This blog's musings comes from a fb post about intimacy in improvisation. A subject that seems to be, excuse the pun, a touchy subject for some companies.
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What if we greeted everyone on the street as a potential scene partner. We embrace their entrance into our scene of life.
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It is Thursday night and tomorrow the Games begin. It is very much like being a kid at Christmas waiting just one last sleep before you get the big wonderful surprise.
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There is magical show that is very dear to me, and that is Die Nasty - the live improvised soap opera.
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At the beginning of July all hell breaks loose in glorious spontaneity at Improvention; a Impro Festival in Canberra produced by the amazing folk at Impro Theatre ACT
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I've been doing some reading and research and surfing various webpages. I am always delighted when I stumble accross historic icons who have the heart of improviser. I believe Franz Liszt was one.
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The amazing Joe Bill has posted his Blog response to my Blog. I urge you to go have a read if you find this topic interesting.
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I’ve had people ask me to write something about working with Joe Bill and our impro show Our Play. So, here goes.
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A recent post on Facebook got me thinking more about Transaction Scenes. The comment, loosely paraphrased and my apologies if I misinterpreted, was that the reason transaction scenes often don’t work is because there is no relationship.
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I’ve just been writing some notes / thoughts about formats and choices for the Impro Melbourne company forum. It has started me thinking about Who people play for?
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Sorting through my many notes and bits of papers in hopes of putting them together into some useful form, I came across this which I had scribbled out. I think it is useful to share.
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Valentines Day a day of death, imprisonment and whipping. What the? Today is the day sold as the day of love and romance. However, many bloody brawls will take place, many hearts will be broken, there will be emptiness and loneliness and many expectations will be dashed on the rocks of hope. You may be thinking 'um...Patti...this is a real downer .... what the hell are you on about?'
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I’ve become more and more aware that if you want to improve your skills as an improvisation teacher, you need to pay attention to people are you and the life you are living. Each moment and how you think, feel or respond is a lesson in impro.
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If someone is exploring an idea and asking for honest point of view from the participants, then how will they gain the most out of the exploration if we are not honest. If the room is filled with all Yes people, where is the counterpoint? Contrast is good, different opinions and perspectives are good.
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I’ve always felt uncomfortable with a scene being introduced as ‘now we are going to play a serious scene.‘ Why do we need to qualify it? We don’t say ‘now we will play a funny scene.‘ ‘Now we will play a slightly amusing scene.‘ So why? Who needs to know before hand? Is that us telling other players to lay off the gag fest for a moment? If so, why can’t they feel what is needed in the show?
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Recently an event happened at the Del Close marathon which has prompted much discussion and debate.
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Does anyone else find people’s use of this terminology a bit ridiculous? I feel there really isn’t a difference between long form and short form except for the time involved and I’m a bit annoyed at companies who define their work with a tone to suggest one is more or better than then other. Bollocks, they both have pros and cons, benefits and weaknesses. Neither should be hoisted above the other as if only the more highly skilled can achieve this form. Darts or archery it both involves aim and precision.
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My head is buzzing today. Lots of clashing thoughts and emotions. Waves of uncertainty crashing against the hard cliffs of standards.
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