Contrapuntal Argument A, B and C
Two players and a timekeeper and a scorer.
• Act, don’t react. This includes the teacher and group leader as well. To react is protective and constitutes withdrawal from the environment. Since we are seeking to reach out, a player must act upon environment, which in turn acts upon player, catalytic action thus creating interaction that makes process and change’ (building of a scene) possible. This is a most important point of view for members of the workshop to have.
POINTS OF OBSERVATION
Argument as used here relates to discourse or point of view and not to debate or conflict. It is sometimes difficult for student-actors to realize that people might hold different points of view without imposing or being in conflict (and have a right to it).
Players must talk to each other and not at each other.
As in all transformation exercises, this is not to become a workout in association or inventiveness springing from a limited or prejudiced view of something. Suggest that players avoid all words that bring in subject, whether it be *%” “you,” or mention of the “subject” itself. This will prevent agreement or disagreement from sliding into mere back-and-forth chitchat.
When keen penetration of each other’s points of view is made and both players’ points of view expand, “I,” “you,” and “subject are brought in as part of the content rather than as a “hanging on” point, and the players transcend their points of view. An intuitive jump between players seems to take place (see Points of Observation in USING OBJECTS TO EVOLVE SCENES, p, 212),
If players do not solve this problem, come back to it after using TBANSFORMATION OF RELATIONSHIP. In that exercise “transforming” becomes more understandable because it is on a physical level. Interestingly enough, when CONTRAPUNTAL ARGUMENT exercises succeed, players physicalize, for it becomes impossible just to sit and verbalize. The point of view takes over the player from head to foot, and he is there, so to speak.