Putting together my first performance?

[lambda]

I'm an amateur juggler, mostly just juggling for my own amusement and to teach other people the 3-ball cascade or simple tricks like tennis and mills mess. Of course, I'd like to put together an actual performance, but I'm generally way to shy to feel like I can get up in front of people and keep them entertained for 15 minutes.

So, I'm wondering, where the heck should I start? I put together a short, silent piece for a little variety show, where I walked around, tripped over balls, picked them up curiously, inspected them, dropped them, tossed them, and then finally started doing some juggling, working my way from 1-ball tricks through 4-ball tricks. It was decent enough for a first performance, at least I thought, though it needed a bit of music to jazz it up, and was maybe 5 minutes at best.

Of course, I realize that about 5 minutes is all I'm ever going to get out of just showing off some juggling tricks; even if I learn some amazing, technical tricks, they'll be completely boring to non-jugglers. Also, as mentioned, my silent show really needs music to go with it, and as I'd prefer to perform places where pre-recorded music doesn't work, and I don't have a musical partner, I probably need to work some speaking, jokes, and more physical gags into my act.

So, basically, what should I do next? I've tried looking at some videos online for inspiration, but I don't want to just copy other people's jokes, and most of the videos posted to juggling forums are just collections of technical tricks that would be amazingly boring to non-jugglers. How do I come up with good, original material, and then get over my shyness to actually perform it in front of an audience?

I know that this is a pretty big question, so I'm not expecting a complete answer, but any pointers for where to start or what to try would be helpful.

[Schuyler]

Coming up with a juggling routine without feeling like you're just doing the same old thing is really difficult, and I'm afraid that I don't really have any good advice there. However for shyness I can help.

I had a really hard time talking with people I didn't know for the longest time, and really still do, but it's the sort of thing that can be overcome with practice. The goal is basically just to start talking to anybody and everybody. Don't ignore people on the street, say hello. When you're in a store always ask for help, even if you don't need it and really interact the whole time you're with somebody. When you're paying then throw on a smile and start chatting. Your goal is to look people in the eye and get them to open up to this friendly stranger. You'd be amazed at the conversations you can start on the fly with just anybody.

It's terrifying, and very difficult at first, but hey, if I could do it then anybody can.

[Moira]

Audience as the new prop

I'd start by thinking about how you could put audience members into your show. You can take a humdrum old trick and make it original and funny by involving a volunteer somehow. It will also take up some time because you'll have to have a little conversation and give instructions. If you're shy it will also take a lot of the attention off of you while the volunteer is standing up there. Good luck!

[Isabella]

Being interested makes you interesting. That's a good point about talking to strangers as much as you can - showing interest in other people makes you a more interesting person to talk to.

Your description of your first act sounds like you are playing this concept well - Keith Johnstone has some good stuff on being interested in "Impro For Storytellers," and there might be some improv exercises in there that give you good ideas for your act.

Have you read "How to Steal Material Without Getting Caught"? It's a really good article on taking ideas and making them truly your own through a creative process.

Why doesn't pre-recorded music work? Why not hunt for a musical partner? Bill Irwin has done some amazing things with his pianist as his partner, and it might be worth hunting out someone.

What if you found the venue where the 5 minute show works until you have more material?

Most jugglers I've seen don't actually have that many "tricks" in their shows - there's set-up and laying out props and working up to doing the tricks as much as actually doing them.

Now I'm brainstorming - what about if you did a whole show about not being able to talk to people? You keep approaching them (in the context of the show) but every time you are about to say something you can't, you have to go away and juggle something, and then the juggling becomes about character and need instead of tricks...like, ok, juggling will calm me down. Or, juggling will work up my nerve. Or, juggling will help me get suave hip movements...and then play the contrast between who you are when you juggle and who you are without the props in your hands. It would be neat to see the contrast between powerful and vulnerable.

Just some thoughts

[Daniel Craig]

You are on the right track by saying most amazing technical tricks are boring for audience members.

The biggest thing to do is to think about who you are and what kind of character you can comfortably portray. Don't steal jokes, start with a short show and move up from there. A fast paced fifteen minute show is going to be better than a half-hour that dredges on.

Be larger than life. Be who you can't be when you're a regular person. Be something that seperates you from the people watching you. Be something that people, in even the basest way, can relate to.

Also, even if you're quakin' in your boots, smile and be confident. Fake it till you make it-- Then you'll make it.

[Butterfly Man]

need I say i again?

Let the audience determine who you are ... it is they, themselves, who determine your stage character, not you .

Don't do other people's stuff in the beginning .... don't put anything else in front of them (the audience) than you (unprepared is best) ... it's quicker that way.

[Rachel Peters]

Robert, are you sure "unprepared is best" for everyone?

I'm not completely, entirely convinced.

I trust your knowledgeable know-how in nearly everything performance related and completely agree with the rest of your statement (that the audience determines who you are), but could some performers not function differently in regards to preparation?

In everything I do I've found I worked best to start by over-preparing and memorizing a script down to the word – down to the beats. It eases my mind and THEN I can veer from it. Kind of like knowing the rules before you break them. I want to know my structure before I play.
I'm not talking specifically about street, because street encompasses the least of my experiences (I’m a baby there and I know it, and the street I AM pursuing this year in is pavement art), but in any other type of performance I've had (stage, speaking, acting) that’s how I’VE functioned best. Just to get rolling. If I know my script inside and out, I can’t freeze… you know? Sometimes the fear of freezing causes me to freeze, and if I know I know my show I’ve taken away some of that fear. That's what works for ME, anyway.
That said, I have discovered I enjoy Q&A style public speaking best BECAUSE of the improv involved and the extra UMPH of life it brings (I do love it), but my first few times sucked because of my nerves.
…When it did go well it was because I knew my topic inside and out – because I was living my topic.

I’m just wondering if “unprepared is best” for everyone.

Maybe it is.
Maybe it's foolish of me to question The Butterfly Man.
Maybe I should kiss your ring and back away slowly.

[Rachel Peters]

Originally posted by Isabella
Being interested makes you interesting. That's a good point about talking to strangers as much as you can - showing interest in other people makes you a more interesting person to talk to.

I've always loved this point, and just recently got a new perspective on it from a loverly and articulate English teacher.
She pointed out that the stories which are really interesting are NOT the ones that are narcissistic outlets for the author (written about themselves), but the ones which are written as observations about others. I had never noticed before but it's true that I tend to be more interested in stories about what an author thinks about the rest of the world and the other characters in it, rather than hearing what he thinks about himself and the things he said that he thinks are witty.

knowhati'msayin?

I like that point she made.
(And I'm pretty certain that's what struck me about "Nagasaki Circus", now that I think of it. Martin's character was secondary -- simply a conduit, to move through the the story and meet the other characters.)

[Butterfly Man]

Kiss my ring , please

I think you should have some idea where you are going (from prop to prop) ... but ... to script it, and to "get it down pat" seems like a disaster waiting to happen.


I say, start from scratch ... it forces you to relate.


It's not someone else's play ... it's yours.

[Rachel Peters]

ok.
i trust you.

[Stretch]

But what do I know . . .

I'm just a clown. I started by getting dressed, and in make up, with nervous sweat running down my ribs I would crash a festival, strolling from inspiration to inspiration. I kept doing it until the sweat stopped rolling - mostly.

By actively listening to your audience you will able to develop new material. Original material.

Stretch your imagination. Be open to asking ridiculous questions, and supplying preposterous answers. Ask what is next?

From the book: "Comedy is a man in trouble". If you don't read the book, at least think about the title.

Shoot yourself if you ever find yourself saying: "And for my next trick . . ." Ok, you don't have to shoot yourself, you can find someone else to do it! ;>)

Perseverance ! Keep at it and you will out last your fears. Attitude is everything.

[Steven Ragatz]

Some concrete advice:

Choose tricks for your show that you can already do, and do well. Don't worry about what other jugglers can do in comparison.

If you want to write jokes or comedy make sure that you think it's funny. Don't try to anticipate what others might want by writing for the audience, write for yourself. It has to make you laugh more than anyone else.

For street don't do anything with a theatrical context (narrative or complex story like discovering the balls and 'learning' how to juggle.) Part of what makes street performing so interesting is that it is very raw - wysiwyg. KISS it all the way (Keep It Simple Stupid).

Some abstract advice:

Work on the show, but don't think that when you are starting out it is about the show, because I think it isn't. What is most important is that you simply get out and do it as often as possible, in as many different situations as possible, and FAIL as much as possible.

(This is advice - really good advice - but honestly, it comes from someone who has yet to learn it himself.)

Learn to fail. Even if you spend the first few years not actually developing the 'great show', if all you do is learn to fail and not be afraid of that experience you will be further along than most of us here. Imagine how powerful and liberating it would feel if you could stand up in front of a crowd of thousands and be so at ease that you could do and say ANYTHING, absolutely anything without the fear of failure. That would be the making for a great show.

Currently, you're not making any money at performing, don't have any bills that you expect to pay with your show, and don't have any ruts or habits that you've acquired. Right now you are in a position where you have the luxury of failing, so take advantage of it, because once you get really tied down by the inevitable success you may find yourself feeling shy again.

Steven Ragatz

[Chris Griffith]

re: shyness

First of all, the more relaxed you are, the more relaxed the audience will be. Breathe out and they will breathe out with you. Hold your breath, and they will hold their breath as well. Feel an emotion intensely, and they will feel it.

So -- work on your relaxation. Practice Yoga, take deep breaths to calm your heart, memorize a script, whatever it takes to make you relaxed, loose and comfortable.

Next, it is helpful to realize that the audience actually WANTS you to succeed. They are investing their time and (hopefully) some dollars in you, they don't want you to flop. What would that say about them?

Ride their enthusiasm -- don't let them down. If they start to giggle at something, do it again BIGGER. Three's the charm. Four is most often death.

Finally, most pitches where busking is good have a LOT of people with money in their pockets, but little actual entertainment. They are entertainment-starved and seeking out something to invest in. That's where you step in. Give them something they feel good about.