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Spots wrote:Don't worry about definitions just yet.
Spots wrote:I don't think they are important.
Spots wrote:At New Movement, game refers to the players training themselves to truly listen and get on the same page what the scene is about.
In the last scene the Game was, "the world shits on Dave and it gets worse and worse for him."
Game is the larger frame in which we choose patterns and heighten.
I don't want to stress the game so much what this accumulative training does. You get tighter and tighter with your ensemble looking for intent, character motivation, context.
But game means so many different things and I sense you'd prefer a list. Let me see if I can dig up a recent article on this.
Spots wrote:Players knowing what the game is at the top of the scene only applies to one format.
The Armando.
There's room for the game to be tight or loose here. I come onstage with you and have to "figure out" what your idea is.
You could argue that this also applies to later scenes of a Harold or Montage but this is semantics. Most games are discovered.
Again, I would like to stress the accumalutive training a student receives in finding the game. This hones the idea of discovery down to more nuanced analog information like body language, feelings of space and status, the intonation of voice. Your training provides you an infinite number of games based on whatever analog information inspires you.
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