The work with planning and structuring a performance, and exploring the performative formats are different depending on the goal or the production at hand. This can in many ways be connected to the musical idiom, or style at hand. It is also a matter of integrating specific events that need to be included in the performance, such as presentation of a certain performance technique, integrating methods of interaction with other actors, such as light designer, orchestra or choir, establishing a performative approach in terms of modes of contact and dialogue with the audience and integrating the suggestions given from the into the performance. We establish structures for storytelling and choose stage techniques for the performance, along with developing the formats, often by combining old techniques with new. Central questions to us in the work are: how can we portray relations? How can we be clear in our intentions and still leave space for action for the others? How can we use our knowledge of opera and classical vocal performance in the format at hand? With what means to we portray characters, or physical space?
The classical dramaturgy, described by Aristotle is a source of inspiration. In longer formats we often use a five-step model: platform, presentation, conflict, turning point and ending. This can also be described as creating a platform, presenting characters, introducing a problem, friction between contrasting wills, confrontation, turning point and an ending of the scene. We use inspiration from movement and dance, storytelling, vocal classical performance in opera and concert, acting methods, poetic non-mimetic formats, drama, clown, modern improvisation theatre and film.
As the improvisers create the dramaturgical structure in longer formats by the choices of musical and staged actions, these parametres are closely connected in opera improvisation and lyrical improvisation. The starting point for an opera improviser in a scene is to define the situation (the praxis perspective), their own function in the scene and the role, and how the situation emerges, while at the same time interpreting the suggestions and intentions of the other improvisers from praxis as well as musical, dramaturgical (mythos) and rhetorical perspectives.