic actor comes into being through an affective immersion into the encounter with the supporting player and all other circumstances. This enables transformation processes for the main player in manifold forms of being.

Meaning of metamorphosic acting

The goal is to reveal and rehearse the self-awareness of the actor/student and his/her craft in the sense that each encounter with the supporting players activates different sides, layers, or segments within the main player that can be used for the acting. This metamorphosic process creates awareness about how the actor fluctuates between different poles or personality aspects. The actor learns to understand the dynamic of transforming into another by getting affected through the circumstances and thus enlarging individual forms of expression in acting. Life in the carousel is both self-transgressive and self-conquering. 

Mimetic acting as strategy for the supporting players

What is mimetic acting?

Mimetic or classical acting is an act of will and intention.

Mimetic acting is a driven and conscious movement. It is a constant process of insisting on playing in a credible and convincing manner for the supporting player in the improvised encounter. The task is to act out an idea about a fictional character and make conscious choices. It is about doing things directed by the fictional goal/desire and provoking reactions from the main player. A spontaneous act within a certain frame. The dynamic of transforming into another happens by getting affected through will and intention. The mimetic character comes into being through imagination of the self as a role that consists of a collection of different aspects. These aspects can be represented as variations of real persons/ mythical beings/ stars/ animals/ things/ stereotypes etc. E.g.:  Myself staged as a real person from the current society. Myself staged as a baby.  Myself staged as a lawyer and a barbie. Myself staged as a vampire and a neighbour. Myself staged as Nietzsche. Myself staged as a fictional version of the mother/ the uncle/ a friend of the main player …

Meaning of mimetic acting

The actor learns to connect with the idea of a “character” composed of different selves and things. The goal is to train an awareness of the character as an assemblage. A construction of different forms of beings/things/functions generated and inspired by certain segments of the main player’s autobiography and the actor’s own imagination. The actors can devise and experience themselves in each carousel round as a different character and as such enlarge their instrument of expression.

Nomadic acting as strategy for the nomadic player

What is nomadic acting?

Nomadic acting is an act of sampling. 

It addresses both positions simultaneously. The position of the performer and the position of the actor. Nomadic acting is a fluid and conscious movement as well as a driven and conscious movement. Both players, MP and SP move through the bubbly improvisation encounter where presentation and representation, the autobiographical and the fictional start to twist into each other: The process of sampling happens through a permanent mutual insemination simultaneously affected by the presence of the players, the task of the fictional goal and the ongoing circumstances of the rehearsal situation.

Meaning of nomadic acting

The students learn to fictionalise autobiographical material and take it further into characters as extended identities who move through improvisations and performance modes where the autobiographical and the fictional, presentation and representation twist into each other.

LITTLE ABC CAROUSEL. Certain Categories for the Carousel Practice

Certain Categories and Terms applied referring to the lively production process in the Carousel

CONFIGURATION: The configuration of the Carousel Concept is equivalent to the synergetic production process of a performance.

PLAYERS:MAINPLAYER,MP/SUPPORTINGPLAYER,SP/NOMADICPLAYER,NP/AUDIENCE, AU

STAGING:PROLOG/ INTERLUDE/ MAINPART/EPILOG 

ACTING STYLES:METAMORPHOSIC ACTING/MIMETIC ACTING/NOMADIC ACTING

PLAY STRATEGIES:PERFORMING MODES/POSITION OF SELF AND OTHER/ PRESENTATION REPRESENTATION/CONTEXT/FORM/ACT/MOVEMENT/TASK/PROCESS/ATTITUDE/

TRANSFORMATION/AUDIENCE CONTACT/AUTOFICTIONAL GOAL/COSTUMES/PROPS/METHODS

CONTEXT STRATEGIES: ASPIRATION/REPETITION/MEMORY/IMPROVISATION

THEORETICAL STRATEGIES:DISINCARNATION

PLAYERS:

MAIN PLAYER, MP = Performer. The main player is the hero and the star of the carousel adventure. The main player performs him- or herself as a metamorphosic player.

SUPPORTING PLAYER, SP = Actor. The supporting players are the catalysts for the main players storylines and adventure. They create the secret goals and the fictional layers. They perform themselves as mimetic characters.

NOMADIC PLAYER, NP = Performer and Actor simultaneously = Hybrid between MP and SP. An in-between identity that is never fixed and in a constant process of becoming. Happiness of pure present.

The nomadic player appears at the meeting between MP and SP, performer and actor, the authentic and the fake. In the struggle of always trying to create context and stability in an unstable improvisation situation, both players are responsible for allowing this play position to appear. Once they have experienced it here, they can apply it elsewhere.

AUDIENCE,AU = The audience consists of the other supporting players, not currently in an improvisation. They observe the ongoing improvisations, reflect on how to best affect the main player when it is their turn in the carousel round-dance.  As an outer eye that also includes the task of being a witness to the ongoing carousel impro event for the reconstruction session in the reflection round.

4 STAGES OF STAGING THE CC:

1.   PROLOG: 

During the prologue the supporting players interview the main player about his/her personal life. 

The interview exercise is staged as a live performance by interacting with the audience.

2:   INTERLUDE  

The interlude serves as preparation for and transition to the carousel round dance. During the interlude the supporting players meet without the main player to decide on an autofictional goal for a scene they wish to enact with the main player. 

Break 1: Before the Carousel round-dance: Warm-up

3.   MAIN PART- CAROUSEL ROUND DANCE

The Carousel round-dance, CRD, is a series of episodes where the improvisation is staged as a theatre rehearsal directed by the goal of the supporting player. The supporting players jump on the carousel and take turn performing their scenes with the main player.

Break 2:  After the main part: Cool-down

4.   EPILOG:

Reflection:

The epilogue is a reflection staged as a reconstruction, a conscious finding and recollection process of the  experience-based parts of the Carousel practice.

ACTING STYLES:

METAMORPHOSIC ACTING = strategy for the main-player. An act of devotion and electrification

MIMETIC ACTING  =  strategy for the supporting players. An act of will and intention.

NOMADIC ACTING = strategy for the nomadic player. A moveable act in which both strategies twist into each other. Metamorphosic and mimetic acting simultaneously.

PLAY STRATEGIES: 

PERFORMING MODE belongs to forms of becoming 

MP = performing oneself as oneself = metamorphosic acting

SP= performing oneself as character = mimetic acting

NP = performing oneself as oneself and as character simultaneously = nomadic acting

POSITION OF SELF AND OTHER belongs to forms of being on stage

MP = self and self

SP = self and others

NP = self and self and others

PRESENTATION // REPRESENTATION

The idea of performance art is presentation, which includes the performers ability to perform him- or herself. The performer is not pretending to play a role. Presentation is linked to authenticity.

Representation includes the actor’s ability to transform him- or herself into a character/role. Representation is linked to the ‘as if’ mode/fake.

MP =  Presentation

SP =  Representation

NP =  Presentation and Representation simultaneously

CONTEXT  belongs to forms of thinking

MP =  Autobiography. The biography of the MP is the context and mental generator of the play encounter in the improvisation.

SP =  Fiction. A fictional idea is the context and generator of the play encounter in the improvisation.

NP = Autofiction. The combination of autobiography and fiction is the context and generator combination of autobiography and fiction.

FORM belongs to framing

MP = Improvisation in a surprise setting. The MP does not know the secret mission of the SPs.           

SP = Improvisation in an arranged setting. The SPs create the secret goals and the fictional layers that drive the scene.

NP = Improvisation assembling both settings. The NP is an in-between identity that is never fixed and in a constant process of becoming.

ACT belongs to forms of acting

MP = Act of Devotion and Electrification = Metamorphosic acting.

SP = Act of Will and Intention = Mimetic acting = A spontaneous act within a certain frame.

NP = Act of Sampling = Both simultaneously = Nomadic acting.

MOVEMENT belongs to forms of moving

MP = A fluid and conscious movement propelled by always trying to create context and stability in an unstable improvisation situation.

SP = A driven and conscious movement propelled by desire and the intention to achieve the play-goal.

NP = Both, arising from the ongoing play situation.

TASK belongs to doing things concretely

MP = an affective immersion into the encounter with the SP that influences her/his decision-making process during interacting and re-acting in the improvisation.

SP = acting out an idea about a fictional character and and making conscious choices relating to the respective goals.

NP = Both. Cross over between both positions and balance the unpredictability of the situation.

PROCESS belongs to gradual and irregular forms of developing

MP = a constant process of becoming, staying open to all incidents arising in the improvisational situation during the encounter with the supporting players.

SP = a constant imaginary process of insisting on playing credibly by doing actions in the improvised encounter.

NP = a process of sampling that happens through a permanent mutual insemination simultaneously affected by the presence of the main-player, the task of the fictional goal and the ongoing circumstances of the rehearsal situation.

ATTITUDE belongs to forms of behaving

MP= Chameleonic. Coined by an adaptable, open, trusting and dedicated form of behaving.

SP = Fake. Coined by a fooling around and lying credibly form of behaving.

NP = Nomadic = Fake and Chameleonic simultaneously.

TRANSFORMATION belongs to playing

MP = Through circumstances, devotion and imagination. Transformation into other forms of being happens through a permanent mutual insemination affected by the supporting player and the circumstances of the rehearsal situation.

SP = through idea, desire, imagination and intention. The dynamic of transforming into another happens by getting affected through will and intention.

NP = Both. Transformation into other forms of being happens through devotion and electrification as well as through will and intention.

AUDIENCE CONTACT belongs to acknowledging the presence of the audience, playing directly to it and experiencing the audience as co-creators

MP = is aware of the audience. The audience is a co- creator for his/her mode of performing.

SP = ignores consciously the presence of the audience by using the idea of the fourth wall and acting as if s/he cannot see through the invisible wall.

NP = both positions twist into each other.

AUTOFICTIONAL GOALbelongs to playing the Supporting Player

MP = using no goal.

SP = using an auto-fictional goal, based on the main player’s autobiography mixed with fictional elements. It is a productive force.

NP = using both: Simultaneously interacting/re-acting to the ongoing play situation by developing goals that arise organically out of the ongoing play situation with the others.

COSTUMES belong to the staging style

MP = using no costumes

SP = using costumes

NP = Both

PROPS belong to the staging style

MP = using props

SP = using props

NP = using props

METHODS belong to character concepts 

MP = Postmodern/ Artaud/

SP = Stanislawski/Brecht

NP = Disincarnation

CONTEXT STRATEGIES:

ASPIRATION belongs to human nature and abilities that could be regarded as stimuli for making the work in the carousel special:

Un-certainty/ Ambiguity / Vulnerability / Imagination/ Unpredictability/ Compassion / Humor/ Shame/ Crisis/ Fantasy/ Fear/ Courage / Sorrow / 

REPETITION  belongs to constant being. The eternal return/Changing Same. The constant in the surprise setting of the carousel, that keeps on spinning with shared responsibility and authorship. New performing and acting possibilities, knowledge and strategies appear with each repetition. The repetition is a movable setting. There is “no repetition” because each day is already formed of other impressions, moods, experiences…

MEMORY/RECOLLECTION belongs to experience and insight

Creates the starting point for the stories and plays a role for how one acts and reacts to specific situations. It turns the experimental adventure in the Carousel event into experience and insight.

IMPROVISATION belongs to balancing unpredictability

To act spontaneously within a certain frame in an arranged setting as well as in a surprise setting.

A performance that is invented here and now by the performers and not practiced before.

THEORETICAL STRATEGIES: 

DISINCARNATION belongs to theory

In her PhD dissertation Disincarnation: Jack Smith and the Character as Assemblage dramaturge and researcher Mette Tranholm from Theatre and Performance Studies at the University of Copenhagen presentsthe term disincarnation. Disincarnation refers to the traffic between classical, Brechtian, Artaudian, and postdramatic acting techniques in contemporary performance theatre.

Disincarnation is characterised by different acting techniques crossing over into each other in a character assemblage.

Frame and User Manual for The Carousel Concept: 

The Carousel Concept is a serial improvisation that is staged as an event in 4 acts:

(1)  Prolog:Interview.(2) Interlude:A Secret Meeting- Preparation and Transition. 

(3) Mainpart: At Home At -The Carousel Round Dance: A series of episodes, each between two people. (4) Epilog: Reflection.

The carousel concept aims to train the contemporary actor. Rather than focusing on one singular method the carousel concept is a tool for training various acting techniques. 

The Carousel is a play within a play that get improvised as a circular repetition movement, in which all actors/students are engaged in different play- positions. 

The actor/student take turns playing the main player, the supporting players, and audience in order to explore basic acting techniques and the connection between self, role, and other.

The Main Player (MP): The main player is the hero and the star-role of the carousel adventure. Acting strategy - Metamorphosic acting: The main player performs him- or herself as him- or herself /presentation

The Supporting Players (SP): The supporting players are the catalysts for the main player’s storylines and adventure. They create the secret goals and the fictional layers. Acting strategy - Mimetic acting: Performing oneself as a character/representation

The Nomadic Player (NP): The nomadic player is a hybrid between MP and SP. An in-between identity that is never fixed, but in a constant process of becoming.The NP appears at the meeting between MP and SP, performer and actor, the authentic and the fake. Acting strategy -    Nomadic acting: Both positions simultaneously/presentation and representation

The Audience (AU) = The audience consists of the other supporting players, not currently in an improvisation. They observe the ongoing improvisations, reflect on how to best affect the main player, when it is their turn in the carousel round-dance. As an outer eye that also includes the task of being a witness to the ongoing carousel impro event for the reconstruction session in the reflection round.

The Facilitator: The facilitator monitors/ guides/ the process. The facilitator is responsible for the form and dynamics of the carousel improvisation as a communicative process.

The carousel exercise is divided into four stages:

1: PROLOG: 

Interview:  The main player’s live performance.

The interview exercise is staged as a live performance by interacting with the audience.

• Choose the first ’main player’ of the exercise. The main player is the hero of the carousel ride.
• The rest of the acting students perform the supporting players that interview the main player about his/her personal life.

2:  INTERLUDE  

Preparation and transition:

The Interlude is staged as a secret meeting. A conspiracy process

• The main player leaves the rehearsal space.
• The supporting players come up with a secret goal for the scene they want to play with the main player.
• The goal is inspired by the main player’s biography and mixed with fictional elements. Thus, the memory lane of the interview informs the content of the fictional goals.

Break 1: Before the main part: Warm-up with all participants

 3.   MAIN PART– CAROUSEL IMPROVISATION

At Home At-The Carousel Round Dance. A series of episodes: Each between two people.

The carousel improvisation is staged as a theatre rehearsal.

Carousel 

• The main player re-enters the rehearsal space and prepares his/her personal carousel space as set designer together with the supporting players.
• The supporting players knock on the main player’s invisible door one by one.
• The supporting players perform their scene with the main player and exit through the invisible door.
• The main player does not know who or what will show up at his/her door.
• The carousel spins until all the supporting players have acted out their episode with the main player.

 Break 2:  After the main part: Cool-down exercise

4.   EPILOG:

• Reflection: The reflection is staged as a reconstruction of the carousel round-dance event. A conscious finding and recollection process of the experience-based parts of the Carousel praxis. After the Carousel improvisation the students take on the role of a detective who travels to the scene of the Main part to reconstruct, reflect upon and analyze the events of their experiences and performance in their different functions.

Repetition: The carousel event is repeated, enabling all the actors/acting students to examine and try to get to know all functions of the collective production process: Interviewer, main player/hero, concept/goal developer, supporting player, set designer, audience/outer eye, and reflection partner with shared responsibility and authorship.

1. Frame and User Manual for The Carousel Concept 

2. The three basic acting strategies of the Carousel Concept:

Metamorphosic acting/ Mimetic acting/ Nomadic acting

3. Little ABC Carousel. Certain Categories for the Carousel Practice

4. Overview of Acting Strategies and Play Positions in the Carousel Concept