Boldly choose. Boldly commit. Accept everything your scene partner says and does. Accepting doesn’t mean you have to like it, but you have to allow it to happen – and to repeat.
Commit. Push forward. And you’ll find yourself on the other end.
Stopping forward momentum to discuss, argue or otherwise conflict will kill you as all your scene’s (and the audience’s) focus is on “what do we not understand.”
Commit. Believe and see. And you’ll kill it (rather than the other way around).
Acting. Webster’s defines it as: the art or practice of representing a character on a stage or before cameras. Fine. You’re acting when you’re pretending to be someone else. Then what’s “good acting”? Representing that character better. What’s “bad acting”? Representing that character worse. How does that relate to improv where the character only exists in what we do and what the audience sees? What about the 4th wall – so prominent in improvisation – that calls attention to the actor and the audience?
I like this definition for acting: Being convincingly in-the-moment.
Objective: To play with strong emotional perspectives that evoke strong emotional reactions and drive strong emotional scenes.