This blog makes me happy to write. I guess it is because it includes two things that make me happy.
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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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So an improviser and a Rabbi walk onto a plane.... sounds like the start of a joke doesn’t it.
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I am writing this blog from South Paris Maine at a place called Celebration Barn Theatre. It is an old red barn built in 1902 that was turned into a Centre for creating original theatre by Tony Montanaro.
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Master Servant work was always filled with a joy, passion, connection, release, play and focus. They were always delightful, mischievous and filled with intense connection and interplay.
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Lately I’ve been working on a project that has required me to challenge certain skill areas and to learn new approaches.
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Last week I had the privilege of seeing Lily Tomlin live. Ms. Tomlin lives in a category of my brian loving labelled ‘inspiring performers’.
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Improvisation and life go hand in hand. The nature of improvisation is based on human behaviour, the techniques are the result of observing that behaviour.
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There has been a lot of hoop-la about Ricky Gervais’s hosting of the Golden Globe awards. Personally I think they got what they asked for
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I started pondering people’s interpretation of inspire your partner 3 or 4 months ago when after a show someone asked me if the set up they gave me was inspiring. It was. The scene was from a snogger set up, and I was asked to start with that. I had furniture, a open stage and it was the most inspired I had felt in awhile. Why? I was tossed off the cliff into the unknown. Here.... Begin.... Delightful!
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I love every step of the process because it is a constant reminder to be present. If we trust and allow our creative selves to just do and stop worrying about failure we can be delighted in the magical surprise of what comes to life. If we can just stop trying to control the future and just get our own crazy judgements and fear out of the way.
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It was focused on a ghost of the Haymarket Theatre, the history of the ghost and a sighting of the ghost. You would think a story about ghosts would be gripping. Ghosts and their history are interesting. Having a star like Sir Patrick see a ghost during a performance is fascinating. So why was this episode boring? This is where this all connects to impro for me.
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I love the start of a new year just like I love the opening of a new note book. The blank page, the open opportunity, the potential. It is this same love of the unknown that I crave in impro. Each workshop is that new notebook, each show a January first.
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It is natural when one is pondering something to try and look at it from different angles. The latest thing to do flip flops in my trampoline mind is the idea of rules in improvisation.
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