Sensitive Characterisation - Part 2.

After discussing the experience of the excercises contained in Sensitive Characterisation - Part 1 , and still working with the drama group as a whole, further develop the work by requesting that the group now include sensory sensitive reactions in their physical movement.

For example, the group could begin to include and show sensitive reactions to imagined odours. As before, the decision to move should be an unspoken group sensitivity decision. Repeat the exercise, only this time, suggest that the drama group include listening to imaginary sounds, such as beautiful and soothing music, frightening screams, laughter, and so on.

The movements and reactions, at this time, should not be triggered by voice or signal - they will happen naturally from within each person when they themselves are aware or become sensitive to that moment - thereby enabling the conscious creative response of the whole working group.

Once your drama members have reached this stage in their development, throught regular sensitivity workshops, characterisation can provide the opportunity to add depth to the exercises as it too begins to become more conscious.

The following ideas for exercises show a gradual progression from the sensitivity exercises above, and are a simple introductory method of exploring the causes and effects of the actions and reactions of characters.

Exercise One

Explain to your drama group that, once again, the workshop includes the whole group, but this time the group has a character 'type', which will be chosen for them by you, the Drama Worker/Director. In addition, you are going to put them in certain 'types' of environment, but each one of them is free to create their own individual character with his/her own traits, within the group.

Whereas previously, the group acted without a trigger by voice or signal, this time they must listen for and respond to, instructions they hear from the Drama Worker/Director.

Throughout the exercise, there should be no dialogue, and they should work

a) as individuals within a group.

b) to try to include the sensitivity elements included in previous exercises

c) within the maximum space available to them in their drama environment

The Drama Worker/Director should use his/her discretion as to the time allowed between each instruction.

The drama group are 'Hill Walkers' of mixed ages who will make their journey by following directions from the Drama Worker. They should be given three minutes before they begin to create their individually chosen characters. Once they are ready, place them in the imaginary starting point, and tell them they may set off on their hill walking trip whenever they wish. Once they make their group sensitive decision to start, you, the Drama Worker can begin directing their journey by suggesting the following:-

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