In our Last deconstruction class, we pretty much ran the form itself. Deconstruction is a very fun form because it has a section after the 2nd beat where you can make a run just based off of an idea from the source scene. I find that you rarely get to do runs in Harolds. It's really only possible if you make it to the 3rd beats.
I've been experimenting with just sounds and matching myself til it forms into a character. I did a series of scenes as a vampire, I used kind of a stance and accent that would make a vampire, but it was general. She didn't get it at all, but she is such a cool improviser because as opposed to calling it out, she'll just kind of sit in the confusion for a little and let me kind of clue her in. That kind of comfort begets fun scenes. I remember seeing lots of scene where one person is NOT on the same page as the others and since nothing gets called out, the game is how confused this person is. It can be a real crowd pleaser. I initiated that scene with "Draco, we don't connect like we used to". Her confusion just kind of fueled it. She would try and match my moves and I would take it as she was making fun of me. It was short and fun.
I did an odd scene that was amazingly fun. I played passive aggressive nice. Passive aggressive usually never works. But, my partner initiated with "I have mono and I have to take a few days off". I had already given a suspicious squint, so I hold it, let it inform my decisions as opposed to thought. I say, "You been kissing people, have you?" , denial, "You haven't been kissing Janet from accounting".
My partner goes, "I wouldn't do that to you Dan?". I felt at this point we had something. In my mind, I know exactly that he's doing Janet. I don't want him to confess, so if I do it in a sarcastic rather than angry manner it kind of comes off as more interesting. Because it's not a fight, it's like a sarcastic need for the truth. I also set up that me and Glenn would be in the back of my Cutlass talking about how Janet was the one.
Funny thing, I used to have a cutlass ciera in high school, there were plenty of conversations about girls in the back of that cutlass. Use what you know I guess.
At some point during a lie, I yelled, "Glenn?!" looked around "Glenn? Thought you were my friend?"
"I'm still you're friend Dan!"
"I'm looking around my office don't see any friends"
Glenn, the word and the way I said it, got some laughs. Maybe I could hold it in my pocket for a heightened scene.
The character of Glenn and Dan ended up being called back a lot in the Deconstruction. It was great. Every scene was kind of a "I know what you did" but trying to prod. I could say things that made me feel worse and Dan could do things to make me feel worse. The game was kind of how frustrated could Dan be at Glenn without Glenn ever confessing to anything. Coincidence laying on coincidence.
Revelations and Notes
When I walk out and feel out a scene, (non initating), I commit to the first feeling toward another person. Just let that inform the lines. It'll be gradual but as long as you stick to your guns you wont break audience promises.
If I initate with a character, I also have to really want something. There's a lot of pressure on the initiator. I find that for long scenes I rarely initiate because I find that the more I think it's a good idea the less organic it is, hence it will never pay off in my mind. I initiate lots of 2nd and 3rd beats because they don't have to be grounded and are just added bits and pieces.
I really love my deconstruction class. There is a lot of talent there and as I find myself working with better improvisers, I find that it's okay to stick back, just feel it out. As long as the show is cool, I'm fine with not doing very much.