I'm really tired of my warm-up games.  Anyone have some unique ones they'd like to share?

TonyDi--no problems.  I know plenty of people who don't use warm-ups.  I find in my situation (jr. and sr. high school teacher) that these types of things get the students focused and working as a team--breaking through the usual cliques and the natural barriers of grade levels. 

FYI--by the time I get to run throughs we run scales and tongue twisters and then stretch.  The bonding is done and they know how to focus by then.

For those of you wondering about the games I listed before . . .

Broccoli, Tomato--it's a game where they all stand on stage and someone shouts an item.  A motion is associated with the item.  The last person to accomplish the motion is called out and has to step offstage, saying "Thank you, ______" to whoever is calling.  Tomato--hunch over with arms flexed and pointed down in a circle.  Broccoli--stand tall, legs together, hands in fists raised over your head like a broccoli stalk.  There's about 30 of these different things.  My jr. high likes this one better than my sr. high.

Zoom--group stands in circle.  You count in on a four count while snapping fingers (everyone does this).  The person who was designated, on the beat of the snap, looks another player directly in the eye and says "Zoom."  That person on the next beat does the same, but has to choose a different person.  There are variations with "Zip," (to the left or right but not across), "Zap," (turn to the left and the person you actually zapped was the person to your right) and "McFigliani" (skip a person).

Citing the legendary story – which may be verging on theatrical mythology, someone should ask Dustin Hoffman to confirm or deny it – of Olivier and Hoffman’s exchange during “Marathon Man” helps to put this discussion in some perspective.  There are, indeed, many valid ways to get from point A to point B.  If, as an actor, I could reach the heights of either of these great actors, I could probably speak a little more authoritatively on the subject.  Lacking that much talent, I can only use them or others of similar achievement as role models.  As such, they tell me that either approach can and does work.  If that’s the case, I think it is a bit selfish to rail against one methodology verses another.  It is one thing for Sir Larry to bust Mr. Hoffman’s chops and quite another to have any of us at the community theatre level to join in.  In Tony’s defense, on the other hand, this little bit of mythology tells us that at least in that film, there was room for actors to prepare in the way that was most suitable to them. 

But I continue to be uncomfortable with using professional models in an amateur, community theatre context.  Tony referred to “doing his job” and doing so in a most "professional" manner.  This suggests to me that Tony is not functioning in a true community theatre setting, but rather a professional setting.  If that is the case, I have to shrug my shoulders and declare apples and oranges.  I think there is nothing as dangerous to community theatre as trying to incorporate a professional orientation.  The very essence of community theatre means that the talent levels of any cast – and crew for that matter – will and should vary from the greenest novice to the most proficient and experienced artist available.  Given such diversity of talent, using developmental techniques as a director is valid and, I venture to say, required.  I recall a rather stereotypical community theatre actor saying to me once, “I’ve never had a(n) (acting) lesson in my life.”  I didn’t say it, but the first response to come to my mind was, “Yes, and it shows.”  Even at a professional level, artistic development must always be on an actor’s agenda. 

But let’s move on to the issue at hand:  warm-ups.  No matter what level you are – educational, community, or professional – warming up in some form or fashion is critical.  Dancers do it.  Singers do it.  Musicians do it.  As performing artists, why do actors think they are the exception?  And we not only have to warm-up our physical tools (body and voice), but we also have to warm up our mental processes, both emotional and intellectual.  Especially in community theatre, which is a passion and not a livelihood, warm-ups are a critical transition from all the distractions of real life to the focus on fun elements of theatrical life.  How that is done is not up to us as actors; it is one of the roles of the director to decide how s/he will shape the show and run rehearsals.  When I was acting, because warm-ups were so rare in community theatre, I would come at least a half hour early to rehearsals in order to warm-up.  (If that puts me in the Hoffman camp, I can live with that!) 

This issue obviously brings out strong feelings on both sides. When it comes down to it I feel you have to do what is best for the cast as a whole. We just finished our first weekend and I (as the director) did not plan to have a pick-up rehearsal/line through. However, when several cast members aksed me personally is we could have one I said yes. If it helps those few it's totally worth it to me. And let me also say that we have a 5 week rehearsal schedule, not 2-3 months. I have had other cast members say that they really don't get anything out of pick-up's, but they are willing to be a team player for the good of the show. That's what being in community theatre is all about.