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Archive for February, 2011

Observing Improv: The purest form of play

Friday, February 25th, 2011

            While viewing a few shows where Improv is being done, I can’t help feel that Improv like the theater, is pure play in the purest sense of the word. Seeing grown adults take a suggestion and use their intuition and creativity is like seeing a child that hasn’t forgotten what “play” really means. Playing loosens us up from the constrictions weighed heavily upon us. When  done enough, play can find resolution to our problems through spontaneity and invention. Play with laughter and fun can put us in a clearer space to conquer the problem at hand. With a censored, fast paced and linear world where we’re preoccupied with making money, we lose a sense of creativity, spontaneity, and adventure. Improv gets us back to where we belong and seeing the players working together well is like seeing the actors giving gifts to each other. When the gifts are given, it makes me think how living in the moment actually is. The players accept the gift with a “yes” then make the exchange with an “and” adding the gift of Improv. I’m thankful for Improv bringing us back to our roots of our imagination and getting us in touch with that child again, whose dreams, ideas, and most importantly, play, have only one limitation, the sky. For centuries, Improv has provided the gift of pulling us through hard times whether it is on the Italian Renaissance stage or viewing Saturday Night Live on our T.V.sets. Improv reminds us to live in the now, because in the now is where we are truly free.

Open Letter to Bovine Teachers

Thursday, February 24th, 2011

How We Teach at The Bovine

At the Bovine our teachers use a standardized curriculum.   In Level 3, Class 1 everyone plays the same games as anyone else whoever took Level 3, Class 1.  Our teachers are all given the same games and the same information to teach.  In training, each teacher is given a description of the exercises and ’side coaches’ to say during the exercise and then told what the ‘purposes and objectives’ are for each exercise.  ”Side coaches” are phrases we say to get the players to experience the exercise through their body. “Purposes and Objectives” are to get them to consciously understand what they just did.

Each exercise builds on the last one and all are targeted around the point of the night.  The idea of each exercise is to get the student to discover the “purpose and objective” of the exercise, if necessary through the use of “side coaching”.

The Big Idea

The idea is to get the student to embody the exercise, so they become the lesson.  We need to get the student to do the exercise in a way that they get into their body and out of their head.  When someone is in their body they are present.  They are not worried about the future or concerned with the past.  They are here and now.  Being in your body and trusting it is hard for some players, but it is the only way they can discover their Improv.

Why Side Coaching is Key

Side coaching is what we say when the players are playing the game.  It is more than a positive affirmation, it is way to gently get the player to discover the exercise and get into their body and out of their head.  It is our way of having them let go of control or fear and to play.  Once they embody the game, they own what they felt.  It is theirs and we don’t have to teach them anything, because they discovered it themselves.

Why Purposes and Objectives are Overrated.

After the exercise we ask “What did you get out of that?”. We do this so that the players can make an intellectual connection to what they experienced.  As teachers we have a tendency to focus on this part, because we want to “teach”, but this is a false ideology.  Anything learned by talking about it must first be understood, then believed, then set into practice and then embodied into actions.  This is a mush longer and difficult route that gets players in their heads and out of their bodies.  And although I love the connection to the intellect, unless they experience something for themselves, they can not fully understand it.

How We Should “Teach”

We want the students to discover their own Improv, so we must focus on getting them to embody the exercises.  We get them in their body through having them play games.  If we think they are thinking, planning, isolated, in general missing the point, then we side coach.  By side coaching we can get players back on the tracks.  Once they are playing in their body we pull back on the side coaching to let them discover the game.  We reinforce afterward by asking what they got out of it, but we don’t make that the focus.  Our focus should be on having them learn by doing.

Bottom Line

To get the players to be improvisers, focus on side coaching.  If you want to get players into their heads, focus on purposes and objectives.

Brainstorming

Tuesday, February 22nd, 2011

I have been lucky enough to do dozens of brainstorming sessions over the last 10 years.  The reason I love them so much is that they embody everything I teach here at the theater.I don’t teach something practical like math, but even math teachers who on a train leaving Detroit traveling at 60 miles per hour heading toward New York, must be thrilled to use what they teach.  For me, brainstorming is great because I get to see the practical application of the amorphous skills I teach in Improvisation.

“Yes and”

One of the big tenants of brainstorming is that you build on someone else’s idea.  I was in a session last week.  I had what I thought was a bad idea, but years of doing this has taught me that I have to get the bad ideas out just so I can move on.  Plus, I like to lower the bar for everyone else.  So I told everyone my idea and someone turned my bad idea into a good idea.I love to build on people’s ideas, but I also want to build them in  a way that doesn’t take it in a different direction.

For an improv scene this is building on what other people have brought to the scene without changing what the scene is about.  If my character is purposing marriage to your character and your character is afraid I won’t be faithful, coming in and yelling fire might add energy to the scene, but it changes what it is about.  However, coming into the scene and flirting with me builds on what has already been put out there.

Have a Character

The other big thing I love about Brainstorming is character work. What? Yes, character work. These companies spend a huge amount of time figuring out who their target demographic is and what they like and don’t like.  A part of any good brainstorming is talking about these people.  I have been in sessions where they go as far as to give them names and talk in great length about their lifestyles.  Once I get this information I like to have that character in my head the rest of the day.  It takes me in places that I would not normally go.  Some are magnet moms, some are Nascar Dads, some are hard core health nuts, most of them have many elements of my lifestyle in them to an extent.  By remembering my character and thinking like them I get to play.  I also am more on target with what I am bringing, even if it is far out, it is not out of context for the consumer.

Playing a character on stage gets me thinking in ways that I don’t get to think in real life.  It lets me be honest and yet make it all up.  Playing characters lets me have fun and take everything personally, without really taking anything personally.

I love the freedom of having everything met with a yes and being built upon, on and off stage.  I love brainstorming!

Makeshift Shakespeare: A Fantastic Improv of the Playwright with Steadfast Learning Applied

Thursday, February 3rd, 2011

As the great thrill of not knowing what to expect in learning about the skill of Improv, Makeshift Shakespeare mysteriously revealed a journey into the past with the use of comedy. The actors took present day feedback of what play they should recite, chosen by the audience and reenacted with incredible brilliance and skill: A Losers Tale. These obviously trained professional actors must have known everything about Shakespear and his colloquial’s as well as mastery of Improv. How else can a whole hour long play be pulled together with laugh- myself- silly comedy? I could tell at the end of the play that these actors really took the job to entertain seriously and was more than proud to shake their hands. In a way it was like the actors were teachers taking you on a journey and in the end reinforcing tough love in order for the audience to really learn something and get something out of the play. All the same, when the play was complete I was laughing shaking the actor’s hands and still laughing on my way out of the theater. It was like I really understood truth in comedy and laughter as a remedy, kind of like being given a spoon full of sugar to swallow down a gigantic horse pill.