Extra ideas we didn’t get to:
As you get more comfortable with setting a toolbox, you can begin to pull many aspects into your toolbox - mood, dynamics, how you’re going to approach phrasing, how you’re going to work with the music.
But at the start, practice just using your toolbox first. Then try just working with another aspect and don’t focus too much on your toolbox use.

Patterns
Patterns are fun to play with and are something you can start to experiment with, before you include them in improvisation play. You can think about how you can represent patterns in the music in different parts of the body (I mentioned that in class).
You can also think of sections as patterns, or the way the phrases are shaped as patterns.
Rhythmic and melodic patterns are also great things to work with in improvisation.
The more you can find patterns in the music, the more material you have to feed your movement choices!

Divide up your space:
A fun and fairly simple way to work with dynamics or mood would be to divide your space into two sections (left to right, front and back, diagonally, it doesn’t really matter). Once you have divided your space, assign each space a dynamic - these should be high in contrast, and specific. Which brings me to my next point…

Be specific, and use action words:
The more specific you are with your terms, the more specific your body can be.
Soft isn’t specific enough. Soft like a baby’s cheek (which is soft, but doesn’t actually help cause it’s not an action word), versus soft like a gentle breeze (which is specific but how gentle and continuous keeping a silk veil aloft, or gentle and coming in puffs and moving leaves and small sticks - with those two qualifiers I think you can see that I’ve created two quite different qualities).

If you’re working with improvisation as performance, think about your GAZE. What do kind of gaze fits your toolbox? How are you going to interact with the audience?