tag:blogger.com,1999:blog-61967879071394847812024-03-12T17:09:58.201-07:00FiNd ThE SoRe ThUmBJust Grahamhttp://www.blogger.com/profile/09362911241452595611noreply@blogger.comBlogger30125tag:blogger.com,1999:blog-6196787907139484781.post-30735137647277251692015-04-20T17:42:00.000-07:002015-04-20T17:42:02.587-07:00Short Improv Quips #2<div class="MsoNormal">
<b>Sometimes you just
gotta let go!</b> This can be one of the hardest things to do when starting out
with improv. There has to be so many things in place before someone can just
let go and drop all their masks and take down their walls. It takes time,
practice, a positive environment, and a willingness to work past where they
feel comfortable. I love seeing breakthrough moments when someone just lets go
of all the rules they create for themselves. When they allow themselves to play
and be free of the weight of the world. When they feel they know the “rules”
enough to just toss them to the wind and go for broke. This is a major moment
and should be rewarded with praise. In this moment you won’t see the best scene
work or even an actor in control but it is the letting go that is important. <o:p></o:p></div>
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This can also be said for those improvisers that are out of
control completely when they start. They should be rewarded when they are able
to maintain control in a scene for the first time and really using all the
skills they have learned. These are both equally great breakthroughs. <o:p></o:p></div>
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<b>It takes team work to
do a solo scene.</b> WHAT!?! Let me explain. Let’s say you are all on stage
performing a long or short form show. Someone steps on stage to start a scene.
What normally happens is within 3 seconds someone else comes on to join the
scene and offer “help”. Sometimes you’ll then get more entering to “help” the
scene. Before we know it we have a stage full of improvisers all making offers,
crowding the stage. It’s not just the improvisers on the sides that cause this.
Sometimes the person who starts the scene will call out of the scene for help
by asking where a character is or they give an air of self doubt that will
instantly make someone come in. Trust is a hard thing to build in a group. <o:p></o:p></div>
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We all want to be on stage playing and having fun. We are
also all very polite and want to help out. The thing is that in order for a
solo scene to happen we have to really look at a situation and decide what the
right choice is at that moment. We need to make an educated choice bigger than
just “Does this scene need me?” Sometimes the right choice and the way to help
are to stay out of a scene. Perhaps because the improviser on stage has it all
under control. Maybe the tech has great music playing acting as a second
improviser accompanying the scene. Or maybe the improviser that started the
scene just needs faith in themselves and would benefit from being left out
there to rock a solo scene. All of these choices could still possibly be the
wrong one but it takes a good improviser to look at a scene and see the whole
picture rather than just saying to themselves “Man I have a funny idea to add
to this!”<o:p></o:p></div>
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<b>Anyone can attempt
improv.</b> Can anyone be good at it? This is a big question with many
different opinions. I believe that anyone who has a willingness to work at
improv, take notes and challenge themselves can get up on stage and perform.
Will they be the best at it? Well they will be the best they can be if they
apply themselves. Perhaps to some they will not be a “great” improviser. This
judgment of skill and performance is an interesting topic as well. What makes a
“good” improviser……”good”?<o:p></o:p></div>
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I believe a good improviser is one that spends time working
at their craft. Commits to the work and doesn’t get bogged down by the
challenges they face. Also they help support a healthy group dynamic and
nurture others so they can learn and be pushed in a positive way. <o:p></o:p></div>
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I think it’s all about people’s perspective. Anyone can be
an improviser. How they gauge their success is up to them. As long as they are
happy with their accomplishments then that is all that counts. Is everyone
meant to be an improviser? No. Can anyone learn the work and perform if they
are willing? Yes. Should everyone let a little improv into their lives? Yes. Can
you set personal goals and strive for them? Absolutely. Don’t let others decide
if you are successful or not. That is for you to decide. <o:p></o:p></div>
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<b>Spending time
together off stage creates great dynamic onstage.</b> Keith Johnstone said this
during a workshop I attended. “If you have a problem with someone or something
they did, you talk to them about it at the pub.” I know personally I have made
choices for casting new improvisers after the audition based on conversation at
the pub. It’s like the audition is the first date and the pub is the second.
They are much more themselves when they don’t think they have eyes on them.
Also it allows me to see if I want to spend hours and hours with them. Do they
jive with the rest of the group? I’ll also ask more questions to gauge where
they are as performers and where they are in their life journey. <o:p></o:p></div>
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The work we do is very intimate and really can allow us to
be open and ourselves. Really let our guard down. I feel though that when you
are working together it is hard to really get to know each other fully. </div>
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Outside of workshop can be like when you attend a staff
party and see people for the first time with their regular day clothes on.
Everyone lets their hair down a little and is much more at ease. When we are
relaxed and at ease without fear of judgment we are much more ourselves. We
should hopefully be building relationships outside of just working ones. This
is such a social art form that it would be a shame to not take advantage of it.
I've also heard you should try and have other interests besides improv. I’ll
let you know how that goes. <o:p></o:p></div>
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<b>To improvise you
should try being controlled, alert and positive.</b> I believe that the state
of ready is where you should be as soon as the show starts. I do a lot of ball
exercises because as soon as you walk into a circle with one, the whole group
adjusts and gets ready in case the ball gets thrown to them. This is understood
before a word is spoken. This state of ready is what you should try and maintain
to the best of your ability during a show. I do not drink or do drugs before
shows because it seems to throw off my timing and I don’t like feeling altered
while on stage. Some performers need something like a drink or other influences
to feel ready. I say to each their own on that front. <o:p></o:p></div>
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The other thing is that you should try to come into the
theatre with a clear head free of the stresses of the day. Outside influences
can easily affect a show in a negative way. You will be a much more useful member
to the team if you are in a positive state and ready to play. There are always
uncontrollable factors that can mess up your mood but we need to learn to do
our best and leave it at the door or in the green room. <o:p></o:p></div>
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Lastly being in control of yourself is very important. An
actor out of control is so dangerous to other performers. I have been hit
multiple times by out of control improvisers. This can be caused by nerves and
anxiety in newer performers. We try to have a good warm up and group connection
before each show so that we are all in the same energy walking on stage. This
can’t always be done so I usually recommend improvisers come ready or find ways
in their lives to prepare before even getting to the theatre. Everyone will
need something a little different.<o:p></o:p></div>
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<b>Keep it simple</b>.
We sometimes have smaller crowds at our theatre. The last thing they want is to
be punched in the face with energy and a crazy dragon scene that makes no
sense. Keep it simple and focus on the audience’s energy and play strong relationships
with simple stories that make sense. Also make an offer and see how it lands
before drowning your scene partner under crazy offer after crazy offer. Just
keep it simple. <o:p></o:p></div>
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<b>Prepare for the worst
so you can play your best.</b> This is from my martial arts influence. Fighters
train for months before fights. They push themselves physically and mentally to
breaking points. They prepare for battle and are ready for the worst case
scenario. Some say that all that training is so that once you step in the ring
or cage you can finally just relaxed and play. All the preparation is done and
now all the training is put to use.</div>
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As a director I try to push improvisers to a point where
they struggle. Make them work harder than they ever will in front of an
audience. Prepare them for the worst so that they know what it feels like to flounder
and to work new skills and gain more confidence in themselves. It’s great when
they realize that no one dies in improv (Not yet anyway) and that they can really
work hard and fail. Then to fail and be okay with it. Then to seek out failure
and see it as an opportunity for growth rather than linger on it and let it
affect their learning. <o:p></o:p></div>
Just Grahamhttp://www.blogger.com/profile/09362911241452595611noreply@blogger.com0tag:blogger.com,1999:blog-6196787907139484781.post-25051590588642280212015-04-13T16:07:00.001-07:002015-04-13T16:07:55.010-07:00Short Improv Quips <div class="MsoNormal">
<b><u>If you NEVER take
spatula, it's not over done<o:p></o:p></u></b></div>
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If you have been doing improv for a few years you have probably heard someone yell out the suggestion spatula when asked for an object. A lot of improvisers have decided that they won’t take this because they hear it so much. Problem is that if we never take it then it’s not over used. The reason the audience is giving us spatula is because it sounds funny and they are trying to help us out. They figure that if the suggestion is funny we will have an easier time. It’s similar to why they always yell bathroom when asked for a room in the house. They want us to succeed and want to help us do it.<br />
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What we need to attempt to do is show them that no matter what we take from them we can turn it into something wonderful. When this happens they will feel that the pressure isn’t on them to help us and will give us a wider range of suggestions. They will also feel more at ease and can just enjoy the show.<br />
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<b><u>If you are the last
one to get the joke, you are doing it right.<o:p></o:p></u></b></div>
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Being completely in the moment and not planning where the
scene will go will put you in this Zen like state. Everything will be flowing
and all the work you have done up to that point will help everything run
smoothly. You’ll be making educated improv decisions quickly and efficiently. You’ll
be feeling good just like those nights you are in the bar with friends and
you've had the perfect amount to drink and the conversation is flowing and
everything feels so wonderful. Without a filter or worrying about what to say
you can be just there in the present and enjoying every moment. This opens up
the possibility to speak freely and have natural things flow out of you. When
this is going on magic happens. This is the improv state we are all striving
for. You will literally be the last to get the joke.<o:p></o:p></div>
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Of course this all comes crashing down the second you say
“Oh my goodness, I’m in that Zen like thingy!” As soon as you acknowledge
you’re in that state it all comes to an end. It will snap you out of it the
second you notice that it’s there. </div>
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<o:p></o:p></div>
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<b><u><span style="background: white; font-family: Georgia, serif; font-size: 10.5pt; line-height: 115%;">Self doubt can either hold you back or help push
and drive you forward! <o:p></o:p></span></u></b></div>
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<b><u><span style="background: white; font-family: Georgia, serif; font-size: 10.5pt; line-height: 115%;"><br /></span></u></b></div>
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<span style="background: white; font-family: Georgia, serif; font-size: 10.5pt; line-height: 115%;">We are flaky artists that have
massive highs and lows. We doubt ourselves and the decisions we make. We doubt every step of the journey we have set
out on in life. These doubts will do one of two things to us. </span></div>
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<ol>
<li><span style="font-family: Georgia, serif; font-size: 10.5pt; line-height: 115%; text-indent: -0.25in;"><span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal;"> </span></span><span style="background: white; font-family: Georgia, serif; font-size: 10.5pt; line-height: 115%; text-indent: -0.25in;">It will make us work
harder to get what we want and push us forward to success. During this we will
be anxious and scared the entire time but it will make us move forward.</span></li>
<li><span style="font-family: Georgia, serif; font-size: 10.5pt; line-height: 115%; text-indent: -0.25in;"><span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal;"> </span></span><span style="background: white; font-family: Georgia, serif; font-size: 10.5pt; line-height: 115%; text-indent: -0.25in;">The other option is
that it scares us into a hole where we stay and never jump off the cliff. It
all boils down to fight or flight.</span></li>
</ol>
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<span style="background: white; font-family: Georgia, serif; font-size: 10.5pt; line-height: 115%;">We are all scared and worried
that we aren’t making the right choices. Its part of what we do in order to get
better. We have to take chances and really put ourselves out there to grow. We
are our own worst enemy and are way harder on ourselves than anyone else will
be. Realize we are pretty great. Now get out there and be scared and happy<o:p></o:p></span></div>
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<b><u>The love of it
makes you tired and happy.<o:p></o:p></u></b></div>
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I’m sure we have all done a show where we were WAY beyond
tired and hungry, had a day that kicked the sh*t out of us, felt ill to the
point that we can’t hear or feel anything? Well why is it we do this? It’s
pretty obvious isn’t it? We love this thing. We spend nights up sitting in the
bar talking about the show until the ugly lights come on only to get up early
the next morning and do it all again. Feeling passion for something seems to be
rare for most. We work so hard and are exhausted all the time but wouldn’t
change a thing. Getting better at our art form is what we want more than
anything in the world even if it means risking our health. <o:p></o:p></div>
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I am now in my 30’s and have changed my view on this a
little. I want to be able to do this for as long as I am physically able to. So
I have started to take care of myself better. Eating right and drinking lots of
water. I even started physical exercise. I am trying to find a balance between
happiness and my health. I still never miss a show, workshop or night at the
pub. I am just trying to be healthier going into all of it. <o:p></o:p></div>
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<b><u>You listen better
with your ears, than you do with your mouth<o:p></o:p></u></b></div>
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A great improviser once said: “Your ears are the only one of
your eyes, and mouth you can’t actually close or shut off.” We sometimes spend
so much time talking that we don’t even hear someone right in front of us. This
can happen for a couple reasons. Perhaps we are a newer improviser and our
nerves get the better of us and we can’t turn off our mouth. Perhaps we feel
that we need to be filling the dead air because we haven’t felt how wonderful
and powerful the silence can be. We feel we need to come up with all the ideas
and make all the offers because if we don’t then no one else will. It could
also just be that we are an egotistical asshole. Whatever the reason, if we
were to stop, take a breath and take some time to listen you will find out so
much and actually realize that all the answers are in our partners. <o:p></o:p></div>
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We don’t ever have to come up with clever ideas or be the
funniest person on the stage. Our partners are there and equally invested in
the scene. Bounce things back and forth between the two of you and let the
scene be whatever it needs to be in that moment between those two people. It
will be much more rewarding than one person driving the crap out of the scene
and doing all the work and talking. <o:p></o:p></div>
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<b><u>An amazing improv
show doesn't necessarily translate to video all that well. <o:p></o:p></u></b></div>
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How many times have you recorded a show that was AMAZING on
the night it was recorded only to have lost all its magic when you go back and
watch it later? I think part of this could be that you don’t have the
audience’s energy being captured. The back and forth between the audience and
improvisers is such a huge part of live theatre. Without it you definitely lose
some of the power that the show generated. Another thing is that most little
improv theatres or cafes improv is performed in can be dark and noisy. This
makes it hard to get great footage. <o:p></o:p></div>
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On the other side of it, I have been involved in improv
shows that were set up for filming. What ended up happening was the audience
was way behind cameras and everything was super bright. I like the closeness
and intimacy of us and the audience with nothing in the way. Some like to hide
in the darkness and just watch the show. Also when you film and polish improv
it takes away some of its beauty. Its beauty partly comes from its
imperfections and rough edges. The audience there in that moment gets to
discover the show along with the improvisers as it goes along. For some reason
this just can’t be captured on film. Perhaps as technology and fun new ways to
film come around we will get there. <o:p></o:p></div>
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<b><u>Without an
audience it's a workshop <o:p></o:p></u></b></div>
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Work hard and play even harder. Workshops are called WORK
shops because this is the time when you should be fine tuning your craft. You
and your director can really break down your skills and see what you need to
work on as an individual or ensemble to help you grow. You will hopefully be
pushed farther then you feel comfortable in these sessions. A director’s job is
to push you to a failure point to show you where you are at and what you can
work on. There is always more to learn. Your director will be way harder on you
then any audience so once you get there you can’t help but be better. <o:p></o:p></div>
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So now that the work is done, you need to get up and do a
show in play mode. This is time to test the newly found skills. You should no
longer be working. It is important to only play to the skill set you have at
that time. Keith Johnstone says it best, “If you are a bad improviser but know
how to say yes and then go out there and be a bad improviser saying yes and. If
you go out and try to be a good improviser you will fail.” <o:p></o:p></div>
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Just Grahamhttp://www.blogger.com/profile/09362911241452595611noreply@blogger.com0tag:blogger.com,1999:blog-6196787907139484781.post-17559308485188948872015-03-06T12:26:00.001-08:002015-03-06T12:26:51.092-08:00A Time to Say NOI realize this post is not just about improv. I am using
what I know and what I do day to day to write it.<br />
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<o:p></o:p></div>
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Like in everything we do there are people that take
advantage of power. They use their position to get what they want and not
always in a good way. In a drive for success we find ourselves putting up with
certain things or not telling people to leave us alone in fear that we will
burn bridges. This is especially true when we are taught and programmed in
improv to say “yes” and to be over accepting of others and our partners. I
guess this is why this makes me especially mad. I feel like I have been teaching
the “YES AND” ideals and then sending people out to be groped without the
proper tools to protect themselves.<o:p></o:p></div>
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I have also heard and seen situations where newer
improvisers who were not completely comfortable or confident on stage end up
going along with awful scenes or ideas because they were scared and not present
enough to realize what was happening right in front of them. Nerves make us
miss things and can leave us in bad situations. <o:p></o:p></div>
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If someone makes you feel uncomfortable on or off stage you
have the right to say $#@& off. This seems so straight forward but often in
this art form that teaches saying yes and the fear of being ridiculed by our
peers we stay silent and put up with it. Sexual harassment and bullying seems
to be something that affects a ton of improvisers in all communities but is
rarely spoken about. There seems to be a quiet murmur in the bars and back
rooms but not openly talked about. These inappropriate acts are being committed
by people in power positions as well as unexperienced improvisers that don’t
have control. It’s also happening because some people are just plain old assholes.
Maybe this will turn into a rant but I am tired of hearing about this
happening. I guess I would hope I have a little bit of power to prevent this
when I am aware of it. <o:p></o:p></div>
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Regularly in the pub talking to performers from my group and
others, I hear stories about being physically intimidated or sexually harassed
on and off stage. This can be such a tricky situation because no one wants to
ruin a show by calling someone a pervert in front of an audience. So they walk
off stage after the scene or show feeling awful and helpless to stop the
bullying or harassment. The usual response is to grin and bear it. As my
network grew, I started to see and hear about more times when people were made
to feel uncomfortable and even sexually harassed. When I ask them what they did
I hear the same answers over and over. They did nothing in fear of what would
happen if they did say something. I have even had people tell me that they
didn’t want to make ME upset when someone was making them uncomfortable during
a workshop or after……… <o:p></o:p></div>
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All I could say was “just because we aren’t in the workshop
room anymore and are at the pub does not give someone the right to be an
asshole.” I want our community to feel safe no matter where we are. I am not
really too sure what I expected to get out of this post but I wanted to say
that there is never a time where you should allow yourself to feel uncomfortable.
In your gut you know when something doesn’t feel right. I hope we start to find
a voice so that we can speak up when someone isn’t treating us with respect no
matter where or when it happens. <o:p></o:p></div>
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Why do people act like dicks sometimes? Well some are nervous
and out of control. Just not able to see how they are affecting others on
stage. Some use power to take advantage of people. Some are angry and scared.
Some think improv workshops and shows are a way to pick up people. Some are
just assholes. I have no problem pointing out to those that may just be unaware
of themselves. When they are nervous they sometimes don’t realize their own
strength or presence. They don’t realize they may be making those around them
uncomfortable.<o:p></o:p></div>
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How do we deal with this sort of situation or these certain
types of people? I think we as a community need to take a stand when we are
aware of this happening. We need to help each other out and stop being silent
in fear of banishment. Directors need to give strong performance tools so
people know when things aren’t right and when it is okay to say no on stage. We
need to learn to trust our gut and leave situations that make us uncomfortable.
We need to learn how to be heard and expect respect. <o:p></o:p></div>
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You as an
individual performer can also start to fill your tool belt with ways to deal
with these situations. First say “NO” when you need to. Sometimes this is all
it takes to let someone know to leave you alone. Find strength in your scenes
and partners then protect them. I have talked about this in other posts. <o:p></o:p></div>
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<span style="line-height: 16.3pt; text-indent: -0.25in;"><br /></span></div>
<div class="MsoNormal" style="background: white; line-height: 16.3pt;">
<span style="line-height: 16.3pt; text-indent: -0.25in;"> From: Contradictions #4 post.</span></div>
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<o:p></o:p></div>
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<i style="line-height: 16.3pt; text-indent: -0.25in;"><span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #222222; font-family: Arial, sans-serif; font-size: 10pt;"><br /></span></i></div>
<div class="MsoNormal" style="background: white; line-height: 16.3pt; text-indent: -.25in;">
<i style="line-height: 16.3pt; text-indent: -0.25in;"><span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #222222; font-family: Arial, sans-serif; font-size: 10pt;"> "Say yes and yet know when to
say no.”</span></i></div>
<div class="MsoNormal" style="background: white; line-height: 16.3pt; text-indent: -.25in;">
<i><span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #222222; font-family: Arial, sans-serif; font-size: 10pt;"><br /></span></i></div>
<div class="MsoNormal" style="background: white; line-height: 16.3pt; margin-bottom: .0001pt; margin-bottom: 0in;">
<i><span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #222222; font-family: Arial, sans-serif; font-size: 10pt;">What do we do if someone
comes in with a blind side offer or one that makes no sense at all with what
our scene is about? I can sometimes be an aggressive performer when playing
with asshole improvisers. I say it’s because I’m old and grumpy which I think
is partially true. I also believe that I am very protective and like to take
care of my scene and partner. I like to put my work in and hate to see it get
plowed over by someone not paying attention, coming in with nothing to offer,
or when someone is being a show boat. So I protect it by not always saying yes.
Sometimes I think improvisers can be too polite and just say yes to whatever
crappy offer gets thrown at them. They shouldn’t have to if they have a good
foundation and are doing good work. Too easily do we just go with whatever is
brought to us even when it makes no sense what so ever.</span></i><i><span style="font-family: Georgia, serif;"><o:p></o:p></span></i></div>
<div class="MsoNormal" style="background: white; line-height: 16.3pt; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="background: white; line-height: 16.3pt; margin-bottom: .0001pt; margin-bottom: 0in;">
<i><span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #222222; font-family: Arial, sans-serif; font-size: 10pt;">So we started seeing how we
can own and protect our scenes. We hope this doesn’t happen often at our venue,
but every once in awhile people come into scenes with nothing at all or aren’t
paying attention to what the scene needs. I know I’m guilty of it. So without
being a dink on stage we looked at ways to not give up our scene to someone
just butting in. We looked at hosting techniques and physical changes as well
as leaving the dink on the stage alone to deal with their mess.</span></i><i><span style="font-family: Georgia, serif;"><o:p></o:p></span></i></div>
<div class="MsoNormal" style="background: white; line-height: 16.3pt; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="background: white; line-height: 16.3pt; margin-bottom: .0001pt; margin-bottom: 0in;">
<i><span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #222222; font-family: Arial, sans-serif; font-size: 10pt;">Most improvisers felt a rush
of satisfaction that they had not ever experienced. They felt good and strong.
Not all felt positively, however, some actually felt bad. They felt as if they
had done something wrong and rude to their fellow performer. When asked if the
audience saw them looking rude or mean, the response was a resounding “NO”!
When the improviser that was the dink was asked if they felt betrayed or
mistreated, they also said no. So everyone was okay. No one died or was hurt
emotionally. We should always be positive and be trying to move things forward,
but that doesn’t always mean saying yes, despite improvisers being taught to
always say “yes, and”. Sometimes we need to realize we are okay without
everyone on stage. If we do our work and establish a ton fairly quickly then we
don’t need someone plowing through or entering for no reason. You can ask them
to leave.</span></i><i><span style="font-family: Georgia, serif;"><o:p></o:p></span></i></div>
<div class="MsoNormal" style="background: white; line-height: 16.3pt; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="background: white; line-height: 16.3pt; margin-bottom: .0001pt; margin-bottom: 0in;">
<i><span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #222222; font-family: Arial, sans-serif; font-size: 10pt;">This is a pretty big topic. I
feel sometimes we just allow ourselves to be bullied. I am sure we can all
think of a time where we felt dirty after a scene. Either because we came on
and messed everything all up or that we had someone kill our scene. It was a
very exciting and empowering exercise and is not over yet. We can be strong and
not come across as an asshole.</span></i><i><span style="font-family: Georgia, serif;"><o:p></o:p></span></i></div>
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<br /></div>
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Also trust your community and let people know if someone is
making things uncomfortable for you. There may be something happening that
directors are simply unaware of. It should be handled after that. It may come
down to a certain someone being asked to leave and not come back. I have
definitely had to do this more than once. Sometimes a stern talking to is all
it takes but not always. Lastly if you aren’t finding help where you need it,
then perhaps you will need to look for another group. There is a ton of improv
companies out there. I think you should let people know why you are leaving so
that they understand if the acceptance of this behavior continues then they
will lose more players. Improviser’s confidence and strength come from playing
in a safe fun environment. That’s where we do our best. <o:p></o:p></div>
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<br /></div>
<br />
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Now I know this is a post that some might feel is a little
over the top and perhaps for some seem unnecessary, but I really am tired of
assholes using improv as a way to be all pervy and shitty to other humans. Anyway,
I ranted and feel like I said my piece. You want to ever really see me fired up
just talk to me about this topic at the pub! <o:p></o:p></div>
Just Grahamhttp://www.blogger.com/profile/09362911241452595611noreply@blogger.com0tag:blogger.com,1999:blog-6196787907139484781.post-66094703911172591702014-09-24T14:25:00.000-07:002014-09-24T14:26:59.521-07:00To Conflict or Not to Conflict?<div class="MsoNormal" style="margin-bottom: 10.0pt;">
<span style="font-family: Calibri, sans-serif; font-size: 11.5pt;">We were focusing on the middle of scenes in workshop this week. We
were looking at possible tilts, breaking the routine, and at what techniques
can move the action forward. An improviser asked me if what I wanted to see was
conflict. I, without hesitation, responded with a resounding “NO”. I have
always avoided teaching conflict in scenes, especially when teaching newer
improvisers. I do this because conflict makes me feel gross when I watch it.
After the improviser asked me, he followed it up with, “Why not?” I blinked and
with a blank stare started talking to see if I would find an answer mid speech.
I knew I didn’t like conflict but hadn’t looked or explored closely at why I
disliked it so much until that moment.</span><span style="font-family: "Times","serif"; font-size: 10.0pt; mso-bidi-font-family: "Times New Roman";"><o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 10.0pt;">
<span style="font-family: Calibri, sans-serif; font-size: 11.5pt;">I believe it was Keith Johnstone that said, “The reason people
love to watch improv is because it’s the only time you can see people getting
along and working together rather than fighting and arguing.” We as people move
easily to conflict. We do so mostly out of fear. When we get scared we tense up
and protect ourselves. In fact we tend to over-protect ourselves to the point
that we become negative, defensive and gravitate to conflict. So when working
with newer improvisers I attempt to create a warm and welcoming environment in
the hopes that they can relax and hopefully start what I like to call “happy
and healthy” scenes. </span><span style="font-family: "Times","serif"; font-size: 10.0pt; mso-bidi-font-family: "Times New Roman";"><o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 10.0pt;">
<span style="font-family: Calibri, sans-serif; font-size: 11.5pt;">I’ve been saying to improvisers a lot lately that they should
“find their fun” on stage, or that they should figure out what they truly enjoy
about improvising. This is all in the hopes that they naturally avoid conflict
because they are having fun and, by extension, feel comfortable. This
unfortunately doesn’t always work. It’s amazing how many times I’ve watched an
improviser pretending to have fun in a scene. They sound sarcastic and are
awkward to watch. </span><span style="font-family: "Times","serif"; font-size: 10.0pt; mso-bidi-font-family: "Times New Roman";"><o:p></o:p></span></div>
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<span style="font-family: Calibri, sans-serif; font-size: 11.5pt;">Most adults who are learning to improvise pretend to have fun rather
than just simply having fun. Improvising as an adult is not as easy as you
might think. I would argue that one of the hardest challenges is learning how
to break through all the rules with which the world beats us down. Having fun
can be scary for adults because it reveals a part of us that we are conditioned
to believe is “childish”. Having fun means taking a risk by being genuine
rather than performing. In some ways, improv can result in a more genuine
presentation of ourselves than what we call “real life”. Makes you wonder
whether we perform more on stage or in real life.</span><span style="font-family: "Times","serif"; font-size: 10.0pt; mso-bidi-font-family: "Times New Roman";"><o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 10.0pt;">
<span style="font-family: Calibri, sans-serif; font-size: 11.5pt;">This is not to say that good improv cannot come from a scene with
an improviser who is still learning to “find their fun”. What I love most
about seeing someone on stage pretending to be happy or pretending to have fun
is that it creates a really fascinating dynamic between themselves and another
improviser who is more comfortable on stage . All it takes is for one or both
to notice the genuity and ingenuity of their characters and play to the true
relationship dynamic. A player being disingenuous is such a huge amazing offer
whether they intended it to be one or not. </span><span style="font-family: "Times","serif"; font-size: 10.0pt; mso-bidi-font-family: "Times New Roman";"><o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 10.0pt;">
<span style="font-family: Calibri, sans-serif; font-size: 11.5pt;">Side note: <i>Dynamic is a big focus of mine. I am as of late
heavily exploring three different levels: real true dynamic between the
improvisers, dynamic between the two characters and lastly the dynamic between
the improvisers and the audience. There is so much to explore there and it
really creates meaty scenes when you become aware of these dynamics. This is
usually established in the first couple offers made in the start of a scene and
can really help secure a strong platform off the hop.</i></span><span style="font-family: "Times","serif"; font-size: 10.0pt; mso-bidi-font-family: "Times New Roman";"><o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 10.0pt;">
<span style="font-family: Calibri, sans-serif; font-size: 11.5pt;">There has been conflict scenes I have actually enjoyed. What makes
them different? The conclusion I have come up with is that one or both of the
improvisers were strong enough to look at subtext hidden under the disagreement
in the scene. They were able to dissect the scene enough to have the conflict
be important and focus on what was “really going” on in the relationship. They
played to their relationship dynamic, rather than relying on the surface
conflict to carry the scene. When we have two people on stage that do not play
present enough to see the relationship dynamic, they miss the subtlety that is
there. They argue and block the offers from moving forward. They get into
fight or flight mode and it turns ugly. You cannot be present in a scene if you
are in panic mode. Fear will paralyze you. </span><span style="font-family: "Times","serif"; font-size: 10.0pt; mso-bidi-font-family: "Times New Roman";"><o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 10.0pt;">
<span style="font-family: Calibri, sans-serif; font-size: 11.5pt;">Fun, however, enables you. Play makes you stronger and more
confident. And with greater strength and confidence comes a sense of calm and
comfort that allows you to be present and to see under the skin of a scene and
to understand the intricate nervous system at work underneath. </span><span style="font-family: "Times","serif"; font-size: 10.0pt; mso-bidi-font-family: "Times New Roman";"><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: Calibri, sans-serif; font-size: 11.5pt;">In our next class I am going to start to dissect conflict and
attempt to create a safe environment to explore this part of an improv scene.
There are certain tools we can use to help us if we end up in a conflict scene.
I have performed in many shows where I am playing with someone who goes on the
attack and stops listening to their scene partner; when an improviser becomes
defensive or uncomfortable it can be difficult to recover the scene. I believe
that by looking closely at where their anxiety is coming from, and by paying
close attention to what’s underneath the conflict, we can do grounded scene
work that is enjoyable for both audience and improviser. </span><span style="font-family: "Times","serif"; font-size: 10.0pt; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></div>
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Just Grahamhttp://www.blogger.com/profile/09362911241452595611noreply@blogger.com0tag:blogger.com,1999:blog-6196787907139484781.post-4504775757047612702014-09-24T14:24:00.001-07:002014-09-24T14:24:05.577-07:00Gauge Your Improv<div class="MsoNormal">
You have been doing improv a little while. You may have done
a hand full of shows, or at least attended enough classes that you lost count. You
may have been doing improv for years and years with a thousand shows under your
belt. Have you checked in to see where your skills are lately? Self evaluation
is a pretty hard thing to pull off. We usually look to instructors or directors
to keep us on track and let us know where we are with our development. That or
we are just so hard on ourselves that we don’t do anything except beat
ourselves up which doesn’t get us further ahead at all. At some point you need
to look inward and be able to truly check in with where your skills are using
an unbiased opinion.</div>
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<br /></div>
<div class="MsoNormal">
Let’s start by looking at a couple ways we should probably
avoid using as an indicator of our skill level. Firstly, audience laughter
shouldn’t be used as a gauge for success in improv. Many well known improvisers
have written articles and blogs about this topic so I won’t go into it too much.
Basically if you are basing your skills
on laughter alone you will not push yourself as a well rounded performer. There
are so many different elements to improv that it does not have to be all about
the comedy. I like to think that an engaged audience leaning forward on their
seats are more powerful than a laughing audience. Now that being said, if you
are in it to make people laugh and it is working then all the power to you. You
should try to get out of performing improv whatever you are looking for. I
applaud people that find what they need and strive to do more of it. </div>
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<br /></div>
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Sometimes listening to family, friends and other improvisers
right after a show can be dangerous. They usually all say the same thing,
“Great show you’re great”. I’m guilty of patting someone on the back and saying
good job when I didn’t mean it. I have tried to correct this by being more
honest if time and appropriateness allows it. Another method to start an honest
conversation is by asking the improviser how they thought the show went. (I try
to sound neutral and happy when I ask). See where they are. I find the trend is
that they will be either really negative or very naïve to how the show actually
went. If it seems appropriate and I have a good relationship I may engage in a
discussion about the show in general to talk about some of what I saw good and
bad. I never give notes about a show or improviser unless I was asked or that
improviser is a student of mine</div>
<div class="MsoNormal">
I know for myself after a show is a tricky time for being
focused. I am still buzzing from the excitement and when someone compliments me
it is hard not to say something negative about how the show went. I am
constantly picking a show apart as a director and performer. I need to remember
that they may not know all the ins and outs of improv and have just come to be
entertained. This can leave a sour taste in an audience member’s mouth when
they truly enjoyed the show. We are all guilty of this. We sometimes need to
just say thank you and give weight to the compliment. If they had a good time
and enjoyed the show then they enjoyed the show. </div>
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<br /></div>
<div class="MsoNormal">
So how do we gauge ourselves? Well this can be done in a few
different ways. One thing I am now trying to do is look at a show as a whole. I
start with asking myself, what went well. Then I attempt to be a little more
constructive by asking myself what could have worked better. That wording is
important. It is not what didn't work. You got through the show so it all
worked in some capacity. So what could have worked better is how I word it.
After a show when you have notes or on the drive home you could look at the
show as a whole and then more specifically the individual scenes or games. There
is always something that worked well and something you could use as a challenge
for you to get better at. </div>
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<br /></div>
<div class="MsoNormal">
That brings us to goal setting. If you set goals for
yourself and really try to apply them, you will find it a great way to check
in. I usually give myself a larger goal to keep in mind for a few months.
Recently it has been to do my best to make
my scene partner the protagonist in our scene together, rather than take the
role on myself. I have a tendency to play the protagonist. I do it easily so it
became a habit to fall into. I found a larger and longer ongoing goal like this
usually works better than a different goal before each show. Most of the time
when you set a goal and then walk out on stage it leaves your mind and it isn’t
until you get into the back room again that you remember what you were supposed
to be focused on. </div>
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<br /></div>
<div class="MsoNormal">
I have a group of improvisers that I work with for a 3 month
term. What we start the term with is doing a bunch of scenes. Then with the
class each individual will figure out a goal for themselves and spend the 3
months aiming for it and tweaking it as we progress forward. We check in with
workshops to keep the goal present and alter it if need be. This will help in
goal setting for them. Goal setting is an invaluable skill to apply to
everything you do in your life. Looking inward and being able to evaluate
yourself is not easy but you can flex that muscle and help it grow with putting
it into practice as much as possible.</div>
Just Grahamhttp://www.blogger.com/profile/09362911241452595611noreply@blogger.com0tag:blogger.com,1999:blog-6196787907139484781.post-45286110996010232212014-04-23T18:34:00.000-07:002014-09-24T11:13:01.525-07:00Expectations<div class="separator" style="clear: both; text-align: center;">
</div>
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<div class="MsoNormal">
<span lang="EN-US">I have recently been focusing on the
concept of “expectations” when I am hosting a show. There are certain
expectations I try to be aware of during each performance. “Lowered
expectations”, for example, is when we set up the idea of failure so that the
payoff is greater when we succeed. If we were to start a scene or game by claiming
that “this will be the best game you have ever seen”, it will never live up to
its potential or expectation. Keith Johnstone talks about lowered expectations
in workshops. He often tells students they are about to do a really hard
exercise that they should expect to fail at, and the result is that they then
are able to just experience the exercise rather than worry about the outcome.
This idea was taught to me a long time ago, but is starting to play more of a
role while I am hosting or playing in a show. I also think it goes way beyond
just setting each game up to give it the best chance to succeed. I believe I practiced
this subconsciously, but have now started to actually focus on expectation and
give it more weight. <o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-US"><br /></span></div>
<div class="MsoNormal">
<span lang="EN-US">There is a certain amount of expectation
that an audience will enter a show with. Some audience members have never seen
improv and others are improv connoisseurs, so we should be aware that they all
come into the venue with some sort of expectation or pre-existing idea of what
it is they will experience. I am still getting responses from hesitant audience
members that they have a fear they will get pulled up on stage and forced to
look stupid. Whether you do that in your show or not, you should set up what
you will be doing during the show right off the top so that they can either
breathe easy or sit in anticipation of being volunteered. (We do not usually
involve audience beyond giving suggestions or stories at our space unless it is
a private event). This can all be done with a good introduction to the format
or show delivered to the audience by the host. We strive to get the audience’s
energy to be relaxed and excited at the start of each of our shows. Once the
show is explained and set up, we can move on to the next few steps. <o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-US"><br /></span></div>
<div class="MsoNormal">
<span lang="EN-US">Expectation and marketing are closely
related; audience members will be disappointed by shows that are marketed as
something they are not. For instance, I remember being incredibly excited to
see a show a few years back that was advertised as: “The most hardcore improv
group you have ever seen. We commit so hard it could kill us!” Unfortunately,
it was just like any other improv show and did not deliver what it had
promised. Promoting a show as it actually is will help set up a good audience
expectation. Let them know what they are about to see and be clear. I am still
learning the best way to market an improv show so it reaches the most people
and looks appealing, and this constantly changes with trends and developing
social media. However, the point remains that an audience will respond
positively to a show that meets the expectation set by your marketing campaign,
and then more intimately by the host/set up of the show. <o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-US"><br /></span></div>
<div class="MsoNormal">
<span lang="EN-US">Once you have your audience’s attention and
the show is on its way, there are all kinds of ways to play with expectations.
Something I have been doing recently is setting up a certain improviser to
succeed as the show goes on. I read their dynamic and their energy to play with
them so that at some point they can have their big moment. I tease them a
little and give them a harder time so that as the host I look like the bad guy.
Subsequently, the audience decides that they are the underdog and feel a
personal connection with the performer and ultimately crave the payoff of the
underdog blowing the show out of the water in the end. I have spoken with my
improvisers about this concept, and they are aware that the razzing has a
purpose for the show dynamic. This is a layer of expectation on top of the
overall show that takes practice and hyper-awareness of audience expectation
and the players’ energy. As a host I have also experimented with having the
audience cheer and give me applause when I “mess up” or fumble over my words.
This sets a great tone for the show as well as the audience realizes not only
that the show is truly improvised, but that all the performers including the
host are human and, therefore, relatable. By encouraging the audience to applaud
“failure” as well as “success”, you are setting the precedent that both are
positive and enjoyable and shattering the assumption that there is a “right”
and “wrong” way to perform the show. <o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-US"><br /></span></div>
<div class="MsoNormal">
<span lang="EN-US">A show format we did recently took the
concept of applauding or positively accepting failure to another level. The
improvisers were partnered up randomly and asked personal questions about each
other. At the start of the show, I asked each pair how well they thought they
knew each other. This set up the expectation that the group that knew each
other the most should win. At almost every show, the pair that seemed to know
each other the least was actually the team that came out on top. This was very
rewarding for the audience because the underdog story played out for the whole
show. The audience really supported the team that had the biggest obstacles to
climb. <o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-US"><br /></span></div>
<div class="MsoNormal">
<span lang="EN-US">Let me define some terms for a moment; when
I refer to “winning” or “losing” a show, it is not the classic definition that
we use in everyday conversation. If a show is set up like a competition then
yes, someone is technically winning and losing, but this does not mean that one
performer was necessarily “better” than the others. Even in a show that is not
set up as a competition, the audience will undoubtedly cheer on a specific
player because some improvisers will naturally exude an energy that makes the
audience want them to win. On the other side of the coin, other improvisers
make amazing antagonists that the audience would love to see “lose” to the
favored player.<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-US"><br /></span></div>
<div class="MsoNormal">
<span lang="EN-US">I think every improviser should be setting
themselves up for success in each show they are involved in. This means
exploring the roles of the “winner” and the “loser”. If you play the “heel”
well—to use a wrestling analogy—then play that so someone else can play “face”.
Both of these types of improvisers “win” in the end if the audience’s
expectations and hopes for the show are fulfilled. This all needs to be in a
healthy environment but can be a fun exploration of how you perform and are
viewed by an audience; once you become more aware of the roles you naturally fall
into, it can be a great deal of fun to learn to play the opposite role
successfully. A host should try to be
aware of whose side the audience is on and help build that dynamic throughout
the show. The audience may even be routing for the host to “win” the show,
which is another fun dynamic to develop.<o:p></o:p></span></div>
<br />
<div class="MsoNormal">
People laugh when they are surprised in a
show, and expectations can be a great way to set up surprises for an audience.
Through use of effective marketing, hosting, and playing, expectation becomes a
diverse and ever-changing way to create quality shows to which your audience
can’t help but feel personally connected.</div>
Just Grahamhttp://www.blogger.com/profile/09362911241452595611noreply@blogger.com0tag:blogger.com,1999:blog-6196787907139484781.post-13349344875407817632014-02-25T22:32:00.000-08:002014-09-24T11:13:09.554-07:00Improv is Stupid<div class="MsoNormal">
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<span style="background: white; color: #222222; font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 115%;"> </span><span style="font-family: Georgia, Times New Roman, serif;"><span style="background-color: white; color: #222222; font-size: 10pt; line-height: 115%;"> </span></span><span style="background-color: white; color: #222222; font-family: Georgia, 'Times New Roman', serif; font-size: 10pt; line-height: 115%;">Improvisers can take improv
way to seriously sometimes. I know I am guilty of it. It’s hard not to when you
are so personally involved and invested in it. I totally understand this. I
think we need to remember what it is that we are actually doing though. We get
to "play" and throw away the idea of rules. We get to put our focus
on engaging and exciting those around us. It’s actually pretty silly if you
think about it. Adults playing and acting out is actually a REALLY weird idea. It
goes against everything we are taught is acceptable in society. My inspiration
for this post is that I often I hear improvisers preaching about how they can
make people’s lives better using improv, and that the rules we use help us be
more engaged and better at relationships in the world we live in. I've watched a
lot of Ted Talks recently and other online videos all about how if you follow
our rules and practice our techniques your life will be amazing. Your life will
be what it is. If your life is shitty, improv won't save it, or you. It’s
important to remember that improv is therapeutic but is not a form of therapy.</span><br />
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<span style="background: white;"> I've "helped” people by showing them ways
to bring their confidence out. I've opened doors in people's careers by letting
them in on our trade secrets. I've helped people be less awkward. Are we as
improvisers some amazing force put on earth to affect and help humanity? I do
think we have the ability to help those around us become more comfortable in
their skin, but also that we need to be very careful how we approach this. Once
someone has committed to the work we can push them as far as they are willing
to go but we can’t preach our ideas to just anyone. I think by doing so we may alienate
those that could potentially benefit from what we do. Some of us are actually
really socially awkward, so preaching our improv philosophies has the potential
to make us appear to be someone that people may want to avoid. I realized this
while talking to a technician at an improv theatre. While talking to her, I
pushed her and kept asking why she wasn’t taking improv classes. I know we have
all done this to someone at some point. She said to me, “I get the improv spiel
from everyone. I don’t need it from you. I get it, it’s great but it’s not for
me.” Huh...<o:p></o:p></span></span></span></div>
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<span style="background: white; color: #222222; font-family: Georgia, Times New Roman, serif; font-size: 10.0pt; line-height: 115%;"> If someone wants to know
about improv then let’s be honest with them about what this actually is. This
isn’t some miracle concept that will change the world. We shouldn’t treat it as
such. We are just regular, awkward people that want to improve how we are as
human beings. We are not perfect and aren't always happy. We have really big
ups and downs just like everyone else. So instead of trying to sell this as
something it’s not, perhaps we should try to label as it actually is. We are
not living perfect lives because of improv. We struggle just as much as our
fellow non-improvisers, if not more. The honest truth is that most of us are a
bit quirky and have a hard time fitting in anywhere else. We are misfits and weirdoes.
I was picked on my whole life because I didn’t fit in anywhere. It definitely
takes someone wanting to put in the work for all of these things to actually be
useful to them. I’m getting to the point where if I have an opportunity to tell
someone what we do I’d rather attempt to show them by either having them come
to a workshop or show instead of preaching words that may deter rather than
encourage.<o:p></o:p></span></div>
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<span style="background: white; color: #222222; font-family: Georgia, Times New Roman, serif; font-size: 10.0pt; line-height: 115%;"> Yes, improv is amazing to
us. But it isn't for everyone. We need to get off our high-horse and realize
that some people are going to look at what we do and think it's stupid. Let’s not
let this affect us personally. We are not any more special or unique than any
other art form and their teachings. We need to realize the ridiculousness of
grown people in a room yelling "bunny bunny". That's okay. Once we
let go of the idea that we are doing something totally unique and from a higher
power, we can then just be there in our art, play, and have fun. Let’s embrace
the silly and ridiculous of it all and relish in it. Be proud that improv
encourages an environment to be silly and sometimes ugly and act in a way that
is not socially conventional. <o:p></o:p></span></div>
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<span style="background: white; color: #222222; font-family: Georgia, Times New Roman, serif; font-size: 10.0pt; line-height: 115%;"> We are not perfect. Improv
can be "stupid". It being stupid is a major part of its beauty. Let’s
accept that we are not perfect and that we are allowed to be stupid. Once we do
that we can grow, learn and explore. Let the art form and honesty, not intangible
philosophy, draw in those who will benefit from improv.</span></div>
Just Grahamhttp://www.blogger.com/profile/09362911241452595611noreply@blogger.com3tag:blogger.com,1999:blog-6196787907139484781.post-65384904343941720152013-06-12T16:46:00.001-07:002014-09-24T11:13:18.705-07:00Beats and Buttons<div class="separator" style="clear: both; text-align: center;">
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I was asked to have a look at finding the beats and how to
button scenes. For those who use different terms or are not familiar with beats
and buttons as I use them, I’ll explain what they are. A beat is when the tempo
of a character or scene is altered and changed. Each character and scene will
have a tempo you can follow and feel. Not only that, the audience will also
have a tempo for each show. So when all of these tempos line up, you will find
magic happening on stage. Be aware that there can be several beats in one
scene, not just the ending. The best way to find a beat though is to be
watching a scene and look and see if you feel when the scene is over and the
lights should go down. One of the tricky parts of moving or reacting on a beat
is actually anticipating and catching them. If you say to yourself, oh, there
is the beat. You have already missed it. If you planned on entering or ending
the scene on that beat it has passed in the time you thought about it. You
basically have to be anticipating, feel the beat and already be moving to
actually use it effectively. </div>
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We ran scene after scene to see when the group would decide
a scene should end. Some wanted to end them earlier on beats where the scene
had offended them or just went to cheap laughs. Others ended them after the
scene had gone on too long and they just wanted to help by pulling the lights
down. Some felt bad and wouldn't end scenes because they thought their fellow
improvisers would be disappointed with them for ending the scene. It takes
practice to end scenes well. It also takes someone who isn't scared to make the
call and pull the trigger. With practice anyone can do this. It’s just all
about feeling the beat and being on top of it. (It should be said that most
times it is a host or tech that will end scenes at Second Storey Theatre. I
prefer not to have lights flagged down from actors on stage.)</div>
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So once we got the grasp of ending scenes we moved on to
buttoning them. Buttons to me are a way to end a scene on a laugh or with high
energy. (This is usually done by improvisers waiting on the sides or from
within a scene rather than a host. The host or tech will hopefully be ready and
will call the lights when the button hits.) The person who buttons the scene is
usually the one who gets all the accolades because they will have the funniest
moment of the scene. This can make other improvisers a little upset because they
are the ones who did all the work and built the scene but don’t get the credit
for their work. The buttoner will come in and say one line and be remembered as
the most hilarious person EVER! It shouldn't be this way, so we wanted to make
sure we looked at a way to button and have everyone feel good about it after. </div>
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We learned really quickly that when we had a gamey scene it
almost always required a nice tight button ending. This made everyone involved
feel great because when the game was played well and all the rules were
followed, it made everyone look good when it was wrapped up in a neat little
package. Another time it felt good was when we already knew what the ending was
going to be or where the characters were headed and the scene was buttoned. So
if we knew exactly the way it should end or where it was going (including the
audience) then having someone enter and give us a high energy laugh to finish
felt good for everyone. It was when someone entered and killed a scene or came
in too early that it felt dirty. Buttoning can so easily become addictive and
breed selfish performers. We have touched on playing to the laughs before. It’s
hard not to but we must remember that what we are doing isn’t about playing for
cheap easy laughs. Just like most things we should also avoid using buttons too
much. There can definitely be too much of a good thing when certain techniques
are over used. </div>
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Let’s talk a bit about ways to button scenes. </div>
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<!--[if !supportLists]-->1.<span style="font-size: 7pt;">
</span><!--[endif]-->Reincorporating or book ending a scene is one
way to hit a button. Using information from earlier in the scene or ending the
same way it started is a great way to button a scene. For example, if the scene
starts with a couple people whistling a certain tune it would be awesome if
they brought it back at the end of the scene and whistled the same tune as the
lights faded out. As the greats say; Listen, Remember, and Recycle. </div>
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<!--[if !supportLists]-->2.<span style="font-size: 7pt;">
</span><!--[endif]-->Looking for the rule of 3 is something else we
explored. Here is the Wiki on this topic <a href="http://en.wikipedia.org/wiki/Rule_of_three_(writing)"><span style="color: red;">http://en.wikipedia.org/wiki/Rule_of_three_(writing)</span></a>
. This was a neat exploration because it added a nice depth to our scene work.
We had people who weren't a major role in the scene actually be laying ground
work to end on the rule of three. This added a nice unexpected element. Of
course the improvisers on stage can be looking for the rule of three as well. It
is something to be aware of and be able to play if the opportunity arises. You can’t
really over think it. Just be aware that the option is there to nail it on the
third hit or beat. </div>
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<!--[if !supportLists]-->3.<span style="font-size: 7pt;">
</span><!--[endif]-->Breaking the established reality or playing to
the reality. Whenever you create an improv scene you are creating a reality
that has rules that you and your scene partner must obey. These rules could be absolutely
anything including something crazy or weird, but this is where the truth comes
from. For example, if you all talk in gibberish then that is the truth you must
all live by. As soon as someone enters speaking normally then that original reality
is broken. So during the scene when this reality is fully established it can be
easy for someone to see it from the outside and come in and break that reality
to end the scene or play by the rules and button it that way. We had a scene
happen once where the improvisers took the suggestion “pool” and one actor
thought swimming and one thought billiards. So when they forgot to connect
first before the scene, one came out showering and one came out playing billiards
at a table. They ended up commenting on this weird shower pool hall rather than
playing to this awesome reality. They discovered a world where you shower
before or after a round of pool. If they had committed to this reality it would
have easily set up a button when the third person enters strips down and asks
if they were almost done with the table. </div>
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When breaking the reality it can easily lead to a negative feeling after because
it can look as though you are kicking the scene in the crotch. Essentially you
are saying to the audience that the improvisers that did all the work setting
up the scene where wrong or not good enough. It can also lend to looking like
you are show boating. “Oh look how clever my idea is!” </div>
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<!--[if !supportLists]-->4.<span style="font-size: 7pt;">
</span><!--[endif]-->A silly way I end or button a scene is to grab
the person and pretend to make out. I do it in a silly over the top arms
flailing manner with our backs turned so we never actually kiss. It is silly
and shouldn't be done often but sometimes you just gotta drop everything and
make out. </div>
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5.<span style="font-size: 7pt;">
</span><!--[endif]-->The last way we looked at was stating the
obvious. If there is something that the audience understands in the scene but that
thing hasn't been spoken out loud, then once it is said it can easily create
enough laughter to end on. This is a hard one to give a good example of but I
will try. Say that we have a scene that we spend the entire scene milking cows
but it’s never said because the scene is actually about the two brothers
wanting more in life then working on a farm it leaves an opening to perhaps
comment on the fact that they have over milked the cow and she is now dried up.
We all inside understand that you shouldn't probably both be milking the same
cow for over 5 minutes at a quick pace. So once it is said the scene will
probably have a nice high note to end on. </div>
Just Grahamhttp://www.blogger.com/profile/09362911241452595611noreply@blogger.com0tag:blogger.com,1999:blog-6196787907139484781.post-19851031257543669072013-06-04T11:54:00.000-07:002014-09-24T11:13:46.156-07:00Contradictions<div class="separator" style="clear: both; text-align: center;">
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<span style="background: white; color: #222222; font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 115%; mso-fareast-font-family: "Times New Roman";">When you start learning improv you will encounter a million
contradictions. It may be because you are learning from multiple teachers or
perhaps it is because there are no certainties in what we do. It may also
depend on where you are at in your learning process. I would like to tackle a
few of these contradictions while acknowledging that explaining their
paradoxical nature is a lot like trying to catch smoke with your bare hands. We
will see where it takes us. <o:p></o:p></span></div>
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<span style="color: #222222; font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 115%; mso-fareast-font-family: Arial;"> 1)<span style="font-family: 'Times New Roman'; font-size: 7pt; line-height: normal;"> </span></span><!--[endif]--><span style="background: white; color: #222222; font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 115%; mso-fareast-font-family: "Times New Roman";">“Follow
the rules but, ummmm, there are no rules. Well there are rules; you just need
to learn when to break them.”<o:p></o:p></span></div>
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<span style="background: white; color: #222222; font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 115%; mso-fareast-font-family: "Times New Roman";">There are a few trains of thought on the use of rules in
improvisation. I will only be able to speak on behalf of my own beliefs. I
believe there are rules that must be followed as you learn. In fact, there are
a ton of rules. The problem I have with the idea of “no rules” is that it is
impossible to teach something if there isn’t anything to learn in the first
place. To me it would be similar to putting a 16 year old in a car and saying,
“Just drive, there are no rules!” What a scary thought. <o:p></o:p></span></div>
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<span style="background: white; color: #222222; font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 115%; mso-fareast-font-family: "Times New Roman";">What kind of “rules” do I believe need to be taught to build
a strong foundation for a well-rounded improviser? The first that comes to mind
are the rules of theatre etiquette. A lot of today’s improvisers are not coming
from a theatre background; this means that while we learn improv, I must teach
students to face the right way on stage, use their upstage arm, speak loud and
clear, and use down stage centre to play. If an individual never learns basic theatre
etiquette they have no foundation to build on and will construct their improv-house
on unsteady ground. <o:p></o:p></span></div>
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<span style="background: white; color: #222222; font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 115%; mso-fareast-font-family: "Times New Roman";">What I attempt to teach is that you must learn the rules
before you can break them. We learn concepts and rules and, with repetition and
diligence, beat them into your brain so that they become muscle memory. Once
they become second nature, you can start to explore the idea of breaking them. Essentially,
I teach the rules and then, once the improvisers have internalized the rules
and understand them, I tell them to learn when to purposefully go against what
they have just learned. <o:p></o:p></span></div>
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<span style="background: white; color: #222222; font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 115%; mso-fareast-font-family: "Times New Roman";"><br /></span></div>
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<span style="background: white; color: #222222; font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 115%; mso-fareast-font-family: "Times New Roman";">In martial arts they say that the yellow belt is the most
dangerous. They are one level up from beginner and they think they know
everything. They are a danger to themselves and those around them. They will
want to prove themselves in a fight but do not have the control or actual
skills yet to defend themselves or realize that you are actually learning these
skills to avoid a fight. So telling newer improvisers that you can break the
rules can be a dangerous dance. Contradictions!<o:p></o:p></span></div>
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<span style="color: #222222; font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 115%; mso-fareast-font-family: Arial;"> 2)<span style="font-family: 'Times New Roman'; font-size: 7pt; line-height: normal;"> </span></span><!--[endif]--><span style="background: white; color: #222222; font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 115%; mso-fareast-font-family: "Times New Roman";"> “Don’t try, but try really hard.”<o:p></o:p></span></div>
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<span style="background: white; color: #222222; font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 115%; mso-fareast-font-family: "Times New Roman";">Or maybe, “try really hard to not try”? It takes a lot of
work to get to a point where you can be on stage and be fully in the moment,
committed and present, and to make strong choices. A lot of things all need to
come together to get there. Hours and hours of both performance and workshops
must be put in. You must be mentally prepared and ready before the show. You
must be able to put into practice all your teachings up to that point. You also
need to just do it. I believe you must have a good work ethic, listen to your
director, not beat yourself up too much, and also take notes and use them diligently
to continue to move forward as an improviser. <o:p></o:p></span></div>
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<span style="background: white; color: #222222; font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 115%; mso-fareast-font-family: "Times New Roman";">Perhaps knowing when to be trying and when to be flowing is
the key. You should always be doing work and setting goals. You should always
try to be able to gauge where you are as a performer, but when you get up on
stage you need to put all that work in to practice. Flip a switch into play
mode. Know when you need to play using what you know up to that point. You can
do no wrong because this is where you are at as an improviser thus far. Then
once you are off stage again you can continue to learn and grow. Seems simple,
but this is something you will battle for your entire career.<o:p></o:p></span></div>
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<span style="color: #222222; font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 115%; mso-fareast-font-family: Arial;"> 3)<span style="font-family: 'Times New Roman'; font-size: 7pt; line-height: normal;"> </span></span><!--[endif]--><span style="background: white; color: #222222; font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 115%; mso-fareast-font-family: "Times New Roman";">“Think
but don’t think.” <o:p></o:p></span></div>
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<span style="background: white; color: #222222; font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 115%; mso-fareast-font-family: "Times New Roman";">When on stage and in the perfect moment you will be saying
and doing things that even you may not expect. Everything is going smoothly and
there are no bumps in the road. The scene is great and you feel great. Your
partner says they had a blast. The audience loved it. The director gave you
praise after in the notes session. You performed the perfect scene—well, the perfect
scene does not technically exist, but this came pretty damn close. So were you
thinking during that scene? Some will say “No, I was fully invested and in the
moment.” But I personally think that you were thinking. Thinking is something that
we cannot stop doing. Perhaps what actually happened is that you were able to
think and make decisions quickly with no judgment using all your skills to not
hesitate. <o:p></o:p></span></div>
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<i><span style="background: white; color: #222222; font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 115%; mso-fareast-font-family: "Times New Roman";">Educated</span></i><span style="background: white; color: #222222; font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 115%; mso-fareast-font-family: "Times New Roman";"> thinking is what happens when your scene feels
close to perfect. All the work you have done up to that point all came together
in a magic moment. Maybe similar to when you drive to work and you forget the
trip as you pull into your usual spot. (Yes, I use car analogies a lot. I like
them.) You have become so comfortable driving that you can do it without really
thinking about it, but along the way there are times you must use judgment and
make decisions on the fly. Should you run that red light or stop. You use what
you know and make a quick decision. Hence thinking but not thinking.<o:p></o:p></span></div>
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<br /></div>
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<span style="background: white; color: #222222; font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 115%; mso-fareast-font-family: "Times New Roman";">I am not sure this is
something that can really be taught. It almost needs to be stumbled upon.
Telling newer improvisers to think is not really a good idea unless they really
understand what educated thinking looks like. I see improvisers all the time
that don’t actually improvise at all. They are super intelligent and think
super fast. They are making decisions but more often than not they are decisions
that hurt the scene or they prevent the other improvisers from progressing.
They never truly let go and get in the flow. So what’s the difference? It’s
hard to explain unless you have been there and felt it. It’s as if you know
what to do with as little thought as possible, and when the thought happens it
is the right one. <o:p></o:p></span></div>
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<span style="color: #222222; font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 115%; mso-fareast-font-family: Arial;"> 4)<span style="font-family: 'Times New Roman'; font-size: 7pt; line-height: normal;"> </span></span><!--[endif]--><span style="background: white; color: #222222; font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 115%; mso-fareast-font-family: "Times New Roman";">“Say
yes and yet know when to say no.”<o:p></o:p></span></div>
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<span style="background: white; color: #222222; font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 115%; mso-fareast-font-family: "Times New Roman";">This is something we have been looking at in workshop lately.
It came out of working on when it is a good time to enter a scene as a 3<sup>rd</sup>
or 4<sup>th</sup> improviser. So we explored having improvisers just jumping
into scenes on their first impulse and seeing what happened. We were doing this
because we had cast members trapping themselves on the bench. They were over
thinking whether they should come in or not and then wouldn’t enter the scene
at all. Now we all know that the first impulse is not an educated one so it
probably wasn’t the right answer either but it got people moving. (Even when
told to go on first impulse it usually ended up being 3<sup>rd</sup> or 4<sup>th,</sup>
in all honesty. We block ourselves really fast.) When exploring this, some
interesting things were brought to light. <o:p></o:p></span></div>
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<span style="background: white; color: #222222; font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 115%; mso-fareast-font-family: "Times New Roman";">What do we do if someone comes in with a blind side offer or
one that makes no sense at all with what our scene is about? I can sometimes be
an aggressive performer when playing with asshole improvisers. I say it’s
because I’m old and grumpy which I think is partially true. I also believe that
I am very protective and like to take care of my scene and partner. I like to
put my work in and hate to see it get plowed over by someone not paying
attention, coming in with nothing to offer, or when someone is being a show
boat. So I protect it by not always saying yes. Sometimes I think improvisers
can be too polite and just say yes to whatever crappy offer gets thrown at
them. They shouldn’t have to if they have a good foundation and are doing good
work. Too easily do we just go with whatever is brought to us even when it
makes no sense what so ever. <o:p></o:p></span></div>
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<span style="background: white; color: #222222; font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 115%; mso-fareast-font-family: "Times New Roman";"><br /></span></div>
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<span style="background: white; color: #222222; font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 115%; mso-fareast-font-family: "Times New Roman";">So we started seeing how we can own and protect our scenes. We
hope this doesn’t happen often at our venue, but every once in awhile people
come into scenes with nothing at all or aren’t paying attention to what the
scene needs. I know I’m guilty of it. So without being a dink on stage we
looked at ways to not give up our scene to someone just butting in. We looked
at hosting techniques and physical changes as well as leaving the dink on the
stage alone to deal with their mess. <o:p></o:p></span></div>
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<span style="background: white; color: #222222; font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 115%; mso-fareast-font-family: "Times New Roman";">Most improvisers felt a rush of satisfaction that they had
not ever experienced. They felt good and strong. Not all felt positively,
however, some actually felt bad. They felt as if they had done something wrong
and rude to their fellow performer. When asked if the audience saw them looking
rude or mean, the response was a resounding “NO”! When the improviser that was
the dink was asked if they felt betrayed or mistreated, they also said no. So
everyone was okay. No one died or was hurt emotionally. We should always be
positive and be trying to move things forward, but that doesn’t always mean
saying yes, despite improvisers being taught to always say “yes, and”.
Sometimes we need to realize we are okay without everyone on stage. If we do
our work and establish a ton fairly quickly then we don’t need someone plowing
through or entering for no reason. You can ask them to leave. <o:p></o:p></span></div>
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<span style="background: white; color: #222222; font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 115%; mso-fareast-font-family: "Times New Roman";">This is a pretty big topic. I feel sometimes we just allow
ourselves to be bullied. I am sure we can all think of a time where we felt
dirty after a scene. Either because we came on and messed everything all up or
that we had someone kill our scene. It was a very exciting and empowering
exercise and is not over yet. We can be strong and not come across as an
asshole. <o:p></o:p></span></div>
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<span style="background: white; color: #222222; font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 115%; mso-fareast-font-family: "Times New Roman";">There is on last thing I’d like to add to this segment. You can
also say no when you actually mean yes. This is a loaded “no” that when done
correctly should be obvious that you are actually saying yes to whatever offer
is being given by your scene partner. This also applies to loaded questions.
Questions are frowned upon in improv (See previous blog post) but if you already
know the answer and your partner is there with you then ask away. <o:p></o:p></span></div>
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<span style="color: #222222; font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 115%; mso-fareast-font-family: Arial;"> 5)<span style="font-family: 'Times New Roman'; font-size: 7pt; line-height: normal;"> </span></span><!--[endif]--><span style="background: white; color: #222222; font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 115%; mso-fareast-font-family: "Times New Roman";">“Doing
nothing can be a huge offer but you have to be doing something.”<o:p></o:p></span></div>
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<span style="background: white; color: #222222; font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 115%; mso-fareast-font-family: "Times New Roman";"><br /></span></div>
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<span style="background: white; color: #222222; font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 115%; mso-fareast-font-family: "Times New Roman";">Stillness and silence is power. Walking on stage with nothing
is weak but if I were to take the stage and stand still and silent, feet
planted and confident, I am indeed doing something. If I walk into a scene for
shits and giggles and am coming on with nothing I am not going to be any help.
I need to be sure of whatever it is that I am doing whether that thing is
nothing or something. If I am not then I better hope my fellow performers are
because I am acting selfish. <o:p></o:p></span></div>
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<span style="background: white; color: #222222; font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 115%; mso-fareast-font-family: "Times New Roman";">As an improviser you must do your work before you can expect
to be able to help and support your scene partner. You should never come into a
scene with an indifferent emotion or not certain of why you are there. You must
make strong decisions to help your partner. (Strong does not mean a huge wild
and crazy offer or creating a problem) A strong decision could be as simple as
deciding you hate the way your partner smells. Stick to that decision and add
to it as you go. Realize though that this is enough for now. Commitment to this
is all you need to be doing something. So often improvisers try doing too much
and miss all the beauty in the little offers and suggestions given by a scene
partner. You must also use your hyper awareness to really see all the things in
your partner that you can use. <o:p></o:p></span></div>
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<span style="background: white; color: #222222; font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 115%; mso-fareast-font-family: "Times New Roman";">Often in workshops or shows I see an improviser start a scene
before they are even aware of it. They walk to the side but walk in a funny
way, show emotion or make a face. They have already discovered something and
yet don’t realize it. Even though they think they aren’t doing anything they in
fact are. Then the worst thing is when they drop this magic thing they
have discovered to enter a scene with nothing. <o:p></o:p></span></div>
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<span style="background: white; color: #222222; font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 115%; mso-fareast-font-family: "Times New Roman";">So what is it? If you choose to have nothing and own it then
you actually have all you need. Not only that but your partner then has everything
they need as well. That is if they are open and aware of what you are doing. Wait
that’s not right either, you can’t actually commit to nothing. Everything you
do is something. The awareness you and your scene partner have is what makes
this “nothing” something. Always be looking for the little subtle things that
can turn into those magic moments. They are there if you look for them. You
will in fact be doing something even when you think you are doing nothing. When
that thing is brought to light though then you must over accept it and say yes
and to it. Then you move forward. <o:p></o:p></span></div>
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<span style="background-color: white; color: #222222; font-family: Arial, sans-serif; font-size: 10pt; line-height: 115%;">At
the end of the day you must do your work. You must try to see as much as
possible and hope that your scene partner is aware of all the little things
they are doing. Then the two of you can have a blast playing off those things
that some miss. (The audience never misses anything FYI. Bring that A game)
Also realize that one thing may be true today but that same thing will not
necessarily be true tomorrow. Embrace the uncertainties because life and improv
are chalk full of them, and always have fun.</span></div>
Just Grahamhttp://www.blogger.com/profile/09362911241452595611noreply@blogger.com0tag:blogger.com,1999:blog-6196787907139484781.post-49600617987083289092013-01-07T17:49:00.002-08:002014-09-24T11:13:52.783-07:00Get to the Meat <div class="separator" style="clear: both; text-align: center;">
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When you start learning improv you learn not to ask
questions. Some places call this “whimping”. The name makes sense because you
are essentially throwing the pressure onto your partner to decide what is going
to happen next rather than doing it yourself. Questions are also a way to stall
scenes. Sometimes this is done intentionally by more experienced improvisers
and other times unintentionally by newer improvisers. It’s amazing to me that
we can continue to explore advanced concepts and deeper meanings with our work
and yet some of the best workshops come from revisiting basic beginner ideas.
The originators got improv at its core. It’s a nice humbling feeling to be
reminded of this. </div>
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During a workshop we decided to play the game Statements
Only. We played this similar to how you play Questions Only but with the
reverse idea. If a player says a question during the scene the audience buzzes
them out and they have a new player rotate in for them. Right away we noticed
that the scenes started to move along much more quickly. We started to get to
the heart of the scene way faster than normal. The emotions and the who/what/where
were decided at a much more rapid pace. By removing the questions, each
improviser had to do their own work first. They were not able to rely on their
partner as much. (The idea of looking after yourself first so that you can take better care of your partner is something I have talked about before.)
So what we had were two improvisers always having to advance the scene because
all they could do was make statements. It was also nice because it didn’t allow
them to block ideas with questions. Making clear, confident statements made
them say yes and move the action forward. It also seemed to allow better
endowment to happen. You couldn’t ask your partner how they felt. You had to
tell them. </div>
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It also forced action. Each line of dialogue was either
followed by an action, or it forced the improviser to create action rather than
talk because they were stuck searching for the next statement. This helps find
silence and power in a scene. To me, a confident action is much the same as a
confident statement. It is a good offer either way. </div>
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Status also became a focus without questions. High status
was taken easily by a player who took control and endowed their scene partner.
The status then would have a nice back and forth as they made confident
statement after confident statement. Playing a low status character that
couldn’t ask questions added a cool dynamic. Usual traits for a low status
character are no eye contact, need for reassurance and repeatedly asking and
needing recognition. Not only was it easier to play high status, but it also
seemed to give the improvisers an air of confidence in their choices. The
offers they made were much more concrete. </div>
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In scenes where only one of the improvisers is practicing
these ideas (only using statements) it could easily turn into a bulldozer scene,
which is a scene driven by one improviser while the other just hangs on and
cleans up the mess. The beauty in this exercise came from both improvisers
equally investing and pushing back and forth together. If one were to buckle
and ask questions, it would unbalance the scene. </div>
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In discussion after the workshop we talked about how we are
too polite. We would almost use the questions to see if it was okay that we
make choices in the scene. Almost to say “Is it okay if I tell you do this?” “Do
you like this offer?” This is much the same way that we are always saying sorry
for no reason. We are so worried about stepping on someone’s toes or hurting
their feelings that we won’t make a choice. It’s like dipping our toes into the
pool rather than jumping in. So we were using these questions as a feeler and
filler. The questions are the fat, and the meat of the scene is the statements.
</div>
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Now understand that there is a place for filler. I was just
blown away by how clean and tight these scenes were without the questions
stopping it from moving forward. They were some of the tightest scenes I had
ever seen. No BS. It was like eating a Double Down from KFC. A meat sandwich
made with meat buns and meat inside the meat with bacon and cheese. Mmmmm.</div>
Just Grahamhttp://www.blogger.com/profile/09362911241452595611noreply@blogger.com1tag:blogger.com,1999:blog-6196787907139484781.post-73230724288286913892012-12-28T16:15:00.000-08:002014-09-24T11:17:08.377-07:00Past, Present and Future<div class="separator" style="clear: both; text-align: center;">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTRZA-Pds7pbP72x6TJ1y3_zAZAlmiZ9jcCxJaKcyZbgOqpcFCsI7ARidt5rPfx1BMZLNmYNT27SWuAmgxzyuETWugrAyIs7ZW-QEW2qqoSSJKIQbzBBiFtnrnOxnuUjc2YxSjeXRhgclH/s1600/SST+Black+Logo+Final.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTRZA-Pds7pbP72x6TJ1y3_zAZAlmiZ9jcCxJaKcyZbgOqpcFCsI7ARidt5rPfx1BMZLNmYNT27SWuAmgxzyuETWugrAyIs7ZW-QEW2qqoSSJKIQbzBBiFtnrnOxnuUjc2YxSjeXRhgclH/s1600/SST+Black+Logo+Final.png" height="201" width="320" /></a></div>
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The years have been flying by so fast nowadays. Seems like
just yesterday we were planning Second Storey’s grand opening. I wish I was
more eloquent so I could write about the deep meaning of improv and how it
moves and shapes my life in a positive way. I can’t, so I will just ramble on
instead.</div>
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In the last 6 months I have been living my lifelong dream of
owning and operating my own improv theatre. I say 6 months because 6 months ago
I quit my day job of 10 years to put my full effort into being an artistic
director and actor. I have been involved in the theatre since 2009, but took it
over solo in the middle of 2011 and have been fully in charge since Jan 2012. I
have been able to do this because of the support that surrounds me; I have a
loving and supportive family and girlfriend. This may turn into a mushy thank
you, so bear with me.</div>
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It wasn’t just my family and friends that supported me. It
was also the 40+ improvisers and volunteers that were willing to put the time
and work in to produce a great show and push themselves further with their
improv. They stood by and trusted me when I had no idea where we would be
going. They held me up when I was exhausted from working a full time job as
well attempting to run the theatre. They understood that when I would yell it
was out of love and desire to help them move forward. (This isn’t always
understood. I can come across a little harsh at times.) They helped create the
amazing community that we now enjoy in our little space. I owe them a lot. I
assume I am feeling mushy because it is the holiday season, but everyone does
deserve a thank you. </div>
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Another reason for this post is because I am back at my old
job for a couple weeks to cover while my former boss is away. It feels
different. Not just because it isn’t permanent – I think it also has something
to do with how good I feel and how much positive energy I now have around me. I
don’t remember having felt this happy before. Being able to create as a job is
pretty amazing. I am not at a level where I am financially secure, but I am
getting by. I also have seen that being able to focus on what I love without
distractions makes it grow so fast. The last year has been a whirlwind. The
theatre has grown more in the last 6 months then I ever could have expected. I
love that I am chasing to keep up. </div>
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So here we are in the present. We have thanked the past. How
about the future?</div>
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The future has been on my mind recently. I was at an arts
convention full of artists from all over the lower mainland and island. We were
asked to sit at tables with people we didn’t know. The hosts asked us questions
and we would then discuss them with our groups. Some of it was useless. There
were a lot of people saying how hard times were and that they need the
government to give them money. We also looked at our companies and decided
where we were at. Were we at the idea stage, the growth stage or all the way on
the other side at the terminal stage? </div>
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Terminal stage was the last stage, which meant the end
of the road or a chance for rebirth. I put Second Storey at the growth stage,
but there were a lot of groups at that scary terminal stage. I was able to
shake it off and think that we weren’t headed in that direction. We are new and
hip and edgy. We are gonna last forever. This was how I felt – until a little
blue-haired lady from the island said this to me: “I was young hip and edgy
once. My audience was right there with me. Now I’m a little old lady and my
audience is dying off. Think about that now while you can.” </div>
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Those words are still rolling around in my head. It really
put things in perspective for me. I want the community we have built to
continue to grow, change, challenge and push forward with or without me. I am
still attempting to figure out what this all means. I know that our mission and
ideas need to be clear so that others can carry it on for years to come. People
are starting to emerge as leaders but many more are needed…</div>
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I have been stuck after that sentence for a long time. It
proves to me that I have not found the all the answers yet. (Not that I ever
expect to!) I do know that I don’t want to be a little old man looking back
wishing I had done something different. I also realize that it means I will
have to start to give up some of the responsibility around the theatre. This is
definitely not something that comes easily to me. It shows me that I know what
I want for this company and community. I want it to continue on long after I am
gone. I want it to always be edgy and cool, relevant and supportive,
challenging and special for those involved. I want it to be a family. I can be
pretty protective of that because I see how great it is. I need to keep moving
forward. I need to always be present, thankful and peering to the future. Well,
better get back it.<br />
<br />
I have since written a Mission Statement<br />
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<span class="font_5" style="border: 0px; font-family: 'Kelly Slab', serif; font-size: 22px; line-height: 1.2em; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Mission Statement </span></div>
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<span class="font_6" style="border: 0px; font-family: 'Kelly Slab', serif; font-size: 16px; line-height: 1.3em; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"></span><span class="font_6" style="border: 0px; font-family: 'Kelly Slab', serif; font-size: 16px; line-height: 1.3em; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Our mission is to use improv to build and support a home for performers, volunteers and audience to call their own.</span></div>
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<div style="border: 0px; font-family: Arial, Helvetica, sans-serif; font-size: 10px; outline: 0px; padding: 0px; vertical-align: baseline;">
<span class="font_6" style="border: 0px; font-family: 'Kelly Slab', serif; font-size: 16px; line-height: 1.3em; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"></span><span class="font_6" style="border: 0px; font-family: 'Kelly Slab', serif; font-size: 16px; line-height: 1.3em; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">We will strive to stay relevant, supportive, challenging and special for those involved. Our priority is to push everyone to find the greatness within themselves and apply it to their lives. We will continue to pursue perfection with a clear understanding that we will never achieve it. Instead, our focus is to build trust in our group and continue to experience the journey. We will attempt to instill a desire to keep learning and avoid complacency; to always be working toward personal goals and celebrating our achievements.</span></div>
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<span class="font_6" style="border: 0px; font-family: 'Kelly Slab', serif; font-size: 16px; line-height: 1.3em; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">We will not linger on roadblocks. We will look for the positive in all situations and spread that positivity to those around us. Above all else, we will maintain a healthy improv environment where we can continue to learn and grow.</span></div>
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Just Grahamhttp://www.blogger.com/profile/09362911241452595611noreply@blogger.com3tag:blogger.com,1999:blog-6196787907139484781.post-44709378761914410862012-04-20T15:44:00.003-07:002014-09-24T16:17:44.224-07:00Improv Factoids<b><span style="font-size: large;">Improv Facts: There are more then I thought </span></b><br />
<b><span style="font-size: large;">You can find more at </span></b><span style="font-size: large;"><b>https://www.facebook.com/SuddenDeathImprov</b></span><br />
<ul>
<li>You’ll get better with age </li>
<li>Saying “yes” doesn’t always work </li>
<li>Yelling makes you loud, not necessarily funny </li>
<li>People will pay more then $5.00 to see an improv show </li>
<li>Eventually we will not have to say "It's like Whose Line is it Anyway" </li>
<li>You must continue to work on yourself as a person to work on yourself as an improviser </li>
<li>You'll never be perfect but you'll always be awesome </li>
<li>Improv is theatre </li>
<li>If you are the last one to get the joke, you are doing it right </li>
<li>You must accomplish your goals without making it your objective </li>
<li>Trying to make the audience laugh will eventually end in disappointment. </li>
<li>(provided by Tony from <a href="https://twitter.com/#%21/UnexpectedImpro">@UnexpectedImpro</a>): Melanie Blue ate Del Close's ashes </li>
<li>If you take your shoe off the audience will expect you to take your pants off </li>
<li>Mimed tables and doors are never in the same exact spot twice </li>
<li>Without an audience it's a workshop </li>
<li>If you're half naked in a show, we won't be watching the scene. Sometimes that's okay! </li>
<li>Some of the most beautiful improvised scenes have come from what some consider a mistake</li>
<li>Improvisers have skills that help them succeed on stage. People with improv skills have a better chance succeeding in life. </li>
<li>You have to work at being present. Not work at being clever</li>
<li>If you NEVER take spatula, it's not over done</li>
<li>Doing something funny in a bar, with your friends, when you're drunk does not make you an improviser</li>
<li>Doing improv is awesome for your soul</li>
<li>You gotta look after you before you can help anyone else. </li>
<li>All the characters you play are only as smart as you.</li>
<li>“If you suck at email and don’t put in your availability,
you don’t get to play!” Matt H</li>
<li>Someone in the world is talking about improv right now, and
now, aaaaand now!</li>
<li>Anything can be related to improv. ANYTHING!</li>
<li>Not everyone is good at it but everyone can benefit from it!</li>
<li>Sometimes shows are tough. You just can't get it right, fall
flat, suck, bite the big one, crap out, and that’s okay.</li>
<li>Improv isn’t magic but we can keep letting them think it is!</li>
<li>You’ll always have questions. There may not be answers. </li>
<li><span style="font-size: 12pt;">You don’t have to speak the same language to
understand each other</span></li>
<li>Quote- Courage is not the absence of fear. It is acting in
spite of it. -Mark Twain.</li>
<li>A party full of improvisers is a party full of crazy people!
Crazy fun people.</li>
<li> The audience wants to see you do it. Not hear you talk about it.</li>
<li>Improvisers are a unique breed.</li>
<li>Self doubt can either hold you back or help push and drive you forward! </li>
<li>The audience sees more then you. </li>
<li>Your brain is always doing work. You just gotta trust it, ignore it and let it do it's thang! </li>
<li>Quote: Any technique, however worthy and desirable, becomes a disease when the mind is obsessed with it. Bruce Lee </li>
<li>There is no erasing, starting over, time outs or re-dos. (unless it's in the scene…) </li>
<li>There are no certainties. Well there aren't, right? RIGHT? </li>
<li>What's funny today, may not be funny tomorrow. </li>
<li> Improv challenges should be fun, positive, and rewarding. </li>
<li>An amazing improv show doesn't necessarily translate to video all that well. </li>
<li> Inspiration is usually found when you aren't looking for it. </li>
<li>"You can't "yes and" without listening first." Tim Greger </li>
<li> "I am an improviser" Mario Gomez </li>
<li> "People who practice improv on a daily basis live 70% longer. Estimate founded in Italian institute of improv." Ollie </li>
<li>The beauty is in the imperfection and impermanence. </li>
<li> "Try to remember the audience wants to be on your side" Susie </li>
<li>Dads deserve more then one day. </li>
<li>The love of it makes you tired and happy </li>
<li>"It's all about flow" Jef while we sit at Annoyance </li>
<li> improvised Shakespeare isn't about the thou and thou art. It's about the timing. Great show tonight
</li>
<li>Quote: "Real living is living for others." Bruce Lee </li>
<li> There are no true improv factoids. Just fun quips and and conversation starters </li>
<li>Really REALLY listening can sometimes hurt the brain </li>
<li>Going against the grain takes longer but can reap the biggest rewards. </li>
<li>You don't necessarily learn much about improv while working construction </li>
<li> A group of improvisers makes for a great second family. </li>
<li>You listen better with your ears, then you do with your mouth
</li>
<li>You can say a million things with just one look</li>
<li>Sometimes you just gotta let go!</li>
<li>Being strong also means giving in.</li>
<li>You can't f@$k up something that you build from nothing. It
will always be something.</li>
<li>You can't dig yourself out of a hole. All you can do is wait
and grow out of it.</li>
<li>It takes team work to do a solo scene.</li>
<li>Sometimes you have to commit to nothing.</li>
<li>Anyone can attempt improv.</li>
<li>Improv is able to open up many opportunities and positive
things in your life. You just have to say yes to them.</li>
<li>A good offer is a confident choice and or action.</li>
<li>You'll continue to be surprised</li>
<li>Spending time together off stage creates great dynamic
onstage</li>
<li>Inspiration is usually found when you aren't looking for it.</li>
<li>It's equally as hard for those that do 2 much on stage 2
hold back as it is for those that stay in the back 2 push forward.</li>
<li>To improvise you should try be controlled, alert and
positive.</li>
<li>You're only as good as what you're doing right now.</li>
<li> Improv is a fickle mistress.</li>
<li>Improv is able to open up many opportunities and positive
things in your life. You just have to say yes to them.</li>
<li>Let your truth shine through each character.</li>
<li>You can't be clever. You have to be smart.</li>
</ul>
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Improv skills are like hockey skills. We learn to skate and
handle the puck so we can play the game.</div>
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Keep it simple.</div>
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Prepare for the worst so you can play your best.</div>
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Just Grahamhttp://www.blogger.com/profile/09362911241452595611noreply@blogger.com0tag:blogger.com,1999:blog-6196787907139484781.post-65876103428197475132012-03-23T09:40:00.000-07:002014-09-24T11:14:14.755-07:00Shut up and do it (please)<div class="separator" style="clear: both; text-align: center;">
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Through working with 20 talented and intelligent improvisers
I have been challenged and tested a lot as a director. I have got 20 of the
most wonderful caring cast members around. In fact the group we have sure feels
more like a family then a group I improvise and work with. This has come with
many hurdles as we developed a show format, workshopped, and advanced ourselves
as a cast. It has been a great way for me to grow quickly as a director. Being
pushed and challenged on my ideas is something that motivates me further to
learn and attempt to perfect this imperfect uncertain art form. Improv is seen as
the “fun, happy, silly, love-each-other performance art” What people don’t see
is the hard work that goes into this process. We make it look easy when we get
up there and do a great scene. What the audience doesn’t see or understand is
the road blocks we hit as we work and push ourselves. Improvisers, who have
been doing this for at least a couple years, know that point you get to where
you just can’t seem to do a good show no matter what you do. There is the
frustration and disappointment in yourself, the continued beating yourself up
and wondering if you should bother to continue pursuing this thing. We all get
past this but the ebbs and flows will continue throughout our inspiration to be
better performers. The note below was written and never intended to be released
but I do feel it is a good look into the frustration I was feeling at that time.
What is amazing is that the piece is null and void at this point. We, as a cast,
have come SO far and grown SO much. The trust is at a level I never expected.
It’s simply a look into a rough workshop I had. (What is funny is that once the
yelling settled we did have a great workshop. I just felt ganged up on. This is
easy when you have 20 people looking to you for an answer that you can not give
because there is no answer. This resistance is also expected because I want SO
much from this group. We aren’t gonna settle for being just “okay” I expect
AWESOMENESS from everyone involved) I should say that I do often say “Shut and
do it” I stand by that. It’s because your brain gets in the way of letting your
body improvise. So “Shut up and read it already” HAHA</div>
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Shut up and do it! </div>
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Something I say a lot is “Shut up and do it”. This may sound
so negative when in fact it is intended to be a positive push towards freedom
and success. When I am setting up a new exercise, improvisers sometimes ask a
million questions before they are willing to attempt it. I think this can be a case of improvisers not
wanting to, or not trusting themselves enough, to jump headfirst into it. They
wind up in their heads over thinking the exercise then create a block for
themselves. Before they will jump in they have this need for all the answers.
It’s safer if they don’t think they can fail. If they can play it right (or at
least in their head attempt to play it right) they feel free of the possible
judgment that may follow. I will say once again that there are no wrong ways to
do an exercise. The exercises are simply a place to “fail” or attempt new
things and to push further. </div>
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If you are looking for certainty in improv you are in the
wrong art. Exercises and scenes, for the most part, need to be felt not
explained. Each exercise needs to be done as if it is the only exercise you
have ever done. If rules are set up, follow them and test yourself within that
specific exercise, yet don’t restrict yourself to the rules because, as we all
know, “rules are meant to be broken.” (As said in another post it’s all about
the exercise not the outcome) I am never totally sure of what I need or want
the outcome to be when setting up an exercise. I am hoping that some result
will come from it and then, that once discovered it can be applied to our
format or scene work. If people challenge the idea of the rules we may discover
things we didn’t even know we were looking for. </div>
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A problem I face is that sometimes I appear to contradict
myself. I feel there are a couple of reasons for this. Reason 1 being that I am
always discovering new ideas and concepts. I may have thought one way and then
literally the next day changed my mind completely on that idea. Reason number 2
may be that when I give an exercise to try, I want the improviser to ignore the
ideas from all previous exercises so we can explore what the outcome will be
with independent rules relevant to the new exercise. I have a million different
things that I say are “The most important thing in Improv” and that’s because
everything we learn is just as important as everything else. Nothing is more
important then any other thing we learn. We all learn differently and need
different things at different times. All these tools become essential and will
be needed at different times during scenes, games or exercises. So learn them all
and put equal value on them and tuck them in your improv toolbox. Then learn to
let them go. (Rules when learned need to be worked on until they become second
nature and no longer thought about). Something I really try to do is allow
freedom for the improvisers to try new things and challenge themselves.
Sometimes my uncertainty on specific rules to follow creates a misunderstanding
and confusion. I am expecting faith where perhaps there are no grounds for any.
I always know that an outcome will happen and that from it we will benefit.
That is something I am VERY certain of. I never attempt something without a
reason. Also the thought of no structure or concrete rules can be too
overwhelming to attack confidently. The idea of freedom can seem scary. We like
rules. I am the first to admit that I do not have all the answers. We are in a
constant discovery mode in workshop. I am also finding that a lot of
improvisers are very intellectual, or book smart as I call it. I am a very
physical performer and go with my gut fairly easily. I relish in the
uncertainty created in scenes and exercises. There is no bad outcome.
Everything we discover is right because it happened. In all exercises I ever
participate in I am asking myself what can we learn and take from it. I am always
saying “There are no wrong answers or mistakes” To hear that is one thing but
to truly believe it and trust yourself enough to jump off the cliff with no net
is another. This is something I expect and perhaps I should learn to ease into it
rather than applying the push-from-the-nest method. It will work differently
for each individual group or performer. </div>
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<span style="font-size: 12pt;">As I get older (I know I’m not old but I am also far
from a baby) I am starting to take more risks in my improv. I feel I can do
this because I have cemented important rules and always have my partner in mind
when I am performing. I try to never hurt them or the scene. I relish in
freedom. I take this to exercises as well. I almost don’t want too many rules
or restrictions because these holes will be filled as we go. Let’s try to build
each exercise and experience organically. As we learn new material we are going
to end up in our heads over thinking the new knowledge. This is all part of the
process until these new ideas become muscle memory. The group dynamic is so
important. Without a trusting caring group no one will feel safe or grow. Some
improvisers are also just too damn smart for their own good. You know who you
are. Continue to trust your gut and take a leap, or just shut up and do it! HA!<br />
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<br />Just Grahamhttp://www.blogger.com/profile/09362911241452595611noreply@blogger.com0tag:blogger.com,1999:blog-6196787907139484781.post-17586503448374509122012-03-12T15:33:00.000-07:002014-09-24T11:14:22.621-07:00Our Truth<div class="separator" style="clear: both; text-align: center;">
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Let’s break down the walls and masks we all put up and wear in order to protect ourselves from getting hurt. It’s not just a confidence exercise anymore. Having confidence on stage is something that will allow you to be a more present actor, more entertaining to watch, and appear surer of all your decisions. I used to believe that a confident improviser was the main thing needed to find your way and take risks. This is partially true. We all have confidence buried inside us. All we can do is find ways to bring it out as we need it. I realize now that this is only half the battle. A lot of us use an air of confidence to cover our true feelings. It’s false confidence that hides our true intensions and emotions. It also creates a certain disconnect from our fellow improvisers on stage. We use it as a shield to protect ourselves from others. Most of us do it unknowingly in our day to day lives. This mask has no place on stage. We must lose it in the green room and come out open, ready and exposed. </div>
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How can we have emotional committed characters if we ourselves are not being emotionally available? As we go through life we develop tools to protect ourselves and to hide our insecurities. Exploring this is one scary idea. It is an idea that many will not want to explore within themselves. How can we teach ourselves to let our guard down on command? Sharing ourselves with our characters and yet feeling and showing confidence? The truth from our characters comes from us. We can’t fabricate realistic reactions to situations. We have to be present and open to hear and react to offers. The only true way this can happen is if we let our guard down and let ourselves be available. One thing I do NOT want to explore is emotional recall. Crying on stage because you remember a traumatic experience is something I do not find healthy. Instead if we can safely reveal something about our self and speak a truth about us we are opening ourselves up. We are letting our guard down for that moment. This could be as simple as a true story that we find funny about ourselves. </div>
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Fear is a factor in our creation of these “masks”. I hope though that people can realize it does not have to be a scary painful exercise to let others in. Have fun with the idea that you can be you and not be judged. Feel powerful as yourself. Proud to the core of whom you are and in what you believe in. You don’t have to drudge up painful or awful feelings to work on this. I think that’s why most avoid this kind of work. They are scared and assume that if they head down a road of removing the mask they fear they will get hurt emotionally by revealing themselves or will need to break down and cry to work at this. In actual fact it is SO freeing and wonderful to be you and not worry about judgment. How can we explore this idea safely? It will have to be in a safe and supportive group so that we can feel no judgment and yet at the same time do some real self evaluation. </div>
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I wonder if all the ways we attempt to be unique or original are actually just layers being added onto our masks. I am tattooed, 6’5”, 230lbs and have a shaved head. I am not a scary biker but rather a passionate, creative, caring, loving person who wants everyone around me to succeed and find out how amazing they are. My look does not represent my true self. I say that I get these tattoos because I like them but I do know that people see me in a different light because of them. I know that I do like people being a bit intimidated by me. I am making up for being picked on from a very early awkward age. I never played, or was good at, sports. I was quite nerdy and kept to myself. I started to over compensate with aggression and anger. I spent a long time angry. I took years to realize not everyone wanted to hurt me. I was actually a grown up and could just be myself. I was good enough just being myself. I could say how I felt about hockey and not worry that people wouldn’t like me. It’s been a long time since someone has picked on me yet I still have my guard up in a whole lot of situations in my life. If I don’t let em in they can’t hurt me. </div>
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However, on stage though I feel free to be myself and reveal bits to the audience. I am not sure if this is because I assume they think I am making it up or just because I have trained myself to be relaxed and comfortable in front of strangers. This is where I feel the best. (I have written about this in other posts) So we now need to explore the idea of breaking down these masks and walls we put up daily. Let’s love ourselves for who we are and know that we are all that is needed to be entertaining, wonderful performers. We should be confident because we are all amazing. Time to let the world see who we are and rock it like no one’s business. </div>
Just Grahamhttp://www.blogger.com/profile/09362911241452595611noreply@blogger.com0tag:blogger.com,1999:blog-6196787907139484781.post-51938586921598576112012-03-09T15:00:00.000-08:002014-09-24T11:14:27.352-07:00Creating Sudden Death Improv<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMcM9DsLRqsxHb6TSXYYRgXBNcHxdke-hdWs0mGJTC0n6T9FDGkQCD6MRj2qWFVvp8Fm1VSzgcC2lNLuuGHqr0Guc3oc-vIiJz-Ri54FlBVffSawc7t_vQDIcohpa8uSw8fe8wqSPwIPw3/s1600/SDI+Facebook3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMcM9DsLRqsxHb6TSXYYRgXBNcHxdke-hdWs0mGJTC0n6T9FDGkQCD6MRj2qWFVvp8Fm1VSzgcC2lNLuuGHqr0Guc3oc-vIiJz-Ri54FlBVffSawc7t_vQDIcohpa8uSw8fe8wqSPwIPw3/s320/SDI+Facebook3.jpg" height="148" width="320" /></a></div>
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It has been a long time since I have written a new post, partially because I have been a busy duder and partially because I haven’t known what else to write about. I assumed that if I started writing something would come to me and here it is. I did post something a little while ago but deleted it before anyone read it. It was a vent on my part rather then useful information. I may repost it in the future. The rollercoaster ride of taking over the theatre, casting 20+ people, logos, websites, tweeting, painting, cleaning, and creating a show has been a crazy ride. (None of this would have been possible without all the support around me. I hope you know who you are and know I am talking to you.)</div>
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It wasn’t until I was in <st1:state w:st="on"><st1:place w:st="on">Victoria</st1:place></st1:state> that someone said to me, “Wow, you are basing your whole success and business on a show format that you haven’t even created yet! That’s ballsy.” I hadn’t really thought about that until it was said to me. I sure started freaking out after that. The name <b>Sudden Death Improv</b> came to me in <st1:place w:st="on"><st1:city w:st="on">Seattle</st1:city></st1:place> when I was there for the Improv Festival in June 2011. (Thanks Trenton Shine of <b>The Unscriptables</b> for helping the inspiration) We cast the performers the last weekend of September and immediately threw up<b> Vamprov</b> for the month of October. This wasn’t too hard because it’s a format we have done before that uses short form games that pits humans against Vampires. Once <b>Vamprov</b> was up we were working on our scene work in workshop. I know the cast members were all wondering when they’d find out what <b>Sudden Death Improv </b>was going to be. The format came in a moment of being half asleep, half awake, and lying in bed stressed out of my mind. That was December 2011. </div>
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We started working the format seriously right after the idea for it came about. I was lucky and got to try it out on table23 during our Wednesday shows in December. I did it 3 times in its super early stage in front of an audience. It seemed to have a great feel. The improvisers loved playing it and the audience enjoyed it big time. I knew at this time it had elements missing. It was fun but nothing was on the line or important to keep you invested. With <b>table23</b> we had great success because open scenes are where we feel most comfortable. I knew with newer improvisers this would be tricky to make it consistent and successful. So I went into the Xmas holidays still pretty unsure of what we were gonna do. I set the grand reopening for January 27<sup>th</sup>/12. I attempted to take 2 weeks away from the theatre at this time. During these two weeks I surrounded myself with family and enjoyed the holiday season. It was great but it turned into the longest 2 weeks of my life HAHA. My OCD mind was in overdrive repeating all the things that needed to get done in a very short amount of time. I was losing sleep and a looked like a worried mess. Once we got back in there the work around the space started to come together. It was a relief to see things move along so quickly. Walls got painted, sets built, and LOTS of stuff got sold or thrown out. </div>
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Through lots of discussion and workshopping Sudden Death really started to take shape its elements of short form games squished between open scenes. You have 2 improvisers who will do an open scene not knowing what their suggestion is. Before the scene happens, the 3 remaining improvisers perform an improv game given to them by the host. The first 2 watch the game and then perform a scene inspired by it. They do the scene based only on what they see their 3 teammates do. After the scene they try guess the suggestion. (Thanks Richard Wiens for that one!) If they get it right they get a point. If they get it wrong the host gets a point. A very simple format to watch but a very hard format to explain. We have been attempting a few different ways and scripts to introduce the show. What we are finding works best is explaining it as it happens. The audience seems to be able to follow it more easily. </div>
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When we performed it the first weekend the scenes were too short (my bad) and there were no points being awarded yet. So it was game then scene, game then scene, etc. It was so fast paced that the night blew by like crazy and didn’t have that “thing” it needed yet. Once the point system between the host and improvisers was added the audience became more invested. We have had a couple audiences jump out of their seats when the improvisers have won the night. This is only week 6 at this point. We continue to tweak it and work it, all while doing scene work over and over. I love the openness and freedom of the open scenes and goofy element of the games. It has potential to grow and morph as we grow as a company and get more seasoned. I am really excited to be 10 years in the future and remembering how far we have come and yet I am soaking up and enjoying the hell out of right now. Maybe soon I can catch up on my sleep…………….Maybe!</div>
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Just Grahamhttp://www.blogger.com/profile/09362911241452595611noreply@blogger.com0tag:blogger.com,1999:blog-6196787907139484781.post-41024767220962811602011-10-27T16:40:00.000-07:002014-09-24T11:14:35.634-07:00What is my dream achievement in Improv?<div class="separator" style="clear: both; text-align: center;">
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I filled out a fun questionnaire for an upcoming show I’m involved in, and this was the last question on the list. A Del Close award? (Yes that would be a HUGE honor but that wasn't it) I didn’t think very long about it before an answer came to me. My only dream is that I can still be performing when I am so old that I need a walker to get around. I had the honor of meeting and taking a workshop with Charna Halpern during the Vancouver Improv Festival this year. She warned us improvisers to stop going to super loud concerts and to protect our ears. She wears hearing aids and said that she can’t really listen like she needs to when performing on stage. She rarely does shows nowadays because of it. In a weird way, in her saying this I felt my mortality for the first time in my life. Not my life passing by, but my improv mortality rather. </div>
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I had another improviser (Aaron Merke) ask me if I could get in shape to do some crazy physical improv and I laughed and laughed. I’m not athletic and to say I’m too tall and awkward is an understatement. Now I know we are not professional athletes training for a marathon but I realize that if I do plan on performing I need to take care of myself. That or die young from a drug overdose. (Seems to happen way too much to some very talented performers) If you use the analogy of a flame; I definitely want to burn strong for a long time. Not flare up and burn out super fast. I’m sure you other improvisers out there will agree sometimes it’s hard to look after ourselves when we are doing a ton of shows. Especially if you are like me and work a full time day job on top of running a theatre. This kind of inspires me to start working some physical stuff into our warm ups……WOW what a great idea. I have thought for years that if you could get fit from performing improv I’d be the Incredible Hulk of the improv stage. LOL. Unfortunately this isn’t the case. We often eat crap food much too late and have a beer now and then (or 12). So that’s something I am going to start working towards because I NEVER miss a warm up. Incorporating simple work out routines into the warm up could definitely help. I promise no shake weights. </div>
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I’m only 31 and I am already starting to notice changes with how my body performs. I know that adjustments will have to be made as I continue to age. I will adapt and change and grow I’m sure. I also look forward to some of the challenges that are sure to come as my body decides what I can and can not do anymore. This is a bit scary because something I say all the time is “Let your body do the improvising.” What does the future hold for me? How will I perform when my body can’t? Will people pay to see an old man sitting in a chair on stage for an hour? I’m not sure. Asking myself these questions makes me think to the image of a Buddhist Monk riding a donkey backwards. We must always be moving forward, present in the moment and paying respect to the journey we have taken. (Thank you for telling me about that image Randy Dixon)</div>
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I truly love directing and know that I will be a bitter old man scaring new improvisers until they close the casket door on me, but it is performing that keeps me alive. I joke all the time that I will out live all the Vegans and Vegetarians because all the preservatives in the food I eat preserve me. I joke that I’ll out live em all, and to be honest I plan to. The theatre that is killing me is also keeping me alive. There is a balance created that can not be broken. It’s this balance that will allow me to live FOREVER! Well maybe not but I love the romance of it. I guess I better start taking care of myself now so there isn’t any reason I can’t do this for 100 years. </div>
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Just Grahamhttp://www.blogger.com/profile/09362911241452595611noreply@blogger.com5tag:blogger.com,1999:blog-6196787907139484781.post-74225982952871450312011-09-20T14:06:00.000-07:002014-09-24T11:14:43.086-07:00Bunny, Bunny!<div class="separator" style="clear: both; text-align: center;">
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<span class="Apple-style-span"><span class="Apple-style-span" style="background-color: white; font-family: Georgia, 'Times New Roman', serif;">It's all about the experience. Taking as much understanding or knowledge from the exercise or game that you can. If you ran 500 miles and made it all the way to the end, you would feel so great for making it and for accomplishing that goal. But really it's at the 250 mark that you are truly going to learn the most about yourself and your body. It's about the journey not the out come. It's exactly the same with warm up games and exercises.</span></span></div>
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<span class="apple-style-span"><span class="Apple-style-span" style="background-color: white; font-family: Georgia, 'Times New Roman', serif;">Why do we do warm up games? I’ve asked this question multiple times to groups of improvisers and usually get the answers: “To get our minds ready. “To relax and loosen up.” Or my favorite “I don’t need to warm up.” Something that doesn’t get the weight it deserves is the actual exercise itself. The people who slaved away coming up with these silly games did so out of necessity. They saw something people weren’t doing or struggling with and created a game to help solve the problem. They all have very valuable lessons in them. All of them are improv stripped down to its very basic form. Even the most silly and weird game, has things to be taken and applied to our scene work. Bunny, Bunny for example is a super silly zany game. (I have wanted to use the word zany for awhile.) This game has a whole lot of potential to look stupid. If the group is playing and a couple people in the group aren’t playing it like it’s the best game ever they end up making the whole group look and feel uncomfortable. Anyone who says improv is a way to look cool in front of people is doing it for the wrong reason. If the entire group is having fun, being present, ready and enjoying themselves then it stops looking silly and actually looks like a well orchestrated exercise in rhythm and movement. This is the same as unsupportive improvisers in a group. If they are trying to look cool while doing improv they will only hurt the group around them by half assing everything they do. If they are reserved and holding back (creating rules) they end up hurting the whole group dynamic putting others in their heads. You are only as strong as your weakest link. If you feel that everyone is as invested as you then you will push yourself farther. <o:p></o:p></span></span></div>
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<span class="apple-style-span"><span class="Apple-style-span" style="background-color: white; font-family: Georgia, 'Times New Roman', serif;">There are a million reasons we play games like Bunny, Bunny. Another reason is making good offers. This goes way further in its simplifying of an offer then just saying who, where, and what. It’s takes it to its core of how to make a good offer to your partner. Being clear to whom you are making the offer to. The surer of yourself you are the more clear your offer will be. By also taking the time to ensure your partner across the circle is ready for the offer and the more patient and calm you are in letting this happen the easier a great offer can be passed. Breathing, focus, connection, relaxation, trust and willingness to go all in makes this game work. These are also the things that make for great improv scenes. So not only are you doing this to get into this state of being or trance, you are also familiarizing yourself with how that state of being feels in practicing it. All of this work translates to how you will improvise. If you have a bad habits in these games and are aware of them, you can start to work on them and hopefully then improve your improv. You’ll start to catch yourself hesitating or not trusting people in your group. If you do then bang that stuff out in the warm up exercises. That’s what they are there for. <o:p></o:p></span></span></div>
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<span class="apple-style-span"><span class="Apple-style-span" style="background-color: white; font-family: Georgia, 'Times New Roman', serif;">One more thing I’ll touch on is having fun. We as adults are not aloud to play. This is instilled in us as we grow up, get jobs and buy houses. Well this is something we improvisers get to do. We get to play and have fun. It takes a lot to shake off the rules we follow in our daily lives but if we feel safe and are surrounded by fun, positive caring people we will be able to play freely and have fun. It’s the same at any job you do. Time flies when you are having fun. You also actually get more work done when the mood is light. So if you find yourself about to do a warm up game or exercise and you say to yourself “I don’t wanna play that game.” Ask yourself why? What if you just said yes? Who knows what awesomeness will come out of saying yes and challenging yourself. Jumping in head first and trusting that it is for a reason. Then really watching and evaluating yourself to see where your bad habits lie. Just start saying yes and going in with everything you got and your scene work will drastically improve. <o:p></o:p></span></span></div>
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Just Grahamhttp://www.blogger.com/profile/09362911241452595611noreply@blogger.com0tag:blogger.com,1999:blog-6196787907139484781.post-7786374047356052032011-08-25T16:43:00.000-07:002011-10-05T12:44:06.789-07:00Just a Ramble<div class="MsoNormal">The music plays softly. Pockets tapped for your wallet and phone, wallet and phone, wallet and phone. You’ve literally stood in this spot a hundred times. You know where the creak in the floor waits. The water bottle in your hand acts like a tent peg to the ground. There to calm the movement wanting to escape from within you. Twisting the lid on and off to the rhythm of the song playing creates a moment of tranquility. Deliberately rock back and forth on the loose board to soothe and quiet the voices bouncing off each side or your head. Let the day go as you stand there. Check your nose, fly, shirt, and give yourself one last shake. Did you lock your truck? Yes of course you did. You always check the handle. Eye contact, establish eye contact. These five minutes hang like an eternity in the air. Breathe even, deep, calm breaths, in and out. Zoom in on what’s being said behind the thin flat. It’s your time to enter. Your name is called. Tap for wallet and phone, wallet and phone. As the audience calls out with cheers, a hush fills your body and mind. Take one last breath before you step through the curtain. The music plays loud. Step out into the quiet light and onto the stage as ready as you’ll ever be. </div>Just Grahamhttp://www.blogger.com/profile/09362911241452595611noreply@blogger.com0tag:blogger.com,1999:blog-6196787907139484781.post-16935812434022843892011-08-02T17:06:00.000-07:002014-09-24T11:17:26.229-07:00Tattoo The Audience<div class="separator" style="clear: both; text-align: center;">
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<span style="font-size: 11pt;">I am always looking at other activities and art forms and comparing them to improv. For example one of my favorites to compare to Improv is Martial Arts, more specifically Kung Fu. There is a great book called Zen in The Martial Arts By: Joe Hyams that is an easy read and has lots of quotes and lessons from Bruce Lee that you can’t help but apply to what we do. I have been chatting with my tattoo artist recently about what she does </span><span style="font-size: 13.5pt;"><a href="http://blackrabbittattoostudio.com/"><span style="font-size: 11pt;">http://blackrabbittattoostudio.com/</span></a></span><span style="font-size: 11pt;"> and it started to resonate something in me. She definitely leaves her client with something when the session is done. I am not trying to be clever but rather just find it very fun to see where similarities lie as well as what I can take from other art forms. So let’s get at er then.</span><span style="font-size: 13.5pt;"><o:p></o:p></span></div>
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<span class="Apple-style-span" style="font-size: 15px;"> We talked about the fact that tattooing is very intimate and very physical. A tattoo artist must be comfortable around their clients also not be shy to touch them. Some people that come in to get inked come with cliché ideas and get butterflies and tribal. These people may only get one tattoo as there wasn’t much meaning behind it, or they may get a whole bunch because it’s really addictive. Then there are people who come in with meaningful ideas and stories to tell about why they chose the design they chose. A tattoo artist must be someone people will open up to. I know my longest session was 5 hours. There is not much to do but talk. I have experienced tattoo artists that were not personable and I swore I’d never go back to them and never did. Connecting and sharing should be part of the process. You come in to have this person take a part of you and literally put it on your body. So in the end you leave and that artist has permanently left a reminder of that time together on your body. That’s something that no matter how much time passes will be there and when you look at it you will be taken back to the time you got it.</span></div>
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<span style="font-size: 11pt;">What my goal is with improv is to leave the audience with something that reminds them of the experience we all had together during the show. The people who come to get a generic un-meaningful tattoo are perhaps like those that come to see a short form show where they can drink and just laugh for a bit and go home. They won’t invest fully in the show or the experience of getting a tattoo. If they laugh they are fulfilled. They probably attend that show or get that tattoo because their friends are doing the same. We don’t have the advantage tattoos do. First off we can’t actually leave something on our audience’s body that will be there for the rest of their life. (Permanent stamps at the door?) People coming for a tattoo at least have an idea what they are walking in to when they come through the door because tattoos are becoming quite widely known and accepted. Also we don’t really have that ability to make the same kind of intimate physical contact with each person in the audience. So what I’d like to do mentally a tattoo does physically. </span><span style="font-size: 13.5pt;"><o:p></o:p></span></div>
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<span style="font-size: 11pt;">I want to try and touch someone in a personal way that will stay with them for as long as possible. Most people get that first tattoo because it means something to them. They are doing the same when giving a suggestion that means something to them. We as improvisers need to take that suggestion and honor it as best we can by giving them what they want. We need to play that suggestion and hopefully relate to not only that audience member but as many others as possible. This concept of leaving them with something at the end of the show has ummmm stuck with me. I think I apply this a lot in my workshops and shows. I want people to leave feeling better then when they got there. I want them to walk more confidently after the workshop is done much like a tough guy with his first tattoo. When they first walk in they may be a bit tentative. Also they may be a bit intimidated by my “passion”. Once you get past all the built up expectations and open yourself up you realize how awesome the experience can be. You can really be present and take so much away from both getting a tattoo and learning this awesome thing called improv. I know walking in to get my first tattoo I was scared to death about how much it was gonna hurt. People walk into their first workshop worked up and scared about how embarrassed they’ll be. Some audiences walk in scared they will get called up and made fun of. If we do our job and connect with them this should help relieve all this anxious energy and put everyone at ease. <o:p></o:p></span></div>
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<span style="font-size: 11pt;"><o:p> </o:p></span><span class="Apple-style-span" style="font-size: 15px;">If nothing else the image of us tattooing our audience with ideas and a group mind seem like a good way to describe what I am trying to do. Some people will just come watch the show and leave happy because they had a good time. Some may come and really be brought in to what we are doing and if we do our job they may really connect and have a piece of that show stay with them. Just the other day I was outside the theatre and a woman came up to me and said “Hey, Too Tall Tim.” I had no idea what she was talking about until she explained that like 7 years prior she had seen me in an improvised Christmas Carol and remembered that instead of me being Tiny Tim I was Too Tall Tim. That blew me away. She said she had seen me around town and always said to whoever she was with, “There is Too Tall Tim.” That is incredible when you think about how long ago that was. So by being conscious and aware of this power we will definitely have a great tool in the old belt.</span></div>
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Just Grahamhttp://www.blogger.com/profile/09362911241452595611noreply@blogger.com0tag:blogger.com,1999:blog-6196787907139484781.post-61861043587759711052011-07-29T13:18:00.000-07:002014-09-24T11:17:36.304-07:00Should We Be Accountable?<div class="separator" style="clear: both; text-align: center;">
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I’m sure we have all been in a show where we were so fully invested and committed to our scene or character that we said something over the top offensive. Not intentionally or to create a reaction from the audience but rather just spitting something out that immediately after made you go “oops!” I try to live by the rule of, no regrets but even I have crossed the line on occasion. I won’t get into dirty details but trust me when I say I have said some pretty bad things. This is all coming up for me because at two separate shows recently something very “racy” was said. Now normally I wouldn’t have paid much attention to it but in these two cases the one who said the risky thing ended up apologizing for it after the show. One time forced by a host and another time on their own because they truly felt bad for what they said. What I want to look at here is, should we as improvisers be held accountable for what we say or do on stage? </div>
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Unlike Stand Up where the jokes are pre-meditated, practiced and executed, improv is literally us just saying what’s already there. As long as the thing we say isn’t intentional, or meant to be hateful (Unless a character calls for it) I don’t think we should ever apologize for our actions. In order for us to evoke honest laughter from an audience we need to be honest to them with our reactions. We also shouldn’t have to edit ourselves because that takes us out of the moment. If we are gonna play the Fool for the audience then you would think we could get away with anything and everything. In some cases it seems we can because of certain expectations set up by the Host of a show. They may let the crowd know that everything we do is coming from something in our own lives or experiences, people we’ve met or dealt with. Also that we will play every character with as much honesty as we can so if we do go somewhere racy it’s our character doing it not us. Also the whole idea of lowered expectations plays into this. If it’s set up that we may fail then racy mistakes will almost be expected. </div>
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I also wonder if by revisiting the incident, and saying sorry for it, the situation was actually made worse. (The apology forced by the Host was very goofy and not a genuine apology) In the heat of a scene the inappropriate statement or action may seem less offensive because it fits within the walls of that scene. Either way isn’t what we are trying to do is evoke emotion from the people watching us. It was Del Close who said we should try and actually kill our audience with laughter to bring them out of the comatose state. For us to do this we will need to take chances………… Now here is where I’m hung up. That last sentence makes it sound intentional, like we will purposefully try to be more risky in our improv. I don’t think its okay to do risky improv for the sake of doing risky improv. I think its okay to do truthful scenes that depending on what happens in them may end up being risky. Also I guess we need to just take ourselves seriously. For example if for whatever reason I end up playing a bigot I need to play that bigot honestly. Chances are I am gonna offend someone in doing so but we wouldn’t have a chance to go there if I steered clear of that character. We wouldn’t have had a chance to perhaps shed light on a dark subject if I didn’t fully dive in and do that bigot justice (That sounds funny). </div>
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So where is the fine line drawn between risky improv and honest improv. I’m sure the line blurs depending on many factors. I need to have no fear of prosecution when I offend someone. As soon as I have fear I will not be able to fully jump in. I am here to entertain, challenge and bring an audience into our show. I am accountable to the audience to play each character or scene as honest as I can. If they judge me then so be it. You will never make everyone happy, nor will you ever know what may offend certain people. In the end hopefully all the other improvisers will support me and accept my decisions. So to answer the question: Should we be held accountable for our actions? We should be accountable for doing the best quality show, scenes, characters, as we can. We should not be punished if those happen to have unintentional mishaps that offend people in the process. In the end of it all those “mishaps” may actually evoke great conversations that would have otherwise never happened. The key may be to never try to offend but if it naturally happens don’t ever apologize for it. </div>
Just Grahamhttp://www.blogger.com/profile/09362911241452595611noreply@blogger.com2tag:blogger.com,1999:blog-6196787907139484781.post-31694136277695114092011-07-07T14:33:00.000-07:002014-09-24T11:17:46.515-07:00Break Down The 4th Wall<div class="separator" style="clear: both; text-align: center;">
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We break down the fourth wall as soon as we step on stage. We get suggestions and do an audience warm up. There are games we play that are directly influenced by the audience. They yell “change” or “sounds like a song”. Most games are direct interactions with the audience. The audience warm up is a chance for the host to create a relationship with the people there to see the show and let them know how breaking the fourth wall works. A good host is almost trained to be a pick up artist. The smoother and the better spoken they are the easier it is for them to pick up the audience. I compare this to a first date. You have a very limited time to let the audience know that you can be trusted and are loyal to them. The host has to be genuine and not a slimy pick up artist or he will fail in his attempt to create a comfortable environment. What I am exploring right now is ways to take some of this onus off the host and put some on the other improvisers. Something that happened during a show I hosted that I really focused on the audience was the improvisers actually felt left out and not included. The audience really loved it though. So obviously there is a balance that needs to be found so everyone can be invested equally.<span style="mso-spacerun: yes;"> </span></div>
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Something the host and improvisers also need to do is give as much as they expect to get back from the audience. You can’t expect personal embarrassing stories from someone when you don’t reveal something about yourself first. This can be done in a subtle way by just being present on stage being honest and yourself. I am finding though that subtle isn’t always the best course of action. I am not one who thinks you need to treat your audience like children. There are a people who think you should treat the audience this way and preach it. That’s not what I’m saying. I guess what I’m saying is, just say it like it is. If you want the audience to open up to you and really invest in the show, then show them that you want to be open and that you are invested in them. Don’t just do a standard improv warm up, really take the time to introduce yourself to them and let them introduce themselves to you. The short form games can all be set up using personal information from the audience. We tried playing a fitting game based on what info we got from the audience. It was tricky but we as a group have a deep list of games so we pulled it off and it was awesome. </div>
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What was great when I focused on the audience was that they started doing the work for us. We did short form first half and a Harold in the second. Because we had been so focused on them they started breaking the fourth wall helping us along. This was a big lesson for me on how to get the audience more involved in our long form. Let them break the fourth wall rather then us doing it. This allows us to stay in our scenes and committed. We are all hyper aware on stage (<span style="color: red;"><a href="http://find-the-sore-thumb.blogspot.com/2011/05/hyper-awareness.html"><span style="color: red;">http://find-the-sore-thumb.blogspot.com/2011/05/hyper-awareness.html</span></a></span>) so we just need to extend this out towards the crowd. I am still playing with tools to give the audience in order to help them do this. The most important thing is them feeling supported and safe to come in. Help them understand they are another performer coming along for the same ride. It just felt very unnatural to break a scene to go out to the audience.. I am trying to find ways to keep the flow. If you think of the booing and cheering in a Melodrama perhaps this idea will make more sense. The audience is more involved and routing for their favorite characters in these plays. Use similar concepts to bring them in during the Harold. </div>
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One thing the theatre is going to start doing is warming up before the doors open. This will allow us to all cover a shift at Front of House and Concession and have us interact with our audience before the show starts. We will all be out there rather then hiding in the green room. If we are gonna break that fourth wall let’s see what happens if we never put it up in the first place. It will be important that we are not out there trying to interact with our audience (this would be so forced and unnatural) but rather just be there. Something we decided is that we all need to have something to do while we are out there. If we don’t then everything will seem forced and awkward to us and the audience. We will see how it goes as we implement it. This has been a very satisfying experiment so far and seems endless in fun possibilities.<span style="mso-spacerun: yes;"> </span></div>
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Just Grahamhttp://www.blogger.com/profile/09362911241452595611noreply@blogger.com1tag:blogger.com,1999:blog-6196787907139484781.post-17939543779318848102011-06-30T09:25:00.000-07:002011-06-30T09:25:07.500-07:00Trio Scene from Seattle<div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/1q52KyXKUQU?feature=player_embedded' frameborder='0'></iframe></div><div class="separator" style="clear: both; text-align: center;"><br />
</div><div class="separator" style="clear: both; text-align: left;">Not sure how clear it looks but it was our first performance in the festival. I was with Caitlin from Winnipeg and Lisa from Seattle. Super fun scene to be in. Caitlin was gold. </div>Just Grahamhttp://www.blogger.com/profile/09362911241452595611noreply@blogger.com0tag:blogger.com,1999:blog-6196787907139484781.post-27030525419893976742011-06-27T13:23:00.000-07:002014-09-24T11:18:05.346-07:00New Look at The Same Question<div class="separator" style="clear: both; text-align: center;">
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So after coming back from the Seattle International Festival of Improv, I must admit to having a little bit of an awakening when it comes to why I do improv. Not to discount the first answer, because it was, and still is a part of why I do improv (see below or click here for previous answer <a href="http://find-the-sore-thumb.blogspot.com/2011/05/why-i-do-improvise.html"><span class="Apple-style-span" style="color: red;">http://find-the-sore-thumb.blogspot.com/2011/05/why-i-do-improvise.html</span></a> ). I just have a new perspective since coming back from the Festival. I met wonderful people from ALL over the world. They taught me so much in the week we were together. So why do I do improv Randy Dixon asked again. Well I do improv for the audience. Plain and simple (well until he asks me again) </div>
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We explored the idea of improvisers being the Fools of today’s society. For those who don’t know much about the Fool you aren’t alone. When I walked in I had no idea what everyone was talking about. I got a bit lost in some of the seemingly over complicated discussion, but what I took from it was that we are able to say things and not be persecuted for it much like a fool telling the king he is an idiot and not having his head chopped off. This is an incredible power to have. We have this for many reasons I assume. In some peoples heads improvising isn’t real acting or a real profession. The traditional fool is looked down upon for physical or status reasons. I won’t get to into it but if you look at the fool in Shakespeare’s plays <a href="http://www.foolsforhire.com/info/history.html"><span class="Apple-style-span" style="color: red;">http://www.foolsforhire.com/info/history.html</span></a> as well as look at the definition of the fool in Tarot <a href="http://en.wikipedia.org/wiki/The_Fool_(Tarot_card)"><span class="Apple-style-span" style="color: red;">http://en.wikipedia.org/wiki/The_Fool_(Tarot_card)</span></a> and compare it to improv you’ll be like “Whoa” </div>
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Something that I believe is important for a fool is to be trusted by who they give advice to. They need to be seen as loyal to their master. So if the audience is our master then we must find new ways to show that we can be trusted and that we are loyal to them. When we do an intro to a show or are a host we really need to connect with the audience to get them to come along with us and trust us in all that we are doing. The improvisers need to do the same. One idea for this was to never put up the fourth wall. We are gonna break it down anyway, so why ever put it up. Have the actors connect to the audience before and after the show. No more hiding back stage. We need to erase the idea that if you come to an improv show that you will be made fun of or brought up on stage and mocked. This will take time but can be done. So once we have them with us and trusting us what do we do?</div>
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We use our power to give them advice? Perhaps, but I think what I will try and do is leave them with something to take away, a gift maybe. How do I do that? Well not positive but by commenting on and saying things that are true right now in our lives that others can relate to is a start. If we play for truth and what we know and understand this will happen. If I do a scene about being single in 2011 and play it honest using what I know about being single today others will relate to it because they are single right now. Then hopefully they leave with it in there minds enough that next time they go on Plenty O Fish they remember the scene I did. If we strive for honesty and use what we know (we should be doing this anyway as our characters are only as smart as we are) I think this will happen. The idea of the fool to me is a tool to learn, discuss and then forget. Being aware or trying to be the fool of course is the opposite of just being the fool. </div>
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So back to the question: Why do I do improv? I do improv for the audience. I hope to give them something to leave with and not just entertain and move on. Whether I leave them with a thought or a new understanding of themselves I did my job if this happens. I literally hope to give them a part of me that they can relate to and take with them. My other answer was so selfish and perhaps part of the reason I was feeling stagnant before I went to the Festival. I do it for them. That’s it. I want to show them all of me honestly so they can relate and connect to me more easily. The more honest and present I am the more they can come along with me. So that about sums it up. Something was asked to me by a director and close friend. Why do I want to do this? Why do I want and need to give parts of me away? Well damn if I know but I’m sure you’ll hear about it. </div>
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<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;">FYI- All the above ideas came from open discussions with all the wonderful people while I was in <st1:city w:st="on"><st1:place w:st="on">Seattle</st1:place></st1:city>. So I will never take credit but love to put it all down on to share. <o:p></o:p></i></b></div>
Just Grahamhttp://www.blogger.com/profile/09362911241452595611noreply@blogger.com1tag:blogger.com,1999:blog-6196787907139484781.post-66178587920445098312011-05-30T11:06:00.000-07:002014-09-24T11:18:14.653-07:00Self Indulgence<div class="separator" style="clear: both; text-align: center;">
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I had recently come into a bit of a block with the group I have been directing. Not because they were or weren’t doing something but rather because I lost direction. We have been focused heavily on transformation transitions. This was a pretty amazing exploration in connection and bordered on artsy fartsy improv. We incorporate music and silent scenes into our Harold. We usually get a suggestion and then feel inspiration from it and run as far away from it as we can. This exploration was super fulfilling and very rewarding the first 4 or 5 shows. It started to get stale though. It was as if it was losing its freeness. I was struggling to find where this stifling feeling was coming from. </div>
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I started reading, about the Harold and Del Close, and reading, and then reading some more. Something I never thought id ever say when it came to improv, but we needed structure. Not in the traditional sense like something planned but rather a goal to reach for. I find myself saying to groups. “Set goals for yourself” and here I was not doing that in our workshops. I read that <st1:place w:st="on"><st1:state w:st="on">Del</st1:state></st1:place> would look for the deconstruction of a suggestion. <a href="http://www.impatient.ca/shows/harold/"><span class="Apple-style-span" style="color: red;">http://www.impatient.ca/shows/harold/</span></a> <span style="mso-spacerun: yes;"> </span>He used the Harold to do this in the most complete way possible. I got a taste of this working with Randy Dixon but didn’t fully understand it until we hit this road block. The reason we weren’t feeling fulfilled after our sets was because we were being selfish (I remind this was all under my direction. The group is amazing and always jumps into everything head first. Very trusting and a pleasure to work with) we were simply purging on stage and not really allowing the audience in on where we were going. They could follow but probably not easily. Not only because they didn’t easily understand our inspiration from the suggestion (sometimes it was pretty obscure) but also because the transformations aren’t regularly used around here. They were seeing a format they weren’t used to. </div>
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When we were work shopping scenes they were great. Everything was on point.<span style="mso-spacerun: yes;"> </span>Then we’d try another run using our transformations and it was stale again. What was missing between the scenes solo and the full length run? A goal and focus is what we lacked. In the scene work we were taking the suggestion and having it directly shape the scene. When doing a run we took a suggestion and basically left it. BAM! It hit me. </div>
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From one extreme to another. Let’s work towards what I interpreted as <st1:state w:st="on"><st1:place w:st="on">Del</st1:place></st1:state>’s idea of a good Harold. Fully explore the suggestion using all aspects of the Harold to do so. So the goal you say? Take a suggestion, use it in the opening to literally shape the way the opening happens. Not just free associating from the suggestion but rather let it shape the pace, length, characters, weight, and the directness of it. We have been using Rudolph Laban’s Effort Actions <a href="http://en.wikipedia.org/wiki/Labanotation#Effort"><span class="Apple-style-span" style="color: red;">http://en.wikipedia.org/wiki/Labanotation#Effort</span></a> to do character work but why not use it on the suggestion, Laban the suggestion. Look at the way the suggestion can shape characters, the scenes, the opening, the ending as well as the transitions. The suggestion should shape the entire Harold not just something for us to start from and leave. Give the whole piece purpose to the audience and allow them to easily see where you are getting your inspiration from and take them on the journey with you. Don’t just leave them in the dust and hope they catch up. This doesn’t eliminate any of the freedom we enjoy. It just gives us a purpose and something to work towards each time we step on stage. </div>
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<span style="mso-spacerun: yes;"> </span>Don’t just masturbate on stage. Make love to the audience because at the end of the day that is what we are here for, them. </div>
Just Grahamhttp://www.blogger.com/profile/09362911241452595611noreply@blogger.com0tag:blogger.com,1999:blog-6196787907139484781.post-82702746457993867442011-05-23T00:55:00.000-07:002014-09-24T11:18:21.607-07:00Hyper Awareness<div class="separator" style="clear: both; text-align: center;">
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While I sit having a conversation in a bar I am constantly aware of things going on around me. For example: if a cool car or truck drives by I always notice. This is just being aware of my surroundings at all times. I also notice things around with specific detail. Patterns created by lights, the way the napkins are folded or the way my beer sits on the coaster. Sometimes it’s easier than others to see all of these things. This becomes more easy if I am relaxed or in the “trance” like state. I’ve started to acknowledge times in my day to day when I find myself in a state of ready like when prepped for an improv performance. The more I practice getting there the easier it becomes. </div>
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So once on stage I commit fully to each character or scene I establish. (Try my best anyway, but no one is perfect) I strive to commit as much as possible and forget that I am on stage in front of an audience. This is an incredible feeling to be in. Sometimes I am in a scene so deep that I forget which actor was with me in the scene and only remember the character they played. This kind of commitment makes for some great improv. Here’s what we have found in workshops though.</div>
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We are still improvisers on stage and need to have an awareness of what’s happening around us. Not just being aware of the other actors on stage but rather a hyper awareness of everyone and everything around. We still have to be ready to give the focus away at any time. The best way I can describe it is coming out of your body and watching the scene from above. If you allow your body minus your mind to do the improvising this will become easier.</div>
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No matter how deep in a scene I get, I must be ready for and able to sense movement from across the stage. Another actor should be able to simply move with no sound and grab my attention. We as people feel beats and tempos around us. If everyone is in sync and connected with all the improvisers on stage these beats can be felt easier. Once felt and tuned into everyone can flow more easily and be aware when a change is happening. A fun exercise to try this out is; have everyone in a circle with the rules, one person must always be moving but only one person can move at a time. Allow them to move from the circle once explored and use the whole stage freely. It’s amazing how someone can notice from behind them movement from others. We have developed other exercises to practice hyper awareness but just being aware of it is a big step in finding it. </div>
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I think this is a great start. So don’t be scared to commit hard as hell. Have faith that if you open yourself up to being ready you will start to be hyper aware. Now go ninja improvisers HAHA.</div>
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Just Grahamhttp://www.blogger.com/profile/09362911241452595611noreply@blogger.com1