tag:blogger.com,1999:blog-48197534703101974102024-03-14T18:50:19.676+00:00LONDON IMPROVImprov is the punk rock of comedy and theatre. The London Improv community are punk rock pioneers, and the scene is surging.the funkhousehttp://www.blogger.com/profile/00983833710434047868noreply@blogger.comBlogger199125tag:blogger.com,1999:blog-4819753470310197410.post-39116707676906489242014-05-11T19:23:00.000+01:002014-05-11T19:23:00.548+01:00Fly to Mars and be a Ghostbuster<table border="0" cellpadding="0" cellspacing="0" style="background-color: #f2f2f2; border-collapse: collapse; color: black; font-family: Helvetica; font-size: 12px; width: 100%px;"><tbody>
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<tr><td class="mcnTextContent" style="color: #0f0e0e; font-family: Verdana, Geneva, sans-serif; font-size: 13px; line-height: 16px;" valign="top"><span style="line-height: 1.6em;">Starring <em>Doctor Who's</em> <strong>Dan Starkey</strong>,<strong>Parallelogramophonograph</strong> from Austin, Texas<br />... and <strong>Mars</strong>. Yes, the planet Mars.</span><br /><br />It's lucky Space is infinite or we wouldn't have enough room to fit everything in at the next<a href="http://blogspot.us8.list-manage1.com/track/click?u=10f092d5e6d05911524a5e697&id=0515431e31&e=b3263ea2ca" style="color: #6dc6dd; word-wrap: break-word;" target="_blank">Geekeasy comedy night for nerds</a>.<br /><br />Also, there wouldn't be enough room for segues as bad as that right at the top of an email. Youwch. </td></tr>
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<tr><td class="mcnTextContent" style="color: #606060; font-family: Verdana, Geneva, sans-serif; font-size: 13px; line-height: 16px; padding: 0px 9px;" valign="top" width="264"><strong><a href="http://blogspot.us8.list-manage.com/track/click?u=10f092d5e6d05911524a5e697&id=2fc66565eb&e=b3263ea2ca" style="color: #6dc6dd; font-weight: normal; word-wrap: break-word;" target="_blank">Parallelogramophonograph</a>:<br />Eris 2035</strong><br />WINNERS: B. Iden Payne for "Most outstanding.." & "Most continuously innovative improv troupe."<br />"Brilliant" - Broadway Baby<br />"Sharp" - The List<br />★★★★★ London Improv<br /><br /><strong>Improv with <a href="http://blogspot.us8.list-manage.com/track/click?u=10f092d5e6d05911524a5e697&id=a64059b582&e=b3263ea2ca" style="color: #6dc6dd; font-weight: normal; word-wrap: break-word;" target="_blank">Dan Starkey</a>:</strong><br />(Commander Strax: BBC's Doctor Who)<br /><br /><strong><a href="http://blogspot.us8.list-manage1.com/track/click?u=10f092d5e6d05911524a5e697&id=ca3615f00a&e=b3263ea2ca" style="color: #6dc6dd; font-weight: normal; word-wrap: break-word;" target="_blank">Tom Adams</a>:<br />The Dark Side of The Moon </strong><br />★★★★ Chortle<br />"A totally unique comedy experience." - TimeOut<br /><br /><strong>Presentation Wars:</strong><br /><a href="http://blogspot.us8.list-manage.com/track/click?u=10f092d5e6d05911524a5e697&id=baface7636&e=b3263ea2ca" style="color: #6dc6dd; word-wrap: break-word;" target="_blank">Project 2</a> battle to make the best case for which one of us should go on the Mission to Mars.<br /><br />With music from Laura Mead and Dave Waller.</td></tr>
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<tr><td class="mcnTextContent" style="color: #606060; font-size: 16px; line-height: 24px; padding: 9px 18px; text-align: center;" valign="top"><strong>Tickets:<br />£7.50 <a href="http://blogspot.us8.list-manage1.com/track/click?u=10f092d5e6d05911524a5e697&id=36e83e097a&e=b3263ea2ca" style="color: #6dc6dd; font-weight: normal; word-wrap: break-word;" target="_blank">in advance</a><br />£10 on the door</strong></td></tr>
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<tr><td class="mcnTextContent" style="color: #606060; font-family: Verdana, Geneva, sans-serif; font-size: 13px; line-height: 16px; padding: 0px 9px;" valign="top" width="264">The creators of Geekeasy are heading to the Edinburgh Fringe Festival with "<strong><a href="http://blogspot.us8.list-manage.com/track/click?u=10f092d5e6d05911524a5e697&id=e1cb9646cb&e=b3263ea2ca" style="color: #6dc6dd; font-weight: normal; word-wrap: break-word;" target="_blank">Who Ya Gonna Call?</a></strong>", their musical tribute to the best film of the 1980's.<br /><br /><strong>★★★★★<br />Three Weeks</strong><br /><br /><strong>"A Cult Audience Experience"<br />Total Theatre</strong><br /><br />To contribute and get awesome gifts in return (like being the show!), head on over to their <a href="http://blogspot.us8.list-manage.com/track/click?u=10f092d5e6d05911524a5e697&id=9133847117&e=b3263ea2ca" style="color: #6dc6dd; word-wrap: break-word;" target="_blank">Kickstarter campaign</a>. </td></tr>
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<tr><td class="mcnTextContent" style="color: white; font-family: Verdana, Geneva, sans-serif; font-size: 15px; font-weight: bold; line-height: 15px;" valign="top"><strong>FUTURE GEEKEASY SHOWS</strong><br /><br />19th June: OMNIGEEK<br />12th July: DUNGEONS & DRAGONS</td></tr>
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London Improvhttp://www.blogger.com/profile/15348789588754972738noreply@blogger.com0tag:blogger.com,1999:blog-4819753470310197410.post-69066504801728229852014-04-08T16:13:00.001+01:002014-04-08T16:18:37.597+01:00Geekeasy: Comedy For Nerds<div class="separator" style="clear: both; text-align: center;"><a href="https://www.facebook.com/events/209086332635317/" target="_blank"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0MWKMm4i9-tqt2VRsI2UL5qKXP60a2HHrs4oxGt7rFuETRa75TskbnbiIB1L1Qx3sE0cnjbAUjzgnMVHx5UzCBS2Of1OtDpY3-97sctP9o7ROT6trqJB-qnVUjIdDFjfrHomB4K6jNw/s1600/GEEKEASY+FB+banner+V2.png" height="238" width="640" /></a></div><div class="separator" style="clear: both; text-align: center;"><br />
</div><span style="background-color: white; color: #141823; font-family: Helvetica, Arial, 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 14px; line-height: 17px;">This is a message to all the geeks of London. We know you're there: Superhero obsessives, steampunk cosplayers, people who know everything there is to know about the life and career of Marina Sirtis. This night of comedy is for you, you wonderful nerds, as the improv group <a href="http://www.scifiimprov.co.uk/" target="_blank">Project 2</a> finds comedy that understands you.</span><br />
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</span> <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUchrmySVo9K-2ClPYURa_cNwCvvIL7Y_cQggUZRPKmrTunBmANdduDtEtO-goF64NZmFu7rP4x_PqDGKlC1Q2SLtIjqaTWDB0O4WGDYCJYr2kyL-EaljHs_eGbOPt5KOUC8rxMu1zvg/s1600/geekeasy.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUchrmySVo9K-2ClPYURa_cNwCvvIL7Y_cQggUZRPKmrTunBmANdduDtEtO-goF64NZmFu7rP4x_PqDGKlC1Q2SLtIjqaTWDB0O4WGDYCJYr2kyL-EaljHs_eGbOPt5KOUC8rxMu1zvg/s1600/geekeasy.jpg" height="640" width="152" /></a><span style="background-color: white; color: #141823; font-family: Helvetica, Arial, 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 14px; line-height: 17px;">The geekiest comedians around</span><span class="text_exposed_show" style="background-color: white; color: #141823; display: inline; font-family: Helvetica, Arial, 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 14px; line-height: 17px;"> all collected together on one new monthly themed night.</span><br />
<blockquote class="tr_bq"><span class="text_exposed_show" style="background-color: white; color: #141823; display: inline; font-family: Helvetica, Arial, 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 14px; line-height: 17px;"><b>"There will always be an underground." Chuck Palahniuk</b></span></blockquote><span style="background-color: white; color: #141823; font-family: Helvetica, Arial, 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 14px; line-height: 17px;">A night of sketch, stand-up, improv and .. well.. presentations. But good ones. Funny ones.</span><br />
<span class="text_exposed_show" style="background-color: white; color: #141823; display: inline; font-family: Helvetica, Arial, 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 14px; line-height: 17px;"> Join us on 12th April for "Comic Books".<br />
<br />
Featuring:<br />
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The Beta Males<br />
★★★★★ Three Weeks<br />
★★★★★ Broadway Baby<br />
★★★★★ Spoonfed<br />
★★★★★ Fringe Guru<br />
★★★★ Time Out<br />
★★★★ The List<br />
★★★★ Chortle<br />
<br />
Bec Hill<br />
★★★★★ Three Weeks<br />
★★★★ <a data-hovercard="/ajax/hovercard/page.php?id=159885337381513&extragetparams=%7B%22directed_target_id%22%3A0%7D" href="https://www.facebook.com/pages/Chortle/159885337381513" style="color: #3b5998; cursor: pointer; text-decoration: none;">Chortle</a><br />
</span><br />
<div style="text-align: right;"></div><span class="text_exposed_show" style="background-color: white; color: #141823; display: inline; font-family: Helvetica, Arial, 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 14px; line-height: 17px;">"Top 10 funniest comedians on Twitter" - TimeOut<br />
<br />
Surname & Surname<br />
★★★★ EdFest<br />
"They're both excellent." - TimeOut<br />
<br />
Tom Adams<br />
★★★★ Chortle<br />
"A totally unique comedy experience." - TimeOut<br />
<br />
Al Samuels (from <a data-hovercard="/ajax/hovercard/page.php?id=18647246677&extragetparams=%7B%22directed_target_id%22%3A0%7D" href="https://www.facebook.com/pages/Baby-Wants-Candy-The-Improvised-Musical-with-Full-Band/18647246677" style="color: #3b5998; cursor: pointer; text-decoration: none;">Baby Wants Candy, The Improvised Musical with Full Band!</a>)<br />
“Pretty damn brilliant... pretty damn hilarious.” - The Huffington Post<br />
★★★★★ WhatsOn Stage<br />
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With music provided by soon-to-become-regulars<br />
Laura Mead and Dave Waller.<br />
</span><br />
<div style="background-color: white; color: #666666; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 15px; line-height: 20px; text-align: right;"><span class="text_exposed_show" style="color: #333333; display: inline; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 13px; line-height: 16px; text-align: left;"><span style="color: #cc0000;"><b>COST: </b>£10 on the door, or pre-book <<a href="http://www.brownpapertickets.com/event/621454" target="_blank">here</a>></span></span><br />
<b style="color: #cc0000; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 13px; line-height: 16px; text-align: left;">WHEN: </b><span style="color: #cc0000; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 13px; line-height: 16px; text-align: left;">7.30-10.30pm, Saturday 12th January </span><br />
<span class="text_exposed_show" style="color: #333333; display: inline; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 13px; line-height: 16px; text-align: left;"><span style="color: #cc0000;"><b>WHERE: </b>The Nursery, </span></span><span style="color: #cc0000; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 13px; line-height: 16px; text-align: left;">Arch 61,</span><span style="color: #333333; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 13px; line-height: 16px; text-align: left;"> </span><span style="color: #333333; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 13px; line-height: 16px; text-align: left;"><span style="color: #cc0000;"></span></span><span style="color: #cc0000; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 13px; line-height: 16px; text-align: left;">off Great Suffolk Street </span><span style="color: #cc0000; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 13px; line-height: 16px; text-align: left;">and parallel to Union St. </span><span style="color: #cc0000; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 13px; line-height: 16px; text-align: left;">SE1 0EU</span></div><div style="background-color: white; color: #666666; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 15px; line-height: 20px; text-align: right;"><span class="text_exposed_show" style="color: #333333; display: inline; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 13px; line-height: 16px; text-align: left;"><span style="color: #cc0000;"><b>NEAREST TUBE: </b>Southwark</span></span></div><div style="text-align: right;"></div><br />
<div style="text-align: center;">London Improv have stopped producing shows ourselves, but improv nights are springing up all over the place. It's very exciting. The main improv nights in London at the moment are summed up by this list on the Hoopla Impro website: <a href="http://www.hooplaimpro.com/improv-comedy-performance-opportunities.html" target="_blank">link</a></div><div><br />
</div>London Improvhttp://www.blogger.com/profile/15348789588754972738noreply@blogger.com0tag:blogger.com,1999:blog-4819753470310197410.post-53388441863601573792013-06-10T10:40:00.003+01:002013-06-10T10:43:59.662+01:00 Actions, Objectives and Super-Objectives<br />
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<span style="line-height: 1.5;"><i>By Jason Blackwater, of The Maydays</i></span></div>
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<span style="line-height: 1.5;">This is not an improv blog as such. It's about people. What people want and how they go about getting it.</span></div>
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The Stanislavski system of Objectives refers to a character's wants within a play. He theorised that the character will always want to achieve something by the end of the play and that every decision they make should lead them towards that goal in some way.</div>
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So how does this apply to us? We probably don't go through life carefully considering every action and it's role within our life plan but what if we did?</div>
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To explain what I mean, I suppose I should go into a bit of detail about what each of these terms refer to. I shall be calling on the help of <a href="http://en.wikipedia.org/wiki/Stanislavski's_system" style="color: rgb(102, 102, 102) !important; text-decoration: none;" target="_blank">Wikipedia</a> for this bit...it's been 6 years!</div>
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Objectives</h2>
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The objective is a goal that a character wants to achieve. This is often worded in a question form as "What do I want?" An objective should be action-oriented, as opposed to an internal goal, in order to encourage character interaction onstage. The objective does not necessarily have to be achieved by the character and can be as simple as the script permits. For example, an objective for a particular character may simply be 'to pour a mug of tea.' For each scene, the actor must discover the character's objective. Every objective is different for each actor involved because they are based on the characters of the script.</blockquote>
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If we apply this to our daily lives, this is what we want to do right now. My objective, right now is to write this blog. It's quite a simple objective but an objective it is, nonetheless. My objective for the day is to have a productive day despite being really quite tired.</div>
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Super-Objectives</h2>
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A super-objective, in contrast, focuses on the entire play as a whole. A super-objective can direct and connect an actor's choice of objectives from scene to scene. The super-objective serves as the final goal that a character wishes to achieve within the script.</blockquote>
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In our daily life this is the big goal, the "where do I wanna be in..." question. Mine is to earn a decent living from just things I enjoy doing; Improv, acting and design. </div>
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Obstacles</h2>
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Obstacles are the aspects that will stop or hinder a character from achieving his or her individual objective. For example, while the character searches for tea bags to make the mug of tea, they find that there are no teabags in the tin.</blockquote>
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Tiredness would be an obstacle to both my objective for the moment and for the day. If I'm feeling tired I may want to just sack them both off, order a pizza and watch Jonathan Creek on Netflix until nightfall</div>
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The obstacle to my super-objective of being a full time fun merchant is availability of work and the UK improv scene being fledgling. These are harder obstacles to overcome but I have more time to overcome them.</div>
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Tools or Methods</h2>
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Tools or methods are the different techniques that a character uses to surpass obstacles and achieve their objective. For example, the character searches around the kitchen, they walk to the shops, or they call on the neighbour to be able to make the tea to pour.</blockquote>
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My tool or method for overcoming my tiredness and writing this blog is connected to my super-objective. This is where it gets interesting. I shall come to the specifics of that in a minute but will-power and desire are my methods for achieving my objective of writing this blog,</div>
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Actions</h2>
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Actions are referred to as how the character is going to say or do something. More specifically, it as an objective for each line. Actions are how a character is going to achieve their objective. For example, a line in the script may read, '(whilst on the phone) "Hello, Sally. It's Bill from next door. You wouldn't happen to have any spare tea bags, would you? I know how well-organized you are." The Action for this line may be 'to flatter' in order to achieve the Objective of collecting the tea bags. Actions will be different for every single actor based on their character choices.</blockquote>
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Part of my plan for having a productive day is meeting up with a friend for a roast. She's helping me plan for the Brighton Improv Festival next year and we may discuss it over beef and yorkshire puddings. My action was to remind. Remind her she hasn't seen me for a while and remind her that I require her help.</div>
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So, the interesting bit, the whole reason I'm writing this blog, the whole reason I got out of bed at the exact moment I did, all boils down to that super-objective of wanting to be a full-time performer. Here's how it goes.</div>
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<strong>Super-Objective:<br />Obstacle:<br />Objective:<br />Obstacle:<br />Objective:<br />Method:<br />Obstacle:<br />Objective<br />Method:<br />Obstacle<br /><br />Action:<br />Action:<br />Action:<br />Action<br />Action:<br />Method:</strong></div>
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I want to be a full time performer<br /><span style="line-height: 1.5;">Availability of work</span><br /><span style="line-height: 1.5;">Create more work</span><br />Relatively low profile of The Maydays<br /><span style="line-height: 1.5;">Raise the profile of The Maydays</span><br /><span style="line-height: 1.5;">annual trips to the Edinburgh Fringe Festival</span><br /><span style="line-height: 1.5;">Money</span><br /><span style="line-height: 1.5;">Raise some money</span><br /><span style="line-height: 1.5;"><a href="http://tinyurl.com/mdkick13" style="color: rgb(102, 102, 102) !important; text-decoration: none;" target="_blank">Kickstarter campaign</a></span><br />People are quite understandably, given the economic climate, reluctant to give up their hard-earned cash<br />Convince<br />Plead<br />Request<br />Inform<br />Entertain<br />Write a blog about Stanislvski that is entertaining and informative to convince you that I care deeply about my craft and humbly request, nay plead with you to go to our kickstarter project page by <a href="http://tinyurl.com/mdkick13" style="color: rgb(102, 102, 102) !important; text-decoration: none;" target="_blank">clicking here</a> and giving whatever you can because I want to do this full time and the first step is in my grasp.</div>
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Every journey starts with a single step but you've got to be moving the right direction.</div>
London Improvhttp://www.blogger.com/profile/15348789588754972738noreply@blogger.com1tag:blogger.com,1999:blog-4819753470310197410.post-81323060574657840142013-05-16T14:20:00.002+01:002013-05-16T14:20:33.230+01:00Slapdash 2013: London's Biggest International Festival of Improvisation<div class="separator" style="clear: both; text-align: center;">
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<b>Slapdash is an international festival of improvisation in its fourth year. This year we have guests from The Upright Citizen's Brigade in New York, The Finland Improvisation Festival in Tempere, The Philly Improv Theater, Amsterdam and Tel Aviv, and a guest or two left to be announced. Check out the (gradually evolving) schedule below.</b><br />
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<a href="http://www.slapdash.co.uk/" target="_blank"><span style="font-family: arial, helvetica, sans-serif;">www.slapdash.co.uk</span></a></div>
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It's our most ambitious festival yet and we're really hoping to reach out to the improvisation community and get everyone involved.<br />
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Oh, and if you would like some PERFORMANCE OPPORTUNITIES, on the first night of the festival, we are trialling a format called the Fancy Pants Mash Up, which we have stolen wholesale from some guys in Austin, Texas. But they stole it from Canada, so it's all ok. Here's the event:<br />
<a href="https://www.facebook.com/events/391107094336221/?fref=ts" target="_blank">https://www.facebook.com/events/391107094336221/?fref=ts </a>London Improvhttp://www.blogger.com/profile/15348789588754972738noreply@blogger.com0tag:blogger.com,1999:blog-4819753470310197410.post-32663289438121332222013-05-09T10:58:00.002+01:002013-05-16T14:06:43.651+01:00Memories of London Fringe Theatre in the 1990s<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibnu7bSc21wXebUXM-HRMT96P-uqyeabXwAu9kwg_ddLyfPeygmoYVXrxbSY8bdLDVeC3Ui5Cjc0S0wGDY-vmKD7rJUuUlYJiCYX9lX-P2wXGqSrY4e3hwcMm0mtHXbtToJlUC4W0Pyg/s1600/Screen+Shot+2013-05-16+at+14.04.41.png" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="199" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibnu7bSc21wXebUXM-HRMT96P-uqyeabXwAu9kwg_ddLyfPeygmoYVXrxbSY8bdLDVeC3Ui5Cjc0S0wGDY-vmKD7rJUuUlYJiCYX9lX-P2wXGqSrY4e3hwcMm0mtHXbtToJlUC4W0Pyg/s200/Screen+Shot+2013-05-16+at+14.04.41.png" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Michael Brunström</td></tr>
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<span style="color: #333333; font-family: Georgia, 'Times New Roman', 'Bitstream Charter', Times, serif; font-size: 13px; line-height: 19px;">The first time I went to see a real piece of 'fringe' theatre was at The Hope Anchor on Upper Street in Islington. It was a hectic and full-blooded production of Eugene Ionesco's </span><em style="color: #333333; font-family: Georgia, 'Times New Roman', 'Bitstream Charter', Times, serif; font-size: 13px; line-height: 19px;"><a href="http://en.wikipedia.org/wiki/The_Chairs" target="_blank">The Chairs</a></em><span style="color: #333333; font-family: Georgia, 'Times New Roman', 'Bitstream Charter', Times, serif; font-size: 13px; line-height: 19px;">, rather elaborately staged in the room downstairs. It was paired with a new play, the title of which I've forgotten, which had beautiful performances, nudity, complex sets, and eerie poetic language throughout. I was fifteen years old. It cost £2.50 to get in. During the interval I had to wait outside in the street because I wasn't allowed in the bar.</span><br />
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I had never before seen anything like it in the theatre. The actors were close enough to touch. You could hear their breathing, smell their sweat (it was very hot down there), and peer into the cracks in their cakey make-up. The drama was underscored by the beat of the jukebox upstairs bleeding through the ceiling. The floor was sticky. Latecomers brought the stairway light with them. I loved it all. Everything was visceral, immediate, <em>real</em>. There was no slickness or fakery. Before that, I had only gazed down from the hushed darkness of an Upper Circle at a distant square of light with a collection of miniature mannequins on it. It had been more like TV than theatre.</div>
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For much of the next year or so, I got into the habit of going to the theatre every week if I could, usually on my own, sometimes with a friend of mine. I travelled out to unusual venues at the far end of the Piccadilly line. On more than one occasion, I was the only member of the audience, and I'd hang out with the actors afterwards. Sometimes I'd save up to see Ken Campbell at the Almeida or some bonkers performance art at the ICA.</div>
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Very few of those pub theatres that I went to in the 1990s are still operating (The Hope & Anchor is now a music venue). Before the Internet, it was necessary for plays in London to run for a minimum of three weeks, otherwise <em>Time Out</em> wouldn't review them, but the listings pages – divided into 'Off West End' and 'Fringe' – were extensive. For a multitude of reasons, however, it was becoming more expensive both to put on a play and to go and watch one, and it became clear that I had been lucky enough to catch the end of a Golden Age for London Fringe Theatre. Of course, if theatre has the ruthless persistence of a weed, it will always emerge from the cracks, making new cracks as it does so.</div>
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For me, improvisation has captured most fully that sense of excitement I first felt when I was sixteen; and in London and elsewhere, the scene is now growing. It is a form of theatre that has its roots in a tradition that is much, much older than the hushed, passive, cinematic form that emerged in the eighteenth century with the introduction of footlights and a fourth wall. (That's not to say that I never enjoy darkened auditoria. The vitality of the drama depends more on the complicity of the room than on any specific lighting decision.) The drama happens right in front of us, like close-up magic. Whether the audience shouts suggestions throughout, or only once at the beginning, or even not at all, we are all co-creators, co-conspirators, in an experience which belongs to us all and which nothing will disguise. Actors and audience alike hang on each character's words and actions, because they are of enhanced importance. 'Everything is an offer': that is my definition of reality, a reality that is greater than the dull, deaf world outside.</div>
Michael Brunströmhttp://www.blogger.com/profile/15998083659862790809noreply@blogger.com0tag:blogger.com,1999:blog-4819753470310197410.post-42430131807647301542013-05-05T10:36:00.000+01:002013-05-05T10:36:36.123+01:00Improv Audition Techniques and Tips (that are useful for people who aren't auditioning)<i>The London scene doesn't have an awful lot in the way of improv auditions, but there's stuff here that's relevant to being a decent workshopper too. :</i><br />
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Hideout Theatre performer and director, Kaci Beeler.<strong></strong></div>
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<strong>By Kaci Beeler of the <a href="http://www.hideouttheatre.com/" target="_blank">Hideout Theater, Austin, TX</a></strong></div>
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As an actor I’ve auditioned for countless plays, films, commercials, and improv shows. I’ve also been on the other side of the process and have held and watched auditions for several years now. Being on both sides of the situation has given me some insight that I’d like to share with aspiring actors and improvisers looking to book a part in an ensemble improv show.</div>
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At The Hideout Theatre, we hold auditions for our Mainstage productions 6 times a year, in addition to occasional auditions for other shows like the Flying Theater Machine (our improv show for kids) and Pick Your Own Path.</div>
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We have no prerequisites for auditions. Absolutely anyone can come and audition for a slot in our shows. That said, we are often looking for actors with specific skills who can improvise. For our Mainstage shows we have a limited time frame in which to mount the show, and our directors like to be able to hit the ground running. This isn’t said to be discouraging, it’s just the truth of the situation. Most of our shows have a mix of experienced performers and newer performers that we feel have potential.</div>
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Auditioning is a skill, and there are things you can do to make your experience easier and more fun for everyone involved.</div>
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<strong>Preparation</strong></div>
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Before signing up for an audition, make sure to check your personal calendar to see if you can actually commit to the rehearsal and show dates. If you’re not available for a large majority of the dates, it’s unlikely you’ll get cast, and you should probably consider waiting to audition when your schedule is more flexible or open. When an actor drops out of a production after getting cast, it looks bad. No one wants to work with a flake, no matter how good they are, plain and simple.</div>
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Thoroughly read and re-read the audition notice. Does the call mention certain source materials or inspirations to look at? Is the director looking for certain skills? Do your research. If you’re auditioning for improvised Shakespeare, for instance, it would be a good idea to actually read some Shakespeare, watch some films or a play, and really get a feel for the subject. At worst, you’ll learn something. You might even learn you don’t like the source material…in which case, you might not want to audition for the production after all. Just because the show is improvised doesn’t mean that you shouldn’t be prepared. Some people are very good at winging it, but those people are few and far between. For the rest of us, it’s nice to at least have an idea of the style and tone we might be portraying in case the director wants to see it.</div>
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<strong>Punctuality</strong></div>
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Charles Dickens Unleashed, 2011.</div>
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Show up on time for your audition slot, or better yet, early (sometimes there is paperwork to fill out). When it’s your audition time, be ready to go. Make sure to eat your sandwich or snack beforehand and have everything in order.</div>
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<strong>Presentation</strong></div>
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When coming into an audition room, play it cool. Be friendly, but not loud and boisterous. The manic energy in a group improv audition can be infectious and fun, but it’s rarely going to help you stand out in a positive way. Save the squeals with friends for later and focus on listening to the director. They’ll usually tell you exactly what they want to see happen.</div>
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Speak loudly and clearly. This is HUGE. HUGE!! If you can’t be heard, you might as well not be in the room. Stage work requires projection and speaking in a normal volume is not enough. Our downstairs theater at The Hideout in particular is a space that absolutely requires our improvisers to project loudly and clearly all the way to the back wall during a performance. A director can always believe that you will be able to speak more softly, so speak loudly and clearly (no muttering unless it’s intentional) from the beginning.</div>
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Be a team player. The director is often looking for someone who plays well with others. Even if an improviser is the funniest person in the room, if they ignore and step on every scene partner they work with, it’s unlikely they’ll get cast. Improv relies on a strong ensemble and listening and leaving space for others is just as important as taking the stage yourself.</div>
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Hideout Directors Andy Crouch and Troy Miller.<br />
Photo by Steve Rogers.</div>
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That said, take your time to shine. We want team players but we also want improvisers who will claim the stage when it’s their time to shine and be the star. Are you delivering a monologue? Plant your feet, be bold and speak out! Take risks! If you’re a part of a group of people onstage working together, make sure you actually get out onstage. If you don’t go out onstage in an audition, how do we know you will in the show? A hesitant improviser can be as much of a detriment to an ensemble piece as a showboat.</div>
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How do you act as a team player AND a star? Pay attention to what’s going on around you. If you haven’t spoken in awhile and you are inspired by an idea – put it out there. Make it happen! If you’ve been putting a lot out there and making a lot happen, it might be good to reign it in and pull back for a little while and give someone else a chance. Better yet – set someone else up for success.</div>
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<strong>Confidence & Calm</strong></div>
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Don’t apologize. Have you ever heard the phrase, “Fake it until you make it?” It’s a good one. Most people in this world are faking that they know what they are doing. You can also be one of those people, especially in improv where everything is pretend!</div>
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Everyone is a little shy, a little nervous, and a little self-conscious. At an audition, absolutely everyone is a bit anxious – even the director. It’s okay if you feel that way. It’s normal. Don’t let this feeling get in the way of your work. Don’t e-mail a director after an audition to tell them that you had a bad day so you were in your head during the audition, it won’t help. If you think you were in a weird or bad scene, just try to have fun and ride it on through. Failure and weirdness is a part of improv. It’s something to embrace, not fear. Directors know this, don’t worry. In improv auditions, we’re looking for how improvisers deal with perceived failures and hiccups.</div>
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I personally find that a mantra helps me when I feel apprehensive and anxious. I repeat it in my head whenever I felt a little bout of panic set in when I’m put on the spot and feel watched. For example: “The moment that is happening right now is the right moment.” I like that mantra because it reminds me that there is something perfect and unchangeable about the present moment. The people. The place. The energy. It’s all something to work *with* not against. Let go of expectations. They don’t really serve you. Make eye contact with your scene partners. Don’t be afraid to ask questions if you’re actually confused. Have fun with what you have right in front of you. Life’s too short to not enjoy your pursuits. Enjoy the process.<br />
Another mantra I like is, “How fascinating!” Feel yourself thrown off by someone else’s actions? “How fascinating!” that is. Now you have an opportunity to really improvise and try something new.</div>
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Spirited, 2011.</div>
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<strong>Flexibility</strong></div>
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A director is often looking to see a range of abilities within one audition. I don’t mean that everyone should change voices or characters every 3 seconds, but being able to take direction is of huge importance to the theatrical process of putting up a new production. If a director asks you or your group to try a specific approach, like, “quick, fast-paced scenes” or “slow, patient moments” or even, “acted as serious as possible”, it is to your advantage to do your best to execute the direction. Slow down if asked. Try an accent or character if the direction is suggested. Even if you think you have a better idea, or a funnier idea, the director is looking for something else in that moment. If you don’t understand the director’s notes or set-up, you can always ask for clarification. If you don’t like the director’s ideas and don’t want to follow their advice, then this production is probably not for you (and it’s better to know this early instead of later for all parties involved)!</div>
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Improvisers Jon Bolden and Hugo Vargas-Zesati.</div>
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<strong>Compassion</strong></div>
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Imagine you have to sit in a room for 3 hours and watch 60 different people, many of whom you know and like, vie for a part in a piece you care a lot about. Imagine that you have to pick only 10-12 of them to be in your show, even though at least 40 of them could do a good job in it. A director’s role in a production is not an easy one. Sometimes it’s a matter of numbers. Often, 40 people can’t be in one show. Sometimes it’s a matter of playing style. Maybe the director is looking to work with improvisers who bring a certain skill-set to the table. Whatever their decision, it wasn’t an easy one. Don’t take auditions too personally. The more you enjoy the process, the less painful all aspects of it will be.</div>
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If you want to know how your audition looked from the outside, most directors are cool with giving personal feedback BUT it’s best to wait several days after the audition before asking this of any director.</div>
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The more often you audition, the better you will get at it! It’s a skill, just like anything else, and it’s something you can work on.</div>
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Break a leg!</div>
<br />London Improvhttp://www.blogger.com/profile/15348789588754972738noreply@blogger.com0tag:blogger.com,1999:blog-4819753470310197410.post-61685970790638405052013-03-21T11:20:00.000+00:002013-03-21T11:20:00.672+00:00IMPROVISING MUSICALS - A WEEKEND COURSE LED BY THE CREATORS OF THE SHOWSTOPPERS<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpfKsbxiisVgOXkgwxlSid_MEvij3wpSgNxqAzTYBfg1D1MsWoHNCGdcfX43Np8OyKjsdROIOIbbQImhfFg0tns5vLTAGCdQsUDuLFLcQvN2m_GLLA23YaFurAx9BgX3lRfUXF4rmEAg/s1600/showstopper-the-improvised-musical-2-LST075671_1.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpfKsbxiisVgOXkgwxlSid_MEvij3wpSgNxqAzTYBfg1D1MsWoHNCGdcfX43Np8OyKjsdROIOIbbQImhfFg0tns5vLTAGCdQsUDuLFLcQvN2m_GLLA23YaFurAx9BgX3lRfUXF4rmEAg/s320/showstopper-the-improvised-musical-2-LST075671_1.jpg" width="320" /></a></div>
In this two day course, you will get intensive training covering all the various areas that you need to create a musical on the fly. <br />
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You will learn:<br />
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<li>How to create characters, scenes and stories that fit into the idiom of musicals</li>
<li>The stagecraft of musical theatre</li>
<li>How to improvise songs - solos, duets and group numbers</li>
<li>Dance and movement - how to move like you've been choreographed</li>
</ul>
<br />
For this workshop, you don't need to be a great singer or be a musical theatre performer, however, you should have a decent groundwork in improvisation. There will be a maximum of 15 people on the course. In the areas where repetition is vital (like improvising songs) we'll split the class across two rooms to maximise amount of practice you get. <br />
<br />
<div style="text-align: right;">
<b><span style="color: #cc0000;">COST: £150</span></b></div>
<div style="text-align: right;">
<b><span style="color: #cc0000;">WHEN: April 27th and 28th 2013, </span></b><b><span style="color: #cc0000;">10am to 4:30pm </span></b></div>
<div style="text-align: right;">
<b><span style="color: #cc0000;">(you must show up at 9:45am to be ready for the start).</span></b></div>
<div style="text-align: right;">
<b><span style="color: #cc0000;">WHERE: The American Musical Theatre Academy in London,</span></b></div>
<div style="text-align: right;">
<b><span style="color: #cc0000;">Europa House, 13-17 Ironmonger Row, London, EC1V 3QG.</span></b><b><span style="color: #cc0000;"> </span></b></div>
<div style="text-align: right;">
<b><span style="color: #cc0000;"><a href="http://americanacademy.co.uk/">http://americanacademy.co.uk/</a></span></b></div>
<div style="text-align: right;">
<b><span style="color: #cc0000;">NEAREST TUBE: Old Street</span></b></div>
<div style="text-align: center;">
<span style="color: #cc0000;"><b>BUY IT HERE: <a href="http://www.wegottickets.com/ft/KPrSNfQwyR">http://www.wegottickets.com/ft/KPrSNfQwyR</a></b></span></div>
<div style="text-align: center;">
<br /></div>
The course will be taught by two of the Showstoppers - Dylan Emery, who co-created the show; and Duncan Walsh-Atkins, the show's musical director.<br />
<br />
<b>Dylan Emery</b> <i>(co-founder of The Showstoppers) has been performing, teaching and directing impro for more than 10 years. He has performed at The National Theatre, The Royal Court, the Bristol Old Vic, Latitude Festival and many times at the Edinburgh Fringe; he has also performed for BBC Radio 1, 7 and chaired the Showstopper Radio 4 series. He is a founder member of comedy impro troupe Grand Theft Impro and a member of 'hard-bardics' improvisers The School of Night. He also runs the UK improvisation news website <a href="http://www.thecrunchyfrogcollective.com/">www.thecrunchyfrogcollective.com</a>.</i><br />
<i><br /></i>
<b>Duncan Walsh-Atkins</b> <i>(musical director of The Showstoppers). He was MD of the UK tours of The Blues Brothers Party, Round The Horne and Peter Pan at The Capitol. Other credits are the Flanders & Swann tribute At The Drop Of A Hippopotamus, Mitchell & Webb's Macbeth & The Beanstalk, Noel Coward's Words & Music, Mad About the Musicals. For Radio 4 he recorded September Tide with Jonathan Firth, A Portrait of a Lady and the Tina C series with Christopher Green. He recently co-wrote the musical Tailor-Made Man, which is running in the West End.</i>London Improvhttp://www.blogger.com/profile/15348789588754972738noreply@blogger.com0tag:blogger.com,1999:blog-4819753470310197410.post-60683930664114304512013-03-20T19:34:00.004+00:002013-03-20T21:16:21.234+00:00The Liverpool Improvathon is on the 1300 to Montana. From Liverpool. Soon.<div class="separator" style="clear: both; text-align: center;">
Catch It.</div>
<div class="separator" style="clear: both; text-align: center;">
<a href="http://impropriety.wordpress.com/2013/02/28/improvathooooooooon-time-impropriety-are-goin-west/" target="_blank"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYl5xLCzOT2O4L4sp5mdOVF7BG1CLBTwYGbe_ZcXYTjo4y80W8x5aHJ8LVyb8U-tDtcQpF_jrCMDtKH8ml5YDCGZlK07KXUWXCTh7LihJ2gnVUYSaP0e8mTcoKWfVob8Rg3lwYb_G8Ow/s640/480938_10151312244151268_2086906069_n.jpg" width="452" /></a></div>
<div class="separator" style="clear: both; text-align: left;">
Saddle up for the ride of your lives. For one weekend only, Impropriety are Goin' West! Let us take you to the town of Borderline with all its Cowboys, Cowgirls, Saloons, Sheriffs, Gold Diggers and Duels all created on the spur of the moment. An entirely improvised epic that will run continuously for 2013 minutes (33 hours and 33 minutes). This is one show that is not to be reined in. </div>
<br />
The Improvathon is based on a format created and made popular by Canadian company DIE-Nasty, who have held an annual 50-hour “Soap-a-thon” for over 20 years. For the second year running, Impropriety will be joined by regular DIE-Nasty members Donovan Workun and Kory Mathewson along with special guests from around the UK.<br />
<br />
Starts 1pm Saturday 6th April. Finishes 10.33pm Sunday 7th April. Episodes begin on odd numbered hours: 1pm, 3pm, 5pm, 7pm, etc (yes, all through the night!)<br />
<br />
<span style="color: #cc0000;">TICKETS</span><br />
<span style="background-color: white;"><span style="color: #cc0000;"><span style="font-family: Verdana, Arial, sans-serif; font-size: 12px; line-height: 19px; text-align: left;">£5 per episode – on the door only.</span><br style="font-family: Verdana, Arial, sans-serif; font-size: 12px; line-height: 19px; text-align: left;" /><span style="font-family: Verdana, Arial, sans-serif; font-size: 12px; line-height: 19px; text-align: left;">The 1st 10 EARLY BIRD WEEKEND PASSES ONLY £15 (Usually £25) come and go throughout the event. On the door or online </span><a href="https://www.paypal.com/cgi-bin/webscr?cmd=_s-xclick&hosted_button_id=YK7M3P4R3NHJ4" style="font-family: Verdana, Arial, sans-serif; font-size: 12px; line-height: 19px; text-align: left; text-decoration: none;">Buy weekend passes here</a><span style="font-family: Verdana, Arial, sans-serif; font-size: 12px; line-height: 19px; text-align: left;">.</span><br style="font-family: Verdana, Arial, sans-serif; font-size: 12px; line-height: 19px; text-align: left;" /><span style="font-family: Verdana, Arial, sans-serif; font-size: 12px; line-height: 19px; text-align: left;">£5 for ‘Children’s Hour’ (11am-1pm Sunday). Children get in free. All children MUST be accompanied by an adult.</span><br style="font-family: Verdana, Arial, sans-serif; font-size: 12px; line-height: 19px; text-align: left;" /><span style="font-family: Verdana, Arial, sans-serif; font-size: 12px; line-height: 19px; text-align: left;">£10 for ‘Sleepover” (11pm Sat – 9am Sun). Audiences encouraged to bring pyjamas and sleeping bags (Online tickets available £10 + £1 booking fee </span><a href="https://www.paypal.com/cgi-bin/webscr?cmd=_s-xclick&hosted_button_id=D3M4D9SFJZYVG" style="font-family: Verdana, Arial, sans-serif; font-size: 12px; line-height: 19px; text-align: left; text-decoration: none;">Buy Here</a><span style="font-family: Verdana, Arial, sans-serif; font-size: 12px; line-height: 19px; text-align: left;">)</span></span></span>London Improvhttp://www.blogger.com/profile/15348789588754972738noreply@blogger.com0tag:blogger.com,1999:blog-4819753470310197410.post-70964401974518692192013-03-17T11:13:00.002+00:002013-03-17T11:15:24.843+00:00Audience versus Improviser<!--[if gte mso 9]><xml>
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<!--StartFragment-->
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLHV3Cw0QJ6HoEFz-sLqEXMytDcKxyXq-42rfZjs4Ms5I16mA8a3nNC_czaCIjSyCoDOSMHAROh946a04KnkIsG2c19juRXUCxy6gb2z7eZqlXMSuUUjlnwTdKFvltnq32Q10IBwuq0F4/s1600/Maydays+headshot+2012.jpeg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLHV3Cw0QJ6HoEFz-sLqEXMytDcKxyXq-42rfZjs4Ms5I16mA8a3nNC_czaCIjSyCoDOSMHAROh946a04KnkIsG2c19juRXUCxy6gb2z7eZqlXMSuUUjlnwTdKFvltnq32Q10IBwuq0F4/s200/Maydays+headshot+2012.jpeg" width="200" /></a><br />
<div class="MsoNormal">
by Katy Schutte</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
It seems to me that there is sometimes quite a disparity
between how much an audience enjoys a show and how much the performers enjoy a show
(or how good they think it was). </div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
For me,
there are three broad reactions I’ll have after doing a show:</div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm;">
</div>
<ul>
<li><span style="text-indent: -18pt;">Recriminating myself and/or the group for being
awful (sometimes out loud, sometimes in my head</span><span style="font-family: Symbol; text-indent: -18pt;"><span style="font-family: 'Times New Roman'; font-size: 7pt;"> </span></span></li>
<li><span style="text-indent: -18pt;">Fairly satisfied, but analysing the crap out of
the show (“Mr Muscle was a funny character, but why didn’t we have any depth to
our relationships?”)</span></li>
<li><span style="text-indent: -18pt;">An air-punch where it was so great that I love
my life and the show and everyone I’ve ever met (Bill Arnett has the term
‘way-homer’ for these; where you keep remembering a great moment from your
show, all the way home)</span></li>
</ul>
<br />
<div class="MsoNormal">
There’s also a reaction around the ego where you personally
feel you did or didn’t do good work.
Sometimes it can feel like you’re the only one who dropped the ball, or
the only one who kept it together.
Interestingly, in improv, if the show as a whole fails, you feel like
you’ve failed, because it’s a team game.
Conversely, sometimes a show can fail <i>because</i> one person stood out and the whole team game fell
apart. You’ve got to make other people
look good.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
With short form at least there are in-built safety nets; if
you are brand new you will likely succeed because;</div>
<div class="MsoNormal">
</div>
<ul>
<li><span style="text-indent: -18pt;">The audience are probably your friends and
family.</span></li>
<li><span style="text-indent: -18pt;">Games are built around letting the audience know
when to laugh and automatically generate jokes. For example, New Choice means
that you are regularly given a set up, set up, twist that always works.</span></li>
<li><span style="text-indent: -18pt;">Also, the audience love to see you die just as
much – if not more – than they like to see you succeed.</span><span style="text-indent: -18pt;"> </span><span style="text-indent: -18pt;">In ‘Die’ for example, the competitive
storytelling game where the audience shouts die when you mess up telling the
story.</span><span style="text-indent: -18pt;"> </span><span style="text-indent: -18pt;">If no one died, the game
wouldn’t be fun.</span></li>
</ul>
<br />
<div class="MsoNormal">
<span style="text-indent: -18pt;"><br /></span></div>
<div class="MsoNormal">
With long form it’s a little harder because there is less
tolerance of bad improv. There
aren’t built-in safety nets (unless you count a form you’re using, but that’s
really just a structure). If you
are just truthful and listen well, the audience are much more keen to see that
than you being clever or funny, but it does take years and years for people to
feel perfectly comfortable doing those simple things.</div>
<div class="MsoNormal">
Coming off stage it’s sometimes confusing having the
audience really love a show that you thought was bad or okay. When someone comes up to you to tell
you how great your show was, don’t tell them that they’re wrong! Telling a fan of your show that they are
incorrect or that your show is poor makes them feel bad and rips on your work,
neither of which have a good outcome!
Just say thank you and work on your craft. Also, they may be right, and you may be wrong. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
There seem to be a couple of reasons for the disparity
between the audience and improviser’s viewpoints. Audiences may not have seen as much improv as you. For some people, they are pretty amazed
that you can make up a show as you go and thoroughly enjoy the magic unfolding.</div>
<div class="MsoNormal">
For me, I feel like a show fails when I am consciously
working hard on it on stage.
Improvisers call this ‘being in your head’. My favourite of the shows I have done are where my
characters feel like they are being channelled and have a life of their own,
that the beats or chapters of the narrative naturally fall out one by one. I am perfectly in the group mind of the
company and we all have similar ideas and initiations, or immediately enjoy and
jump on board the surprises. So,
what’s the difference between one of those shows and one where I am standing on
the side thinking ‘I haven’t really done many characters, maybe I’ll do a
character’? Well, here’s my
revelation; nothing. Nothing from
the audience’s perspective anyhow.
For them it’s a great show.
They enjoyed everything about it.
It just happens that today, your auto-pilot didn’t kick in as well and
you had to fly on manual. It’s
sometimes difficult to know which way to fly. I had a show after Christmas where I hadn’t done a show for
a few weeks and just thought ‘ah, it’ll be fine – I’ve been doing improv for
years’. Even if you’re an Olympic
diver, you can’t just fall off the board and expect it to work, you have to use
all your awareness and training and make that dive happen. That show was a belly flop. If you have a show where some other
part of your brain is doing all the work; lucky you. I’m not suggesting you spend all your time on stage
consciously planning and analysing, but I am suggesting that you need to be alert
and open the whole time, you can’t just sit back and expect it all to
happen. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
There’s also another kind of show where you loved it, but
the audience didn’t. It was your
best work, you did great. These
shows tend to disappear after you’ve done a fair bit of improv, but the causes
are mostly vanity and in-jokes. If
you’re doing all your best schtick and having a super time but not listening to
the other players, you may feel you did a great show, but the audience probably
felt the gap between you and the other players. In-jokes are also a problem. You may have something that you do in rehearsals (we have
some 8-year callbacks in the Maydays) but the audience are not only going to
miss the joke, but will feel distanced by it.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
It’s great to know what you’re working on, it’s the only way
your improv will get better. Enjoy
the things you did well just as much as you notice the stuff you want to build
on. You are doing this because you
love it (no one chooses improv as a sure-fire career path) so notice the great
bits. I used to keep a ‘Creative
Arnica’ file on my laptop; every time someone said something nice about my or
my team’s improv, I would make a note of it. That way, if I had a shitty show or thought my work sucked I
could have a look back and realise that I was probably just forgetting to give
myself positive notes as well as constructive ones. Creative Arnica; what can I say? I lived in hippy Brighton for 10 years.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Remember that improv is a team sport. Everyone has your back. The team win – you win! Hell, that’s why I ditched stand up to
do more improv. And it’s okay to
fly on manual sometimes. It won’t
feel quite as magical as those autopilot gigs, but unless you show it on your
face, the audience can’t tell the difference.</div>
<!--EndFragment-->Katy Schuttehttp://www.blogger.com/profile/12856603763094098814noreply@blogger.com0tag:blogger.com,1999:blog-4819753470310197410.post-30941424853487162992013-03-11T19:29:00.003+00:002013-03-11T21:52:41.381+00:00 Conscious Incompetence (and why it's your friend)<span style="background-color: white; color: #666666; font-family: Arial, Helvetica, sans-serif; font-size: 12px; line-height: 18px;">by Katy Schutte</span><br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEia7pnf1cZVR9EikN4dZQMXRfrRCu0UbZ4SwG2SBV3OHs6DtAzSflxgBquoe5BihbjPgl51ai1-QR2FvggWi28ZwRMs2hGorLuFMgmCJ8xK8PCVkMnPUxWMqC_E6ShCxnA_T5dMsDdSAcQ/s1600/Maydays+headshot+2012.jpeg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEia7pnf1cZVR9EikN4dZQMXRfrRCu0UbZ4SwG2SBV3OHs6DtAzSflxgBquoe5BihbjPgl51ai1-QR2FvggWi28ZwRMs2hGorLuFMgmCJ8xK8PCVkMnPUxWMqC_E6ShCxnA_T5dMsDdSAcQ/s200/Maydays+headshot+2012.jpeg" width="200" /></a><span style="background-color: white; color: #666666; font-family: Arial, Helvetica, sans-serif; font-size: 12px; line-height: 18px;"><br /></span>
<span style="background-color: white; color: #666666; font-family: Arial, Helvetica, sans-serif; font-size: 12px; line-height: 18px;">Over years of teaching improv, I have begun to notice that many </span><a href="http://www.themaydays.co.uk/2/post/2013/03/conscious-incompetence-and-why-its-your-friend.html#" id="_GPLITA_2" in_rurl="http://i.trkjmp.com/click?v=R0I6MTQxNjI6NjpzdHVkZW50czphNjEwYzhmYWI5ZDNmOGI2NjU3YjFhZDBhYjZjMjg4Yzp6LTEzMzUtMTQ3Mzc2Ond3dy50aGVtYXlkYXlzLmNvLnVrOjEyNDcxOjk3NmY1NDYwMzQxZWMxZWQ0MmJiZTgyNDQ3M2JhZjkw" style="background-color: white; color: rgb(102, 102, 102) !important; font-family: Arial, Helvetica, sans-serif; font-size: 12px; line-height: 18px;" title="Click to Continue > by Browse to Save">students</a><span style="background-color: white; color: #666666; font-family: Arial, Helvetica, sans-serif; font-size: 12px; line-height: 18px;"> at one point or another appear to have a crisis of confidence and dips in their skill sets. There seems to be an ongoing cycle that starts with enthusiasm, becomes more of a serious work ethic and then turns into a mini freak-out. I have always advised these students - based on observation - that a dip in confidence seems to come along at the same time or just before a big jump in skills. I had no evidence or explanation for this apart from my own observations. Until now.</span><br />
<span style="background-color: white; color: #666666; font-family: Arial, Helvetica, sans-serif; font-size: 12px; line-height: 18px;"></span><br style="background-color: white; color: #666666; font-family: Arial, Helvetica, sans-serif; font-size: 12px; line-height: 18px;" />
<span style="background-color: white; color: #666666; font-family: Arial, Helvetica, sans-serif; font-size: 12px; line-height: 18px;"></span><span style="background-color: white; color: #666666; font-family: Arial, Helvetica, sans-serif; font-size: 12px; line-height: 18px;">I was working in Chantilly, France recently, coaching improvisational thinking with leaders and was struck by something one of the other coaches mentioned. If you work in the corporate world, this is probably not news to you, but it really lit up a </span><a href="http://www.themaydays.co.uk/2/post/2013/03/conscious-incompetence-and-why-its-your-friend.html#" id="_GPLITA_1" in_rurl="http://i.trkjmp.com/click?v=R0I6MjQ2ODY6MTE1MDpsaWdodCBidWxiOjUzMGU5YmU2MGU0ODY0NDVlZmU4OThmMDM3YjNhYmYwOnotMTMzNS0xNDczNzY6d3d3LnRoZW1heWRheXMuY28udWs6MDow" style="background-color: white; color: rgb(102, 102, 102) !important; font-family: Arial, Helvetica, sans-serif; font-size: 12px; line-height: 18px;" title="Click to Continue > by Browse to Save">light bulb</a><span style="background-color: white; color: #666666; font-family: Arial, Helvetica, sans-serif; font-size: 12px; line-height: 18px;"> for me. There is a scale that runs like this:</span><br />
<span style="background-color: white; color: #666666; font-family: Arial, Helvetica, sans-serif; font-size: 12px; line-height: 18px;"></span><span style="background-color: white; color: #666666; font-family: Arial, Helvetica, sans-serif; font-size: 12px; line-height: 18px;">Unconscious incompetence</span><br />
<span style="background-color: white; color: #666666; font-family: Arial, Helvetica, sans-serif; font-size: 12px; line-height: 18px;"></span><span style="background-color: white; color: #666666; font-family: Arial, Helvetica, sans-serif; font-size: 12px; line-height: 18px;">Conscious incompetence</span><br />
<span style="background-color: white; color: #666666; font-family: Arial, Helvetica, sans-serif; font-size: 12px; line-height: 18px;"></span><span style="background-color: white; color: #666666; font-family: Arial, Helvetica, sans-serif; font-size: 12px; line-height: 18px;">Conscious competence</span><br />
<span style="background-color: white; color: #666666; font-family: Arial, Helvetica, sans-serif; font-size: 12px; line-height: 18px;"></span><span style="background-color: white; color: #666666; font-family: Arial, Helvetica, sans-serif; font-size: 12px; line-height: 18px;">Unconscious competence</span><br />
<span style="background-color: white; color: #666666; font-family: Arial, Helvetica, sans-serif; font-size: 12px; line-height: 18px;"></span><br style="background-color: white; color: #666666; font-family: Arial, Helvetica, sans-serif; font-size: 12px; line-height: 18px;" />
<span style="background-color: white; color: #666666; font-family: Arial, Helvetica, sans-serif; font-size: 12px; line-height: 18px;"></span><span style="background-color: white; color: #666666; font-family: Arial, Helvetica, sans-serif; font-size: 12px; line-height: 18px;">So: we don’t know that we can’t do something, then we know we aren’t doing it right, so we learn to do it, then we forget that we’re even doing it. </span><br />
<span style="background-color: white; color: #666666; font-family: Arial, Helvetica, sans-serif; font-size: 12px; line-height: 18px;"></span><br style="background-color: white; color: #666666; font-family: Arial, Helvetica, sans-serif; font-size: 12px; line-height: 18px;" />
<span style="background-color: white; color: #666666; font-family: Arial, Helvetica, sans-serif; font-size: 12px; line-height: 18px;"></span><span style="background-color: white; color: #666666; font-family: Arial, Helvetica, sans-serif; font-size: 12px; line-height: 18px;">For me, these are very clear levels within our improvisational learning. The most important of which is conscious incompetence. </span><br />
<span style="background-color: white; color: #666666; font-family: Arial, Helvetica, sans-serif; font-size: 12px; line-height: 18px;"></span><br style="background-color: white; color: #666666; font-family: Arial, Helvetica, sans-serif; font-size: 12px; line-height: 18px;" />
<span style="background-color: white; color: #666666; font-family: Arial, Helvetica, sans-serif; font-size: 12px; line-height: 18px;"></span><span style="background-color: white; color: #666666; font-family: Arial, Helvetica, sans-serif; font-size: 12px; line-height: 18px;">When you are a total beginner in improv, you can often hugely enjoy performing; there are no nerves, no stress, you know you can do whatever you want and there’s nothing important riding on it. You perform, you get LAUGHS - which is amazing - and then you’re done. Fun. After a while, you realise that you are maybe hitting on similar characters and gags because you know they work and because they feel easy and comfortable. You begin to realise that there’s more to improv. Where is the initial spark you had, why has it gotten harder? There is more to learn. You look at the people around you and see that they have skills you don’t, or that you’re not as good at. So you work on those skills. You increase your range, you take more risks, you are starting to enjoy the work again. You get a lot better, then it’s easy, then you are slightly disconnected. You’re maybe the best person in your company and you </span><a href="http://www.themaydays.co.uk/2/post/2013/03/conscious-incompetence-and-why-its-your-friend.html#" id="_GPLITA_0" in_rurl="http://i.trkjmp.com/click?v=R0I6MzQ1MDE6OTc3OnN0YXJ0OmIxYTMyNmVkZDdmMTFmOTJhMDNiN2JiMzVkMjc4ZTA2OnotMTMzNS0xNDczNzY6d3d3LnRoZW1heWRheXMuY28udWs6MzU2MjA6MDY5OTE5MTQ5YTFiMTU5NDM0MzM1ZWE2ZjVjYmJmMTQ" style="background-color: white; color: rgb(102, 102, 102) !important; font-family: Arial, Helvetica, sans-serif; font-size: 12px; line-height: 18px;" title="Click to Continue > by Browse to Save">start</a><span style="background-color: white; color: #666666; font-family: Arial, Helvetica, sans-serif; font-size: 12px; line-height: 18px;"> to feel frustrated that others can’t keep up, or that the beginners class is too easy for you. So you are consciously competent. You join a more advanced class and really enjoy the scenes, they are rich, you are all listening to each other and the audience likes your shows. You believe that this is the norm. You are no longer stressing about your skill level because it is comfortable. You have forgotten your struggle. You are unconsciously competent. You are GOOD.</span><br />
<span style="background-color: white; color: #666666; font-family: Arial, Helvetica, sans-serif; font-size: 12px; line-height: 18px;"></span><br style="background-color: white; color: #666666; font-family: Arial, Helvetica, sans-serif; font-size: 12px; line-height: 18px;" />
<span style="background-color: white; color: #666666; font-family: Arial, Helvetica, sans-serif; font-size: 12px; line-height: 18px;"></span><span style="background-color: white; color: #666666; font-family: Arial, Helvetica, sans-serif; font-size: 12px; line-height: 18px;">Oh wait, another group came to town. How the hell are they doing the improv they are doing? What is long-form? Is that monologue genuinely from real life? Their physicality is incredible. They sing! Then here we go again. Alexis Gallagher always maintains that it is best to be the second worst person in a company. I think that’s a nice way to aspire to good improv. That way, you are always consciously incompetent and trying to learn the skills you see around you. But you’re not the worst, so you’re not going to feel like crap. And confidence is a key part of successful improv.</span><br />
<span style="background-color: white; color: #666666; font-family: Arial, Helvetica, sans-serif; font-size: 12px; line-height: 18px;"></span><br style="background-color: white; color: #666666; font-family: Arial, Helvetica, sans-serif; font-size: 12px; line-height: 18px;" />
<span style="background-color: white; color: #666666; font-family: Arial, Helvetica, sans-serif; font-size: 12px; line-height: 18px;"></span><span style="background-color: white; color: #666666; font-family: Arial, Helvetica, sans-serif; font-size: 12px; line-height: 18px;">This is by no means an experience that is only applicable to beginners. I come across these blocks in my work every so often when I’m working with amazingly tight companies, strong singers and improvisers that never forget a name or drop a ball. Just remember, whenever you know that you are terrible, that your improv is stale, that your work sucks, that you are the least funny/interesting person on stage; that is the point where you can go up a level. That is the point where you’re challenging yourself and taking risks. If you know you’re the most funny, interesting, talented, spontaneous person in the room, change rooms. It’s important to feel good about conscious incompetence. It’s the point where you’re most likely to surprise yourself, to take big risks and to push up your skill level.</span><br />
<span style="background-color: white; color: #666666; font-family: Arial, Helvetica, sans-serif; font-size: 12px; line-height: 18px;"></span><br style="background-color: white; color: #666666; font-family: Arial, Helvetica, sans-serif; font-size: 12px; line-height: 18px;" />
<span style="background-color: white; color: #666666; font-family: Arial, Helvetica, sans-serif; font-size: 12px; line-height: 18px;"></span><span style="background-color: white; color: #666666; font-family: Arial, Helvetica, sans-serif; font-size: 12px; line-height: 18px;">Your degree of competence is important to different people in different ways:</span><br />
<span style="background-color: white; color: #666666; font-family: Arial, Helvetica, sans-serif; font-size: 12px; line-height: 18px;"></span><br style="background-color: white; color: #666666; font-family: Arial, Helvetica, sans-serif; font-size: 12px; line-height: 18px;" />
<span style="background-color: white; color: #666666; font-family: Arial, Helvetica, sans-serif; font-size: 12px; line-height: 18px;"></span><span style="background-color: white; color: #666666; font-family: Arial, Helvetica, sans-serif; font-size: 12px; line-height: 18px;">The audience. Audiences love to watch people that are at their ease, even if they are enjoying their own incompetence. </span><br />
<span style="background-color: white; color: #666666; font-family: Arial, Helvetica, sans-serif; font-size: 12px; line-height: 18px;"></span><br style="background-color: white; color: #666666; font-family: Arial, Helvetica, sans-serif; font-size: 12px; line-height: 18px;" />
<span style="background-color: white; color: #666666; font-family: Arial, Helvetica, sans-serif; font-size: 12px; line-height: 18px;"></span><span style="background-color: white; color: #666666; font-family: Arial, Helvetica, sans-serif; font-size: 12px; line-height: 18px;">Your peers. Your fellow improvisers, employers and teachers; they all want you to be good. They want you to step up and they want to help you achieve great things. They also have your back.</span><br />
<span style="background-color: white; color: #666666; font-family: Arial, Helvetica, sans-serif; font-size: 12px; line-height: 18px;"></span><br style="background-color: white; color: #666666; font-family: Arial, Helvetica, sans-serif; font-size: 12px; line-height: 18px;" />
<span style="background-color: white; color: #666666; font-family: Arial, Helvetica, sans-serif; font-size: 12px; line-height: 18px;"></span><span style="background-color: white; color: #666666; font-family: Arial, Helvetica, sans-serif; font-size: 12px; line-height: 18px;">Yourself. No one is a harsher judge than yourself. Enjoy it. Let you be the harsh critic of you. Just don’t let the critic get in there when you’re playing. Love a show, get out of your head. Then sit down after and watch the video, see what you did good and bad and set yourself some goals. A side note on notes; I was shocked the first time I had two improv teachers contradict each other. It’s not like maths, there is no absolute right. Do what you think is more interesting. Just make sure you’re not doing it because it’s safe. Push your own boundaries and take advice when it speaks to you as the right advice. Try everything you get taught and keep what works for you. Always go in with an open mind, then jettison stuff afterwards if it doesn’t help.</span><br />
<span style="background-color: white; color: #666666; font-family: Arial, Helvetica, sans-serif; font-size: 12px; line-height: 18px;"></span><br style="background-color: white; color: #666666; font-family: Arial, Helvetica, sans-serif; font-size: 12px; line-height: 18px;" />
<span style="background-color: white; color: #666666; font-family: Arial, Helvetica, sans-serif; font-size: 12px; line-height: 18px;"></span><span style="background-color: white; color: #666666; font-family: Arial, Helvetica, sans-serif; font-size: 12px; line-height: 18px;">Now stand up and declare “I am consciously incompetent” and enjoy how much you can improve every time those words ring true. </span><br />
<span style="background-color: white; color: #666666; font-family: Arial, Helvetica, sans-serif; font-size: 12px; line-height: 18px;"><br /></span>
<span style="background-color: white; color: #666666; font-family: Arial, Helvetica, sans-serif; font-size: 12px; line-height: 18px;">www.katyschutte.com</span><br />
<span style="color: #666666; font-family: Arial, Helvetica, sans-serif;"><span style="font-size: 12px; line-height: 18px;">@katyschutte</span></span>Katy Schuttehttp://www.blogger.com/profile/12856603763094098814noreply@blogger.com2tag:blogger.com,1999:blog-4819753470310197410.post-81411464755273601692013-03-07T11:32:00.004+00:002013-03-07T11:33:52.770+00:00Longform Workshops with Saturday Night Live Writer, Neil Casey<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8tj8dMFERz6VKBYIfkkKFBqobSwaomvw42YdAl43QqWhs1HSNTbtMYAzVWI_5A-FQtDoTYQz9yEIHpPv3zugU8f-mh2n-ovUrm6aQtag8oUHiN8d15qsdyCCo6TuSTl1EFUSgHAEFoQ/s1600/neil+casey.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8tj8dMFERz6VKBYIfkkKFBqobSwaomvw42YdAl43QqWhs1HSNTbtMYAzVWI_5A-FQtDoTYQz9yEIHpPv3zugU8f-mh2n-ovUrm6aQtag8oUHiN8d15qsdyCCo6TuSTl1EFUSgHAEFoQ/s200/neil+casey.jpg" width="200" /></a></div>
This workshop will focus on long-form scenework in the style taught at the Upright Citizens Brigade Theatres in New York and Los Angeles. We will focus on improvising our way into realistic, believable scenes which will lead to organic discoveries with which we can build original and interesting Games, the patterns that make our scenes funny. Some experience with open improv scenework is encouraged but not required.<br />
<br />
<span style="color: #cc0000;"><b>7-10 pm 26th-27th March</b></span><br />
<span style="color: #cc0000;"><b>£30/evening. </b></span><br />
<span style="color: #cc0000;"><b>To book, please email <a href="mailto:jules@thenurserytheatre.com">jules@thenurserytheatre.com</a></b></span><br />
<br />
<i>Neil Casey is an improvisor, writer and actor living in New York City. He has performed at the Upright Citizens Brigade Theatre since 2001 and has taught improv and sketch at the Upright Citizen's Brigade </i><i>Training Center since 2006. He has also taught improv at the Williamstown Theatre Festival every summer since 2008. Neil is a member of several well-known improv troups including current UCB </i><i>Weekend team Death By Roo Roo, Krompf, and The Two-Man Movie. He has performed all over America with the UCB Touring Company since 2005, and performs regularly in UCB's flagship show ASSSSCAT 3000. He has directed dozens of acclaimed stage shows including God's Pottery Saves </i><i>the World (Edinburgh 2007), Waiting For Obama: A Night at the Hall of Presidents (SF SketchFest 2010), Kate McKinnon on Ice, and This Is Not A Sketch Show: A Sketch Show. </i><br />
<i><br /></i>
<i>His latest written show Small Men, written and performed with Will Hines and directed by Michael Delaney, was named the Best Sketch Show of 2012 by Time Out New York Magazine. He has appeared on a bunch of web series, commercials and TV shows on Adult Swim and IFC. The Washington Post referred to him as "deadpan" on 10 February 2010 in the print edition. A few months ago Splitsider.com declared "Neil Casey is one of the best, if not the best improviser in New York right now." </i><br />
<i><br /></i>
<i>He is currently a writer on </i><i>Saturday Night Live.</i>London Improvhttp://www.blogger.com/profile/15348789588754972738noreply@blogger.com0tag:blogger.com,1999:blog-4819753470310197410.post-4565287235389120412013-01-16T11:00:00.000+00:002013-01-16T11:20:20.342+00:00What I Learned in the London 50 Hour Improvathon<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgaF6aICupJzFWW3aUv7npcHeNRQvs7yvb2YVi-VUVW3VaPhV054YJu7GJXBgMeiqYF5YaVNeZgxmMHb1tsA_LnmJtkKZPkvTrer0ArEFoYCb5bfIHR-1I1XIe9f7DYIuOBEpd6bqvHLg/s1600/580553_10152438634745385_1794786050_n.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgaF6aICupJzFWW3aUv7npcHeNRQvs7yvb2YVi-VUVW3VaPhV054YJu7GJXBgMeiqYF5YaVNeZgxmMHb1tsA_LnmJtkKZPkvTrer0ArEFoYCb5bfIHR-1I1XIe9f7DYIuOBEpd6bqvHLg/s200/580553_10152438634745385_1794786050_n.jpg" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">... As <i>Dizniz Al'Adin</i> in the <br />
2013 Improvathon </td></tr>
</tbody></table>
<i>By Jonathan Monkhouse</i><br />
<br />
I am afraid of heights. I get vertigo when my body is not surrounded by very specific guidelines that, when boiled down, are based on two factors: 1) My own physical ability, and 2) My trust in the objects being used to support me.<br />
<br />
I'm unfit. Chubby even. In places. If I fall, I'm not strong enough to grab something and pull myself back up. I couldn't hang from the branch of a tree safe in the knowledge that if things went wrong I could swing myself to safety like a howler monkey. Abseiling. Why the hell do people do that?<br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhIK-P7c6gUJqY449ZdBEk6-nF1c8TYto_p0V74kzonXgzzusn7uYdZDegyqNp20xSNdg-vHCTEpLAXVJWX0sg-0SPNWVLNusqrwkM50dQN1DfQMz-5m3fdaxHznejxzrGmZ2HMa-nl9Q/s1600/scissorLift.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhIK-P7c6gUJqY449ZdBEk6-nF1c8TYto_p0V74kzonXgzzusn7uYdZDegyqNp20xSNdg-vHCTEpLAXVJWX0sg-0SPNWVLNusqrwkM50dQN1DfQMz-5m3fdaxHznejxzrGmZ2HMa-nl9Q/s320/scissorLift.jpg" width="284" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Found this in a lamp</td></tr>
</tbody></table>
<br />
I'm alright with some things, though. Actually I'm fairly okay if I'm up high on a genie-lift (pictured), because I know the tests that these things go through to make them safe. But a plank of wood hanging at a precarious angle on a couple of scaffold bars high over the stage at Hoxton Hall, where you have to go if you want to hang any back-lights. Doing that is not hilarious.<br />
<br />
This fear is potentially crippling in multiple ways. Yes, the physical injury I would sustain when the ladder collapses beneath me and I fall 30' onto my face.. but more present is the fact that I earn a fair proportion of my living from working up high. As a live events technician I'm often up a ladder focussing blisteringly hot lights or hanging bulky projectors or heavy speaker stacks, or a 60ft banner from the front of an old crumbling theatre while wind and rain try to knock me to the pavement. Often under time pressure, often in venues that were never designed for ladders or rigging or people who need a cool ambient temperature. But it's part of my job. It's how I get to buy useful things like croissants.<br />
<br />
So I have to do it. I <u><i><b>have</b></i></u> to do it. The croissants compel me.<br />
<br />
And I'm compeled to do improv. I love it at least as much as a French breakfast pastry, and it is the most exciting, most liberating, most extreme sport I can think of. It is more petrifying than abseiling, and more rewarding than three wishes from a genie. So fuck it, I do it.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhdTkr9cTKY9pDaDVYQR5yBltUjiqzpfZDwkvx5yD3BxxD9IFGG3vtYsVeCsrX8EGVvN2xo5TXNb0IsEEAP81Gv0iMbwc12R5jjwNgSqGvwfZIajM9uT9B8S9OBpVe3qCVnZJT-0uH7Ow/s1600/59888_561390660556658_1996576010_n.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhdTkr9cTKY9pDaDVYQR5yBltUjiqzpfZDwkvx5yD3BxxD9IFGG3vtYsVeCsrX8EGVvN2xo5TXNb0IsEEAP81Gv0iMbwc12R5jjwNgSqGvwfZIajM9uT9B8S9OBpVe3qCVnZJT-0uH7Ow/s640/59888_561390660556658_1996576010_n.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Cairo, 1926. Improvised. Epic.</td></tr>
</tbody></table>
While I was growing up my Dad often used the phrase, "It's not the fall that'll kill you, it's the hard bit at the bottom." .. one of my earliest discoveries of humour in the Monkhouse gene-pool. I believe there are <a href="http://www.chortle.co.uk/comics/r/81/review?original=1" target="_blank">others</a>. And others. As advice, though, it didn't really help me with my fear.<br />
<br />
The London Improvathon was terrifying. It has a fairly epic reputation amongst audience and performers alike. People fly in from round the world to be a part of it. It is performed in a 150 year old, lofty venue with a rich theatrical history. The stage towers over the audience giving any performer an instant status way higher than any single human deserves.<br />
<br />
This was my first performance in the London 50. I've performed in other Improvathons in London, Liverpool and Bristol, and they have been totally fun and enjoyable. But this was my first <b><u>London</u> <u>50</u></b>. And I was entering in the 30th hour after watching from the sound-desk for the first portion of the show, watching the very talented folk around me create the magical world that I was to jump into later on.<br />
<br />
Entering my first scene felt like falling. From a great great height. I haven't felt that in an improv show for years.<br />
<br />
Intimidated much? Yeah. Nervous? Feeling lost when I'm in a scene? Out of control? Yeah. Paranoid from being awake for the last 50+ hours? <u>Not. Helping</u>.<br />
<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhlhSbFrgP0i_CV-EABx_3UXYZf37p9zeDIZg4MjDA_RQTrN2E4gnfYCQd6BAqngcnIIwLoNOFTJkbCJD6s1voJoOd9Ix0ElV4GWtmHYAFdrSmDir2F02groXhoZlLk22evoQcASaJqzg/s1600/Screen+Shot+2013-01-15+at+17.21.45.png" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="289" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhlhSbFrgP0i_CV-EABx_3UXYZf37p9zeDIZg4MjDA_RQTrN2E4gnfYCQd6BAqngcnIIwLoNOFTJkbCJD6s1voJoOd9Ix0ElV4GWtmHYAFdrSmDir2F02groXhoZlLk22evoQcASaJqzg/s320/Screen+Shot+2013-01-15+at+17.21.45.png" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Lighting-tech Damian Robertson with director Adam<br />
Meggido: sitting in the dark, in front of a computer <br />
screen, in a warm room, concentrating, for 50 hours.<br />
The hardest two jobs in the room. </td></tr>
</tbody></table>
<i>Learny thing number 1</i>: Being awake that long is mental. Mental. But that's a given with a 50 hour show. I don't really need to talk about that, it's too obvious a part of the experience. Yes, it's painful, but I knew exactly how painful it would be. I've done it before when I operated lighting for the entire London 50 last year - which is, by the way, a <u>nightmare</u> and all credit to Damian who lit the whole show this time. The sleep deprivation is way harder on the desk than it is on the cast. Oh my god. At least the cast get to move around occasionally. And have adrenalin surges.<br />
<br />
The biggest thing I learned from the Improvathon is about how much you take on stage with you.<br />
<br />
<i>Learny thing number 2</i>: While it's an improviser's aim to be creating on the spot, on the stage, right there... unless you know how to play the Die-Nasty Improvathon format <u>this is really hard</u>. So I tell you now, with hope that if you ever get to do one, you are better prepared than I was. My biggest discovery leads to this:<br />
<br />
<span style="color: #990000;"><b>DO NOT THINK ABOUT YOUR CHARACTER WHEN YOU ARE OFF STAGE.</b></span><br />
<br />
Don't do it. You'll want to, but don't. It's a piece of advice I have heard from much more experienced improvathon players, but it never quite took hold until I experienced it first-hand. Sadly I learned its importance too late for this 50. If I get to do it again, at least I'll know.<br />
<br />
Lately in my Improv life I have been used to freeform improvising. Little or no "format". Where the whole thing happens with you on stage, or just off-stage looking to come on and support at any given moment. It is your own personal instinct that takes you onto the stage, it is your own feeling for the story that drives it, and there is no time to excogitate the precise direction of the show because you are right there in its midst the whole way through.<br />
<br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgIyPAdos-9Zh2tLnsoRrErtKB1BS3QIP6RHluON_6xZiDdsoe_OwBYQnPnnq1yOv7ogU9vVUT0vJ82i-_KFwPLiMEnpKu3YmNG9W968AFLNyymeYPKtlr43PD1QlV5kYZ5_2cSYcCLiA/s1600/Screen+Shot+2013-01-15+at+12.34.37.png" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="248" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgIyPAdos-9Zh2tLnsoRrErtKB1BS3QIP6RHluON_6xZiDdsoe_OwBYQnPnnq1yOv7ogU9vVUT0vJ82i-_KFwPLiMEnpKu3YmNG9W968AFLNyymeYPKtlr43PD1QlV5kYZ5_2cSYcCLiA/s400/Screen+Shot+2013-01-15+at+12.34.37.png" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Support group scenes have a certain double-resonance with<br />
exhausted performers. </td></tr>
</tbody></table>
With the way the Improvathon format works, you spend a huge amount of time off stage. It might be 45-60 minutes between your scenes. Stop, start, stop, start. And it is the director's decision when you enter, who you're entering with, and (often) what task you're going to complete while you're there. Its almost short-form in that way. That is, a predetermined set of actions that you are to 'play' during the next few minutes.<br />
<br />
Yes, you can be off stage enjoying the scenes the other improvisers are doing, and sometimes running on to help in crowd scenes or to be scenery. This is good. Great. That is a very fun thing. However, my biggest problem was that I was spending these long stretches of time also thinking about my character: How my story was and should be progressing. How good/bad my last scene was. The fact that I haven't found my rhythm with this show yet. I'm exhausted. I have to prove that I deserve to be here. Are these thoughts led by sleep deprivation, or are they justified? I know I'm a better improviser than that last scene I did. Why can't I get comfortable on this crazy stage? Where do I want my character to go next?<br />
<br />
That's it. That last one. That's the most problematic of all. DO NOT THINK ABOUT YOUR CHARACTER WHEN YOU ARE OFF STAGE. All this does is put obstacles in the way for your next scene. It led to me walking on stage for each of my scenes with a list of objectives that I wanted to achieve, which did nothing but get in the way of the scene that I was actually performing. My own thoughts had infected everything I was doing and despite the awesome offers being made for me by other improvisers, my brain had already decided the course my character should take and it was hard to deviate from that.<br />
<br />
So.. DO NOT THINK ABOUT YOUR CHARACTER WHEN YOU ARE OFF STAGE.<br />
This, of course, is so important in any improv performance. It's just harder to avoid when you're given an hour to think in between your scenes, and you've been awake since 6am two days ago.<br />
<br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjiTi0Xo_TtpLmS7xmElASUcQEUSOZpkCguIZQFRIstgzu66Sh7GZhdTSZ0qdIG-EKYHX9Bogmro1_biYPzPlni7SMTO0Vsi_jab8lVphdWV67ciB4dnGFkq3AGtv4MxRzc4oHlaobQJQ/s1600/Screen+Shot+2013-01-16+at+00.26.01.png" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjiTi0Xo_TtpLmS7xmElASUcQEUSOZpkCguIZQFRIstgzu66Sh7GZhdTSZ0qdIG-EKYHX9Bogmro1_biYPzPlni7SMTO0Vsi_jab8lVphdWV67ciB4dnGFkq3AGtv4MxRzc4oHlaobQJQ/s400/Screen+Shot+2013-01-16+at+00.26.01.png" width="316" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Salvador Dali (Mark Meer) presents his finest work.<br />
Historically accurate. </td></tr>
</tbody></table>
DO NOT THINK ABOUT YOUR CHARACTER WHEN YOU ARE OFF STAGE.<br />
When you inhabit the same character for 20+ hours you really begin to care about them rather a lot, and you want them to achieve something cool. But all you are doing is planning. You don't want to be doing this. You know it's wrong, that's why you perform improv.<br />
<br />
DO NOT THINK ABOUT YOUR CHARACTER WHEN YOU ARE OFF STAGE.<br />
Your character only exists in the on-stage moments. Anything else, is nothing. Forget it. A predetermined plot is limiting, not freeing. One of the most enjoyable characters in the show was Ernest Hemingway, played by Die-Nasty's Jamie Cavanagh, who had barely done any research into the real life of Hemingway. This was a great decision and meant that Hemingway was one of the most fun characters to watch. Remember when Hemingway donned a cocktail dress, became part of the feminist alliance and revealed himself to be from Crete? Brilliant.<br />
<br />
As the dust settles on our version of 1920's Cairo, there seems to be a widespread opinion that this was the best London 50 ever. A massive part of that success, I think, is down to the simplicity of the overarching storyline. It was essentially just a backdrop to much more interesting stuff. I don't think most of the audience could give a fuck whether the overall plot makes sense; especially the majority who aren't even there for more than 4-6 hours. For them, the 50 hour plot is irrelevant and unimportant. People want to see relationships between people and funny things. Who gives a crap whether a comedy show is historically accurate?<br />
<br />
DO NOT THINK ABOUT YOUR CHARACTER WHEN YOU ARE OFF STAGE.<br />
God, it seems so obvious now. Now that I am rested, lucid, and blessed with hindsight. I totally fucked up a scene in the last 6 hours of the show because I did not know this. Because I took too much on stage with me, stuff that I'd been throwing around in my mind for 45 minutes. Its not Improv, and it doesn't make your scene better. It makes it worse.<br />
<br />
DO NOT THINK ABOUT YOUR CHARACTER WHEN YOU ARE OFF STAGE.<br />
Just. Don't.<br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgj9wOvgtuyJLn3SKRrA2GBTBONcwUOJ0k4ANFhKdmQTZK-71uzzh_9RXMGw17mLjaDuoCFBmtWm07lJdhFhFJc7AtvMp7DD5rrpit-GcM89jj2WwzEyVIcTQoU311UheLmsLSfZA1ImA/s1600/UCB+Don't+Think.png" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="198" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgj9wOvgtuyJLn3SKRrA2GBTBONcwUOJ0k4ANFhKdmQTZK-71uzzh_9RXMGw17mLjaDuoCFBmtWm07lJdhFhFJc7AtvMp7DD5rrpit-GcM89jj2WwzEyVIcTQoU311UheLmsLSfZA1ImA/s320/UCB+Don't+Think.png" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Don't think.</td></tr>
</tbody></table>
<br />
Dana Anderson of Die-Nasty said of the 50 hour, "It's the most intense improv workshop you'll ever do." He's right. Not many workshops leave me emotionally scarred, exhausted, and having learnt a lesson with that level of potency. DO NOT THINK ABOUT YOUR CHARACTER WHEN YOU ARE OFF STAGE. Alright, alright. I get it.<br />
<br />
In a few months I'm going to be in a 34-hour in Liverpool. Similar format. I'll be giving myself one rule from the beginning (see above). I'll arrive with a costume and a character name, as required. The rest is just enjoying the scene that I'm in at any given moment, feeling privileged to be playing with wonderful performers, and getting to do something way more fun than most people get to do.<br />
<br />
<i>Improvathon photos courtesy of <a href="https://www.facebook.com/media/set/?set=a.560554497306941.146112.119472144748514&type=1" target="_blank">Scarab Pictures</a> and Sam Carpenter.</i>London Improvhttp://www.blogger.com/profile/15348789588754972738noreply@blogger.com2tag:blogger.com,1999:blog-4819753470310197410.post-26307440158860344822013-01-09T13:56:00.000+00:002013-01-09T13:57:35.348+00:00Everything You Need to Know About Improvising a Comedy SceneI posted this on <a href="https://www.facebook.com/pages/London-Improv/109594522453524" target="_blank">Facebook</a> and lots of people seemed to like it, so here it is in this medium:<br />
<center>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgCJpjKKaQGyz4zgl0Lett_ABrWg6Ns6wkCQ4SsIrdpR16VOO6JbLTYqP1lkA6xRtNZuYOjurGpErDaSB4PhQrbCZi1TTQWNQj4OGfS00D8y9-FdwnyRlNlZneMGctGvArmo8mfFJcqNA/s1600/Screen+Shot+2013-01-08+at+13.32.19.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgCJpjKKaQGyz4zgl0Lett_ABrWg6Ns6wkCQ4SsIrdpR16VOO6JbLTYqP1lkA6xRtNZuYOjurGpErDaSB4PhQrbCZi1TTQWNQj4OGfS00D8y9-FdwnyRlNlZneMGctGvArmo8mfFJcqNA/s640/Screen+Shot+2013-01-08+at+13.32.19.png" width="471" /></a></div>
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</center>
London Improvhttp://www.blogger.com/profile/15348789588754972738noreply@blogger.com0tag:blogger.com,1999:blog-4819753470310197410.post-45104517575525267602013-01-03T12:05:00.000+00:002013-01-05T02:53:32.252+00:00Improvised Knifefight Lessons - #2<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiPKo0dXWxYFAXOMAzroB4xLRCy5jQ8RxBUXetAfr7V8Jpgg6sEglwfJcr0YPx3Sr1uak5cNXtqfIr2vW0eitL9m_ZJC56trITka7GlzzcBASygDgyX28ZkzSShzHEFmeShyphenhyphenYv8dMbJLQ/s1600/562152_440622342633491_26275010_n.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiPKo0dXWxYFAXOMAzroB4xLRCy5jQ8RxBUXetAfr7V8Jpgg6sEglwfJcr0YPx3Sr1uak5cNXtqfIr2vW0eitL9m_ZJC56trITka7GlzzcBASygDgyX28ZkzSShzHEFmeShyphenhyphenYv8dMbJLQ/s400/562152_440622342633491_26275010_n.jpg" width="266" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Jamie as Hercules in London Improvathon 2012</td></tr>
</tbody></table>
<div style="text-align: left;">
<span style="color: #333333; font-family: lucida grande, tahoma, verdana, arial, sans-serif; font-size: x-small;"><span style="line-height: 16px;"> </span></span></div>
<span style="background-color: white; color: #333333; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 13px; line-height: 16px; text-align: left;"><b>Character</b></span><br />
<span class="text_exposed_show" style="background-color: white; color: #333333; display: inline; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 13px; line-height: 16px; text-align: left;"><br /><i>Character, Character... CHARACTER!<br /><br />Characters are the lifeblood of stories. Formats, plot lines, twists and turns all mean very little if we do not care about the characters who inhabit them.<br /><br />In this three hour intensive, we will be discussing and exercising different means of creating and portraying distinct, dynamic and practical characters in improv scenes and formats.</i></span><br />
<div>
<span class="text_exposed_show" style="background-color: white; color: #333333; display: inline; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 13px; line-height: 16px; text-align: left;"><i><br /></i></span></div>
<div>
<span class="text_exposed_show" style="background-color: white; color: #333333; display: inline; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 13px; line-height: 16px; text-align: left;">Jamie "Knifefight" Cavanagh is an Canadian actor, writer, comedian, and professional improvisor and is a graduate of the Bachelor of Fine Arts in Acting program at the University of Alberta.<br /><br />Jamie has performed in festivals and cities all over the world including: The London Improvathon [London UK], World Domination Theatresports Tournament [Atlanta GA], The Chcago Improv Festival [Chicago IL], Uprfront Theatre [Bellingham WA], The Saint Valentines Day Massacre [Vancouver BC], Toronto Improv Festival [Toronto ON], the CRUMBs [Winnipeg MB] and has taught as a guest instructor at London’s renowned London Academy of Musical and Dramatic Arts (LAMDA). You might remember his as Hercules from last year's improathon. You should.</span><br />
<div style="color: #666666; text-align: right;">
<span class="text_exposed_show" style="background-color: white; color: #333333; display: inline; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 13px; line-height: 16px; text-align: left;"><span style="color: #cc0000;"><b><br /></b></span></span>
<span class="text_exposed_show" style="background-color: white; color: #333333; display: inline; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 13px; line-height: 16px; text-align: left;"><span style="color: #cc0000;"><b>COST: </b>£30</span></span><br />
<b style="background-color: white; color: #cc0000; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 13px; line-height: 16px; text-align: left;">WHEN: </b><span style="background-color: white; color: #cc0000; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 13px; line-height: 16px; text-align: left;">7-10pm, Wednesday 9th January </span><br />
<span class="text_exposed_show" style="background-color: white; color: #333333; display: inline; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 13px; line-height: 16px; text-align: left;"><span style="color: #cc0000; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif;"><b>WHERE: </b>The Nursery, </span></span><span style="background-color: white; color: #cc0000; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 13px; line-height: 16px; text-align: left;">Arch 61,</span><span style="background-color: white; color: #333333; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 13px; line-height: 16px; text-align: left;"> </span><span style="color: #333333; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 13px; line-height: 16px; text-align: left;"><span style="color: #cc0000;"></span></span><span style="color: #cc0000; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 13px; line-height: 16px; text-align: left;">off Great Suffolk Street </span><span style="color: #cc0000; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 13px; line-height: 16px; text-align: left;">and parallel to Union St. </span><span style="color: #cc0000; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 13px; line-height: 16px; text-align: left;">SE1 0EU</span></div>
<span class="text_exposed_show" style="background-color: white; color: #333333; display: inline; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 13px; line-height: 16px; text-align: left;">
<span style="color: #cc0000; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 15px; line-height: 20px; text-align: -webkit-auto;"></span></span>
<div style="color: #666666; text-align: right;">
<span class="text_exposed_show" style="background-color: white; color: #333333; display: inline; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 13px; line-height: 16px; text-align: left;"><span style="color: #cc0000;"><b>NEAREST TUBE: </b>Southwark</span></span></div>
<span class="text_exposed_show" style="background-color: white; color: #333333; display: inline; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 13px; line-height: 16px; text-align: left;">
<span style="color: #cc0000; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 15px; line-height: 20px; text-align: -webkit-auto;"></span></span>
<div style="font-weight: bold; text-align: right;">
<span class="text_exposed_show" style="background-color: white; color: #333333; display: inline; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 13px; line-height: 16px; text-align: left;"><span style="color: #cc0000; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 15px; line-height: 20px; text-align: -webkit-auto;"><span style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 13px; line-height: 16px;"><br /></span></span></span></div>
<span class="text_exposed_show" style="background-color: white; color: #333333; display: inline; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 13px; line-height: 16px; text-align: left;"><span style="color: #cc0000; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 15px; line-height: 20px; text-align: -webkit-auto;">
<span style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 13px; font-weight: bold; line-height: 16px;"><div style="text-align: right;">
<b>This class has very limited places, book now by emailing <a href="mailto:improvsupertime@gmail.com" style="color: black; text-decoration: none;">improvsupertime@gmail.com</a></b></div>
</span><span style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 13px; font-weight: bold; line-height: 16px;"><div style="text-align: right;">
<b>Payments may be made in advance to Paul Foxcroft, email for details. </b></div>
<div style="text-align: right;">
<b><br /></b></div>
</span></span>Also, Tuesday the 8th - <a href="https://www.facebook.com/events/532185313465931/" rel="nofollow" style="color: #3b5998; cursor: pointer; text-decoration: none;" target="_blank">https://www.facebook.com/<wbr></wbr><span class="word_break" style="display: inline-block;"></span>events/532185313465931/</a> Jamie teaches this. </span></div>
London Improvhttp://www.blogger.com/profile/15348789588754972738noreply@blogger.com0tag:blogger.com,1999:blog-4819753470310197410.post-2527240502334587892013-01-03T11:55:00.003+00:002013-01-03T12:14:24.724+00:00Improvised Knifefight Lessons - #1<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgLc6Q6zvC0-4k8Q9KWMbxuiINc58LBhs_fAhWkTTQPQxd2GMAY-OTlRQYOdlerEvE35DUEDUpd9hyphenhyphenCP8TKP7mwULzH-FgJaZe99Q34YuDeUrN9OvfPH0Ow1I-GWv763S18ldMmzc_XQ/s1600/399719_827994725975_660566090_n.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="231" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgLc6Q6zvC0-4k8Q9KWMbxuiINc58LBhs_fAhWkTTQPQxd2GMAY-OTlRQYOdlerEvE35DUEDUpd9hyphenhyphenCP8TKP7mwULzH-FgJaZe99Q34YuDeUrN9OvfPH0Ow1I-GWv763S18ldMmzc_XQ/s320/399719_827994725975_660566090_n.jpg" width="320" /></a></div>
<span style="background-color: white; color: #333333; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 13px; line-height: 16px; text-align: left;"><b>Canadian Short Form</b></span><br />
<span class="text_exposed_show" style="background-color: white; color: #333333; display: inline; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 13px; line-height: 16px; text-align: left;"><br /><i>As we all know, Canada is an enormous block of ice perched atop the promontory of the western brow, and is a land of snow, hockey, and beer. You may not be aware, however, that it is also the home and birthplace of the world's most famous short-form improv formats.<br /><br />In this three hour intensive, we will learn the shit out of the importance of short form improv, crucial and often forgotten improv techniques, and focusing especially on exercising short-form values in longer improv sets.<br /><br />Get ready to ride the walrus!</i></span><br />
<span class="text_exposed_show" style="background-color: white; color: #333333; display: inline; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 13px; line-height: 16px; text-align: left;"><br /></span>
<span class="text_exposed_show" style="background-color: white; display: inline; text-align: left;"><span style="color: #333333; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 13px; line-height: 16px;">Jamie "Knifefight" Cavanagh is an Canadian actor, writer, comedian, and professional improvisor and is a graduate of the Bachelor of Fine Arts in Acting program at the University of Alberta.</span><br /><br /><span style="color: #333333; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 13px; line-height: 16px;">Jamie has performed in festivals and cities all over the world including: The London Improvathon [London UK], World Domination Theatresports Tournament [Atlanta GA], The Chcago Improv Festival [Chicago IL], Uprfront Theatre [Bellingham WA], The Saint Valentines Day Massacre [Vancouver BC], Toronto Improv Festival [Toronto ON], the CRUMBs [Winnipeg MB] and has taught as a guest instructor at London’s renowned London Academy of Musical and Dramatic Arts (LAMDA). You might remember his as Hercules from last year's 50-hour Improvathon. You should. </span></span><br />
<div style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 13px; line-height: 16px; text-align: right;">
<span style="color: #cc0000;"><b>COST: </b>£30</span></div>
<div style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 13px; line-height: 16px; text-align: right;">
<span style="color: #cc0000;"><b>WHEN: </b>7-10pm, Tuesday 8th January </span></div>
<div style="text-align: right;">
<span style="color: #cc0000; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 13px; line-height: 16px;"><b>WHERE: </b>The Nursery, </span><span style="text-align: left;"><span style="color: #cc0000;"></span></span><br />
<div style="display: inline !important; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 13px; line-height: 16px; text-align: right;">
<span style="text-align: left;"><span style="color: #cc0000;"><span style="color: #cc0000;">Arch 61, </span></span></span></div>
<span style="text-align: left;"><span style="color: #cc0000;">
</span></span><span style="color: #cc0000; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 13px; line-height: 16px;">off Great Suffolk Street </span><span style="color: #cc0000; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 13px; line-height: 16px;">and parallel to Union St. </span><span style="color: #cc0000; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 13px; line-height: 16px;">SE1 0EU</span></div>
<span style="color: #cc0000;"></span><br />
<div style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 13px; line-height: 16px; text-align: right;">
<span style="color: #cc0000;"><span style="color: #cc0000;"><b>NEAREST TUBE: </b>Southwark</span></span></div>
<span style="color: #cc0000;">
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<b><span style="color: #cc0000;">This class has very limited places, book now by emailing <a href="mailto:improvsupertime@gmail.com">improvsupertime@gmail.com</a></span></b></div>
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<b><span style="color: #cc0000;">Payments may be made in advance to Paul Foxcroft, email for details. </span></b></div>
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<span style="color: #333333; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 13px; line-height: 16px;">Also, on Wednesday the 9th Jamie has another class - </span><a href="https://www.facebook.com/events/326618084117971/?context=create" rel="nofollow" style="color: #3b5998; cursor: pointer; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 13px; line-height: 16px; text-decoration: none;" target="_blank">https://www.facebook.com/<wbr></wbr><span class="word_break" style="display: inline-block;"></span>events/326618084117971/<wbr></wbr><span class="word_break" style="display: inline-block;"></span>?context=create</a>London Improvhttp://www.blogger.com/profile/15348789588754972738noreply@blogger.com0tag:blogger.com,1999:blog-4819753470310197410.post-77082860798004005142013-01-02T16:39:00.000+00:002013-01-02T16:59:04.290+00:00The London 50-hour Improvathon is nearly here!<center>
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There are only a couple of days left to get the <a href="http://www.eventbrite.com/org/2969964233?s=11286585" target="_blank">Earlybird Season Passes</a> for the full 50 hours, so if you fancy the challenge/experience of 50 straight hours of improvised theatre, we'd highly recommend you book them now. And we reckon you should do the full 50 hours. Here's why:<br />
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<strong style="font-family: arial; text-align: left;"><span style="font-size: large;"><span style="color: #444444;">‘It's like nothing you’ve seen before. It’s made up on the spot: a hilarious 50-hour non-stop soap opera. Early morning joggers and late-night clubbers unite!’</span></span></strong><em><span style="font-size: x-small;"> Time Out</span></em></blockquote>
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This year the London Improvathon sees about 50 improvisers creating a massive piece of theatre set in Cairo in 1926. The classiest tourist destination of the day filled with adventurous icons, the discovery of Tutenkhamen's tomb, shady back street dealing, the curse of the mummy... all these, I'm sure, referred to with as much historic accuracy as you should expect. It's a classic, sumptuous setting with epic possibilities.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhS6K5oIBO8sj5ZGo-h8em-saaf8OEJ8zjFrnkYxxkTbxbgIBg7C098YS9RNowz9NEouG_MjTC1sAs3Jk_1RtlE-r9sNWdXAYyFt6ykDsbllcHAc_OtJ417mttekhaxQtCC862bS3fvVw/s1600/improvathonpress.png" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhS6K5oIBO8sj5ZGo-h8em-saaf8OEJ8zjFrnkYxxkTbxbgIBg7C098YS9RNowz9NEouG_MjTC1sAs3Jk_1RtlE-r9sNWdXAYyFt6ykDsbllcHAc_OtJ417mttekhaxQtCC862bS3fvVw/s1600/improvathonpress.png" /></a></div>
The cast will include some of the best improvisers around; a whole bunch of brilliant UK-based performers including a handful of Showstoppers, a bucket of Austentatious, most members of ProjectTwo and more.<br />
They will be joined by some phenomenal folk from Die-Nasty and Rapid Fire theatre companies in Canada, and more besides.<br />
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<strong style="font-family: arial; text-align: left;"><span style="background-color: white; color: #444444; font-size: large;">'Fearsomely able improvisers.'</span></strong><br />
<em style="font-family: arial; text-align: left;"><span style="background-color: white; font-size: x-small;"><em>Ian Shuttleworth, The Financial Times</em>.</span></em></div>
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The 50 hour Improvathon is a brilliant experience for the audience as well as the cast. After this long without sleep or rest the mind will start playing tricks on you. Performers tap into weird and wonderful parts of their psyche, and a whole new way of improvising arrives. You will see improvisers battle their own wits, lose their minds, then regain them in glorious victory.<br />
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And you as audience experience the same. It's cathartic, it's madness, it's brilliant. Take it from me, I've watched the last two all the way through. Once as an audience member, once as the lighting technician. There's not really anything I can compare it to. You have to try it for yourself.<br />
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Audience members who are there for the full 50 hours are regarded by the cast as a massively important part of the community of the show. The Improvathon is very much a two-way process, and the insane, sleep-deprived community that emerges bleary-eyed at the end are made of heroes. Cast<span style="background-color: white;"> and audience alike.</span><br />
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<strong style="font-family: arial; text-align: left;"><span style="color: #444444; font-size: large;">'It’s absolutely incredible. This isn’t theatre, it’s bloodsports.'</span></strong><br />
<em style="font-family: arial; text-align: left;"><span style="font-size: x-small;">Michael Coveney, Whatsonstage.com</span></em></div>
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So come along. Challenge yourself. It's like nothing you've experienced before. And if you're a fan of improvisation, it's definitely something you should chalk up on your list.<br />
Hoxton Hall is an ace venue for this show. It's got a balcony which tends to be inhabited by the 50-hour audience members; a lively community of its own, with sleeping bags and caffeine-based snacks a-plenty. It's brilliant.<br />
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<span style="color: #990000;">Tickets are available <a href="http://www.hoxtonhall.co.uk/whatson/extempore-theatre-presents-sixth-annual-50-hour-im/" target="_blank">here</a>, starting at £7 per episode.</span><br />
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See you there!London Improvhttp://www.blogger.com/profile/15348789588754972738noreply@blogger.com0tag:blogger.com,1999:blog-4819753470310197410.post-2363959202746783622012-12-22T14:35:00.000+00:002012-12-22T14:35:00.319+00:00 Clown, Conceptualiser or Adaptive: Our Habits and Fears<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWO7ROEUQ3COWOuCf4TKvqtP4Potao-X380xOREFYUFVvk7Ex-d2VqRCghQ-ApULwjgfZBYTu-GGXtnpgEgRLTPuui3DodcmfBRZg1wuHkB7B3QvJxULUpm4zwP77yYF2TYt-NlrmRhw/s1600/3735309.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><span style="font-family: inherit;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWO7ROEUQ3COWOuCf4TKvqtP4Potao-X380xOREFYUFVvk7Ex-d2VqRCghQ-ApULwjgfZBYTu-GGXtnpgEgRLTPuui3DodcmfBRZg1wuHkB7B3QvJxULUpm4zwP77yYF2TYt-NlrmRhw/s320/3735309.jpg" width="213" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: inherit;">By <a href="http://www.katyschutte.com/" target="_blank">Katy Schutte</a></span></td></tr>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh86TRBy5ql_QiSCP86umM4ng7q0XEMA4XHNTLnfUBUas-Q6Px_AJNx5xLZGJaSsTmpbK-bdjjIpo426nTQQUEicACT8vQYOKDXD46thsHk6YjqNoru4-3Ent24wXuuWam4qXW6F7dl3A/s1600/image.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><span style="font-family: inherit;"></span></a><span style="background-color: white; color: #333333; font-family: inherit; font-size: 13px; line-height: 19px; text-align: left;">I know it isn’t always realistic to pigeonhole improvisers into one bracket or another, but in planning a rehearsal for the Maydays I realised that there are things that we get into the habit of practising and avoiding depending on our innate style and on what the groups we play with NEED.</span><br />
<span style="font-family: inherit;"><br style="background-color: white; color: #333333; font-size: 13px; line-height: 19px; text-align: left;" /></span> <span style="background-color: white; color: #333333; font-family: inherit; font-size: 13px; line-height: 19px; text-align: left;">I read something interesting in a book called Why Men Don’t Listen and Women Can’t Read Maps. It points out that in a romantic relationship, we sometimes work like a two-person ant-colony; if one of us can do one job, then there is no point in the other taking up brain space to do it too. One of us learns everyone’s names at a party so the other one doesn’t bother, one knows how to make the surround sound work so the other one doesn’t bother. We have one double-sized brain between us. In an improv troupe, there is something similar. After years of playing with the same people, we can end up having a specific role in our company shows and rehearsals. The positive aspect of this is group mind. The downside is habit and stagnation.</span><br />
<span style="font-family: inherit;"><br style="background-color: white; color: #333333; font-size: 13px; line-height: 19px; text-align: left;" /></span> <span style="background-color: white; color: #333333; font-family: inherit; font-size: 13px; line-height: 19px; text-align: left;">Without really thinking about it, I know that within the Maydays, we have improvisers who are stand-out aces at character, singing, rap, game of the scene, follow-me initiations, object work, clowning, emotion, lateral thinking, topics, support and of course cock jokes. Because individuals are so good at their particular forte, sometimes it is easy just to leave it to them. The only reason we don’t leave it to them the whole time is because we generally have a cast of 4-5 per show and our company has 12 improvisers. Each show has a different vibe and we find that there are golden combinations. An argument for getting good at all the stuff you normally avoid is so that when you’re in a show where everyone you’re on stage with is character-driven, you can be the one remembering names at parties or sorting the surround sound. </span><br />
<span style="font-family: inherit;"><br style="background-color: white; color: #333333; font-size: 13px; line-height: 19px; text-align: left;" /></span> <span style="background-color: white; color: #333333; font-family: inherit; font-size: 13px; line-height: 19px; text-align: left;">I guess what I’m saying is; to be the best improvisers we can be, and to be able to play excellently with improvisers we’ve hardly even met, we have to have the whole set. If you don’t practice all your improv keepy-uppy, you won’t be good enough at it when the nerves kick in, when you’re under the weather or tired, or when your mind goes blank. </span><br />
<span style="font-family: inherit;"><br style="background-color: white; color: #333333; font-size: 13px; line-height: 19px; text-align: left;" /></span> <strong style="background-color: white; color: #333333; font-size: 13px; line-height: 19px; text-align: left;"><span style="font-family: inherit;">What type of improviser am I (or what role do I play in my company)?</span></strong><br />
<span style="font-family: inherit;"><br style="background-color: white; color: #333333; font-size: 13px; line-height: 19px; text-align: left;" /></span> <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh86TRBy5ql_QiSCP86umM4ng7q0XEMA4XHNTLnfUBUas-Q6Px_AJNx5xLZGJaSsTmpbK-bdjjIpo426nTQQUEicACT8vQYOKDXD46thsHk6YjqNoru4-3Ent24wXuuWam4qXW6F7dl3A/s1600/image.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh86TRBy5ql_QiSCP86umM4ng7q0XEMA4XHNTLnfUBUas-Q6Px_AJNx5xLZGJaSsTmpbK-bdjjIpo426nTQQUEicACT8vQYOKDXD46thsHk6YjqNoru4-3Ent24wXuuWam4qXW6F7dl3A/s320/image.jpg" width="213" /></a><span style="background-color: white; color: #990000; font-family: inherit; line-height: 19px; text-align: left;">The Clown</span><br />
<span style="font-family: inherit;"><br style="background-color: white; color: #333333; font-size: 13px; line-height: 19px; text-align: left;" /></span> <span style="font-family: inherit;"><strong style="background-color: white; color: #333333; font-size: 13px; line-height: 19px; text-align: left;">Clowns love</strong><span style="background-color: white; color: #333333; font-size: 13px; line-height: 19px; text-align: left;"> to come on stage with a strong character or emotion. They sometimes pull their character idea off the call-out/scene before and sometimes just pick an arbitrary emotion, choose to lead with a certain body part (stacking), or alter their face or voice. They love to sing or rap - and find it easy - because it is a way of channelling their emotions.</span></span><br />
<span style="font-family: inherit;"><strong style="background-color: white; color: #333333; font-size: 13px; line-height: 19px; text-align: left;">Clowns avoid </strong><span style="background-color: white; color: #333333; font-size: 13px; line-height: 19px; text-align: left;">driving the plot of a show or the journey of a scene and they don’t like to be the initiator. Their reasoning is often that they aren’t ‘clever’ like that or that they can’t think of anything in time. If they do initiate, it is often just an initiation for themselves. They don’t want to be in charge of the other improviser and their journey through the scene.</span></span><br />
<span style="font-family: inherit;"><strong style="background-color: white; color: #333333; font-size: 13px; line-height: 19px; text-align: left;">Bad clowns </strong><span style="background-color: white; color: #333333; font-size: 13px; line-height: 19px; text-align: left;">are particularly scared of initiating and just wait for their scene partner to do the work, partly out of misplaced politeness. The other type of bad clown is someone that will just cock-about until they get a laugh. It’s often funny, but can end the scene abruptly and make the show pretty shallow. Bad clowns can also get stuck in stereotypes or in their regular go-to characters. </span></span><br />
<span style="font-family: inherit;"><strong style="background-color: white; color: #333333; font-size: 13px; line-height: 19px; text-align: left;">Good clowns</strong><span style="background-color: white; color: #333333; font-size: 13px; line-height: 19px; text-align: left;"> really listen to the show as a whole and allow their rich characters to embody the themes and feelings tackled. They can change the rhythm of a show and take the audience into deeper states of emotion. Good clowns often get the audience feedback ‘wow, you were just like this person I know’.</span></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFIF_d54owBTYt4vVxL85EQzHyCYwcRcfWsKFxWCKXEp0cFOQoH8nkfDXqFQFTQGvejS8ktikPbz61Gw1YQ5PZHaxy9LszgaSGE2BC0Dtl-UKKxs40B695-poMS5CdXalj5Zd1tMEwCQ/s1600/Fargo_181Pyxurz.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFIF_d54owBTYt4vVxL85EQzHyCYwcRcfWsKFxWCKXEp0cFOQoH8nkfDXqFQFTQGvejS8ktikPbz61Gw1YQ5PZHaxy9LszgaSGE2BC0Dtl-UKKxs40B695-poMS5CdXalj5Zd1tMEwCQ/s320/Fargo_181Pyxurz.jpg" width="271" /></a> <span style="background-color: white; color: #990000; font-family: inherit; line-height: 19px; text-align: left;">The Conceptualiser</span><br />
<span style="font-family: inherit;"><br style="background-color: white; color: #333333; font-size: 13px; line-height: 19px; text-align: left;" /></span> <span style="font-family: inherit;"><strong style="background-color: white; color: #333333; font-size: 13px; line-height: 19px; text-align: left;">Conceptualisers love</strong><span style="background-color: white; color: #333333; font-size: 13px; line-height: 19px; text-align: left;"> to initiate and drive scenes and help tell the story of a show. They love to talk. They’re very good at conversational topics, verbal games of the scene and reincorporation. They always remember names at parties.</span></span><br />
<span style="font-family: inherit;"><strong style="background-color: white; color: #333333; font-size: 13px; line-height: 19px; text-align: left;">Conceptualisers avoid</strong><span style="background-color: white; color: #333333; font-size: 13px; line-height: 19px; text-align: left;"> playing big characters or characters that are wholly different to themselves. They also don’t tend to go for full-on emotional responses or very physical scenes. Their songs will be all about the lyrics, less about the melody.</span></span><br />
<span style="font-family: inherit;"><strong style="background-color: white; color: #333333; font-size: 13px; line-height: 19px; text-align: left;">Bad conceptualisers</strong><span style="background-color: white; color: #333333; font-size: 13px; line-height: 19px; text-align: left;"> tend to talk about action or plot instead of showing it to us. They get cross when the scene or show isn’t panning out how they thought. They fight against ‘bad’ or ‘wrong’ moves by other improvisers (which are actually just different than theirs). They sometimes announce out loud what will decidedly happen in the next scene in order to control the show.</span></span><br />
<span style="font-family: inherit;"><strong style="background-color: white; color: #333333; font-size: 13px; line-height: 19px; text-align: left;">Good conceptualisers</strong><span style="background-color: white; color: #333333; font-size: 13px; line-height: 19px; text-align: left;"> are ready to drop their heavy concepts at a moment’s notice. They also let the show as a whole be determined by the group and not by them as an individual. They are great lateral thinkers and inspire originality.</span></span><br />
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</span></span> <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjKuqAwuOe5EoYbvIv9kiwQeWiHbfp-vDYRzJKFbzC1KZk_kpi59ZetwXOyVOqwoS0oTdELb83rRg9vlHf6yO4R3OvuCR2WcNJskVO3nI3ncwPdBveR_U1UvFgpTp8jWmcFCghE8lscTg/s1600/edgar-wright-22.jpeg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjKuqAwuOe5EoYbvIv9kiwQeWiHbfp-vDYRzJKFbzC1KZk_kpi59ZetwXOyVOqwoS0oTdELb83rRg9vlHf6yO4R3OvuCR2WcNJskVO3nI3ncwPdBveR_U1UvFgpTp8jWmcFCghE8lscTg/s320/edgar-wright-22.jpeg" width="256" /></a> <span style="background-color: white; color: #990000; font-family: inherit; line-height: 19px; text-align: left;">The Adaptive</span><br />
<span style="font-family: inherit;"><br style="background-color: white; color: #333333; font-size: 13px; line-height: 19px; text-align: left;" /></span> <span style="font-family: inherit;"><strong style="background-color: white; color: #333333; font-size: 13px; line-height: 19px; text-align: left;">Adaptives love</strong><span style="background-color: white; color: #333333; font-size: 13px; line-height: 19px; text-align: left;"> to help their scene partner. They see what’s happening in a scene and do whatever is needed. They are just as happy playing strong characters as they are initiating a verbal follow-me scene. They will initiate just as much as not.</span></span><br />
<span style="font-family: inherit;"><strong style="background-color: white; color: #333333; font-size: 13px; line-height: 19px; text-align: left;">Adaptives avoid </strong><span style="background-color: white; color: #333333; font-size: 13px; line-height: 19px; text-align: left;">freedom</span><strong style="background-color: white; color: #333333; font-size: 13px; line-height: 19px; text-align: left;">. </strong><span style="background-color: white; color: #333333; font-size: 13px; line-height: 19px; text-align: left;">On paper they are the perfect improviser, doing whatever is needed. And though you’ll get a good solid show every time from an Adaptive, it won’t be a life-changer. Adaptives avoid just fucking around. They want to know what is needed and how they should do it. They don’t take enough risks or really surprise themselves.</span></span><br />
<span style="font-family: inherit;"><strong style="background-color: white; color: #333333; font-size: 13px; line-height: 19px; text-align: left;">Bad </strong><strong style="background-color: white; color: #333333; font-size: 13px; line-height: 19px; text-align: left;">Adaptives</strong><span style="background-color: white; color: #333333; font-size: 13px; line-height: 19px; text-align: left;"> do too much. They see a fun scene going on and they want to get in there, as a walk-on, as a scene-paint, as another character. Sometimes scenes need it of course, but bad Adaptives overdo it. It’s not a lack of trust, they just want to play.</span></span><br />
<span style="font-family: inherit;"><strong style="background-color: white; color: #333333; font-size: 13px; line-height: 19px; text-align: left;">Good </strong><strong style="background-color: white; color: #333333; font-size: 13px; line-height: 19px; text-align: left;">Adaptives</strong><span style="background-color: white; color: #333333; font-size: 13px; line-height: 19px; text-align: left;"> are just as happy ending up as the lead as they are being one of the chorus line. </span></span><span style="background-color: white; color: #333333; font-family: inherit; font-size: 13px; line-height: 19px; text-align: left;">They see what the show needs and they do it.</span><br />
<span style="font-family: inherit;"><br style="background-color: white; color: #333333; font-size: 13px; line-height: 19px; text-align: left;" /></span> <span style="background-color: white; color: #333333; font-family: inherit; font-size: 13px; line-height: 19px; text-align: left;">No one type is better than another.</span><br />
<span style="font-family: inherit;"><br style="background-color: white; color: #333333; font-size: 13px; line-height: 19px; text-align: left;" /></span> <span style="background-color: white; color: #333333; font-family: inherit; font-size: 13px; line-height: 19px; text-align: left;">We talked about whether it was a good idea to have a balance of these types cast in our shows, but were more excited by the idea that we could all be freed up to serve the show. </span><br />
<span style="font-family: inherit;"><br style="background-color: white; color: #333333; font-size: 13px; line-height: 19px; text-align: left;" /></span> <strong style="background-color: white; color: #333333; font-size: 13px; line-height: 19px; text-align: left;"><span style="font-family: inherit;">How Can I Work On This?</span></strong><br />
<span style="font-family: inherit;"><br style="background-color: white; color: #333333; font-size: 13px; line-height: 19px; text-align: left;" /></span> <span style="background-color: white; color: #333333; font-family: inherit; font-size: 13px; line-height: 19px; text-align: left;">Well, that's a whole other blog for the future, but here's a taster: I gave the Maydays piles of post-it notes for each type to draw from. Each had a mission on it, based on what their type avoids doing. They used these as the inspiration for a set of scenes. We did a few sets with everyone working against their fears and into the skills of other types before looking at how that worked out or didn't work out.</span><br />
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We learned that when Clowns initiate a game, when Conceptualisers do a silly voice and when Adaptives fuck around: magic happens. </span></strong>London Improvhttp://www.blogger.com/profile/15348789588754972738noreply@blogger.com0tag:blogger.com,1999:blog-4819753470310197410.post-58875521570920531632012-12-20T11:57:00.000+00:002013-01-03T16:12:00.001+00:00The 50-Hour London Improvathon<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEipD-R3KemnxLGHmwJ4CXXww3Ys79UB_MhSY7wJnvf1-bDldTty_2t0IPtkR4RMCtTszf7kk0BhUYien39i_egJora3iUfSIlsBO0sDFc6WSLvygpm7jn9_Pb36i5eRdPrFDNcfYm7D8Q/s1600/improvathon+e-flyer+with+early+bird+ad.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEipD-R3KemnxLGHmwJ4CXXww3Ys79UB_MhSY7wJnvf1-bDldTty_2t0IPtkR4RMCtTszf7kk0BhUYien39i_egJora3iUfSIlsBO0sDFc6WSLvygpm7jn9_Pb36i5eRdPrFDNcfYm7D8Q/s400/improvathon+e-flyer+with+early+bird+ad.jpg" width="281" /></a><br />
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<i><span lang="EN-US"><b>“Absolutely incredible” </b><a href="http://whatsonstage.com/"><span style="color: blue;">Whatsonstage.com</span></a></span></i></div>
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<span lang="EN-US">The legendary <a href="http://www.improvathon.co.uk/" target="_blank">London Improvathon</a> returns for its sixth year. The finest </span><span lang="EN-US">improvisers from all over the world will meet in the 'Roaring Twenties' for an epic </span>comic odyssey of romance, mystery and adventure.</div>
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Performed as a soap-opera in 25 episodes back to back over the weekend, the mix of brilliant comic brains and no sleep results in a wild, uncensored and euphoric playing style that you will not see anywhere else. With a recap at the beginning of each episode, you can drop in for a couple of hours or stay the whole weekend!</div>
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This year, as well as the usual cast of amazing improvisers, the cast will also include London Improv regulars Chris Mead, Jonathan Monkhouse and Maria Peters. 'Tis a joy, indeed.</div>
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<i><b>"It's like nothing you've ever seen before"</b></i></div>
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<span style="color: red;"><b>WHEN: 7pm, Friday 11th January - 9pm, Sunday 13th January</b></span></div>
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<span style="color: red;"><b>COST: £10 per episode, £45 earlybird season pass. Tickets <a href="http://www.hoxtonhall.co.uk/whatson/extempore-theatre-presents-sixth-annual-50-hour-im/" style="color: black; text-decoration: none;" target="_blank">here</a></b></span></div>
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<span style="color: red;"><b>WHERE: Hoxton Hall, 130 Hoxton High Street, London, N1 6SH</b></span><br />
<span style="color: red;"><b>NEAREST TUBE: Old Street</b></span></div>
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<b><span style="color: black;">LONDON</span><span style="color: red;">IMPROV</span><span style="color: black;">: A REVOLUTION IN COMEDY & THEATRE</span></b></div>
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<span style="color: #cc0000; font-style: italic;"><span style="font-size: 14px;">Sign up to email updates at </span></span><span style="font-size: 14px; font-style: italic;"><b><a href="mailto:londonimprov@gmail.com?subject=You%20have%20a%20lovely%20face&body=I%20would%20like%20to%20receive%20weekly%20updates%20about%20London%20Improv" style="color: #cc0000; text-decoration: none;">LondonImprov@gmail.com</a></b></span></div>
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<br />London Improvhttp://www.blogger.com/profile/15348789588754972738noreply@blogger.com0tag:blogger.com,1999:blog-4819753470310197410.post-24253756304760811862012-12-17T12:32:00.000+00:002012-12-17T12:33:45.979+00:00Glitch & ProjectTwo at The Old Red Lion<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimO3tdo6tIo-ez0GL48o3ACdKZxQU3cLsSQ50yOa2rt5YyPdW0DDJ2Wjok_oWu8bLBvvRQVidzc0T9F_csCQu5QLs9moUu7RSO60uVbyAWsqucgQlyikQEQ62H3bQ8gapA2vq3b2isog/s1600/285773_454312084596118_2349205_n.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="175" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimO3tdo6tIo-ez0GL48o3ACdKZxQU3cLsSQ50yOa2rt5YyPdW0DDJ2Wjok_oWu8bLBvvRQVidzc0T9F_csCQu5QLs9moUu7RSO60uVbyAWsqucgQlyikQEQ62H3bQ8gapA2vq3b2isog/s200/285773_454312084596118_2349205_n.jpg" width="200" /></a></div>Using suggestions from the audience and active imaginations a team of seven improvisers/puppeteers weave an adventurous tale with a furry little cast puppets. Using a traditional Japanese “Bunraku” puppetry mix with a more modern Muppet-style, <a href="https://www.facebook.com/Glitchimprov" target="_blank">Glitch</a> is a visual treat with fun characters all tied together with an entirely made up story. <br />
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Don’t be fooled but the cute puppets, this is not a show for kids!<br />
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In double-bill-land, Glitch will be joined by improvised Science-Fiction from <a href="http://www.scifiimprov.co.uk/technicians.html">ProjectTwo</a>.<br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhAOlnrz_zY0jCjZFf-Zm9AjF3uur0h-I0pq6fq83BQglbhiJr2fctzQENeiiZiE847qFZdSLY2tc4pRnAc22ckz1Mt2aYB6utlP3Ne7tLxVyEbHBwqHDte3LzbSD_c2PbEgLoJM8WILQ/s1600/p2+banner.png" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="190" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhAOlnrz_zY0jCjZFf-Zm9AjF3uur0h-I0pq6fq83BQglbhiJr2fctzQENeiiZiE847qFZdSLY2tc4pRnAc22ckz1Mt2aYB6utlP3Ne7tLxVyEbHBwqHDte3LzbSD_c2PbEgLoJM8WILQ/s400/p2+banner.png" width="400" /></a></div>The ProjectTwo facility floats in orbit around Solaris, collecting every detail of every sentient life through voluntary data submitted to social network websites. With such data, the ProjectTwo engineers can access any real-life story since the facility's inception in 2017.<br />
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Welcome space-traveler. Which archive do you wish to view?<br />
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Improvised science-fiction which may or may not contain robots*, featuring: <br />
Katy Schutte (★★★★ - Chortle, The Maydays, Fluxx, Baby Wants Candy)<br />
Jonathan Monkhouse (Music Box: The Improvised Musical, London Improv)<br />
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<div style="text-align: right;"><span style="color: red;"><b>WHEN: 7.30pm, Saturday 22nd December</b></span></div><div style="text-align: right;"><span style="color: red;"><b>COST: £8, tickets <a href="http://www.oldredliontheatre.co.uk/glitch-and-music-box.htm">here</a>.</b></span></div><div style="text-align: right;"><span style="color: red;"><b>WHERE: Old Red Lion Theatre, 418 St John Street, London, EC1V 4NJ. </b></span><br />
<span style="color: red;"><b>NEAREST TUBE: Angel</b></span></div><br />
<div style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 15px; font-weight: bold; line-height: 20px; margin: 0px; text-align: center;"><div style="margin: 0px;"><div style="margin: 0px;"><div style="margin: 0px;"><div style="margin: 0px;"><div style="margin: 0px;"><div style="margin: 0px;"><div style="margin: 0px;"><div style="margin: 0px;"><b><span style="color: black;">LONDON</span><span style="color: red;">IMPROV</span><span style="color: black;">: A REVOLUTION IN COMEDY & THEATRE</b></span></div></b><br />
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</div></div></div></div></div></div></div></div></div>London Improvhttp://www.blogger.com/profile/15348789588754972738noreply@blogger.com0tag:blogger.com,1999:blog-4819753470310197410.post-66670931991023466552012-12-06T11:21:00.000+00:002012-12-10T11:09:29.655+00:001st Annual Chris Werren Memorial Gig<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhY1LFXdQxss29Yc1l2dJA23dmha9Gff7VhO5X3xccBtMlIwwq0uvQ2A4jQETDTFgjyhpaPaw2w-bfhZkPgL1COxCiIAUtQBA2LDuanCpcLuuoM9z0R1tedxRnQ7CQfDupaz6HnI3oYEA/s1600/Screen+Shot+2012-12-05+at+11.15.14.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhY1LFXdQxss29Yc1l2dJA23dmha9Gff7VhO5X3xccBtMlIwwq0uvQ2A4jQETDTFgjyhpaPaw2w-bfhZkPgL1COxCiIAUtQBA2LDuanCpcLuuoM9z0R1tedxRnQ7CQfDupaz6HnI3oYEA/s320/Screen+Shot+2012-12-05+at+11.15.14.png" width="255" /></a></div>
A few months ago, brilliant improviser and our friend Chris "Chrus" Werren passed away, following a fist-fight with pink-cancer-robots. Chrus was a truly lovely man who delighted us with oddness, fascination with the natural world, and generosity of spirit. To celebrate the loveable chap will be a night of improv - his second love - featuring lots of groups and improvisers that he performed with over the years.<br />
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Acts include Hoopla's Old School Cast, a reunion of Cannonball Impro, and Grand Theft Impro with additional surprises, a raffle and CAKE!<br />
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Yes, cake.<br />
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Tickets are £5 and all the proceeds will go to <a href="http://www.stchristophers.org.uk/">St. Christopher's</a>, the hospice that did such an amazing job of caring for him in his final months and days.<br />
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You can guarantee tickets in advance by clicking on this handy <a href="http://www.ticketsource.co.uk/event/28402">link</a> - or you can buy a ticket at the door on <a href="https://www.facebook.com/events/266962560073393/" target="_blank">the night</a>.<br />
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<span style="color: red;"><b>WHEN: 7.30pm, Wednesday 12th December</b></span></div>
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<span style="color: red;"><b>COST: £5, tickets here or on the night</b></span></div>
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<span style="color: red;"><b>WHERE: The Miller, 96 Snowsfields Road, London, SE1 3SS</b></span></div>
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<b><b><b><span style="color: black;">LONDON</span><span style="color: red;">IMPROV</span><span style="color: black;">: A REVOLUTION IN COMEDY & </span></b></b></b><b>THEATRE</b></div>
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London Improvhttp://www.blogger.com/profile/15348789588754972738noreply@blogger.com0tag:blogger.com,1999:blog-4819753470310197410.post-21843507106452065512012-12-05T11:04:00.002+00:002012-12-05T11:04:53.143+00:00Austentatious at Leicester Square Theatre<table border="0" cellpadding="0" cellspacing="0" id="templateContainer" style="-webkit-text-size-adjust: none; background-color: #f8e1d4; border: 8px solid rgb(12, 9, 9); color: black; font-family: Helvetica; width: 600px;"><tbody>
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<tr><td class="preheaderContent" style="border-collapse: collapse; color: grey; font-family: Georgia; font-size: 10px; line-height: 12px; text-align: center;" valign="top">A Christmas tale of fun and good cheer - how delightful! </td><td style="border-collapse: collapse;" width="20"><br /></td><td class="preheaderContent" style="border-collapse: collapse; color: grey; font-family: Georgia; font-size: 10px; line-height: 12px; text-align: center;" valign="top" width="200">Email not displaying correctly?<br /><a href="http://us5.campaign-archive1.com/?u=31734dfcb65cd537f5901d90d&id=fa2345af80&e=b2773f5cc8" style="color: #606060;" target="_blank">View it in your browser</a>.</td></tr>
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<span style="font-size: 11px;"><span style="-webkit-text-size-adjust: auto; font-family: georgia, serif;">~The Milk Monitors presents~</span></span></h2>
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<span style="font-size: 24px;"><strong><span style="font-family: georgia, serif;">Austentatious: An Improvised Novel</span></strong></span></h1>
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<span style="font-size: 14px;"><strong><span style="font-family: georgia, serif;">Dear reader, we are back for a very special Christmas tale, do join us for a wintery improvised romp!</span></strong></span><br /> </div>
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<strong style="font-family: georgia, serif; font-size: 14px;"><em>~ Please do join us on ~</em><br /><span style="color: brown;"><span style="font-size: 24px;">9th December at 7:30pm</span></span></strong></div>
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<span style="font-size: 12px;"><strong>Last month was a veritable Autumnal feast of conkers, embarrassing parents and the privacy limitations of a good nook. But as the nights draw in, and the goose grows a little more round, we invite you to join us for a </strong><span style="color: brown;"><strong>Christmas</strong></span><strong>Austen tale! </strong><br /><br /><strong>Do join us for warm Winter fun with <a href="http://austentatiousimpro.us5.list-manage.com/track/click?u=31734dfcb65cd537f5901d90d&id=31af5d1e11&e=b2773f5cc8" style="color: #d83826; font-weight: normal;"><span style="color: brown;">mince pies</span></a>, <a href="http://austentatiousimpro.us5.list-manage.com/track/click?u=31734dfcb65cd537f5901d90d&id=d9bc8d229b&e=b2773f5cc8" style="color: #d83826; font-weight: normal;"><span style="color: brown;">Christmas carols</span></a> and plenty of<a href="http://austentatiousimpro.us5.list-manage2.com/track/click?u=31734dfcb65cd537f5901d90d&id=a5d08db8a8&e=b2773f5cc8" style="color: #d83826; font-weight: normal;"> <span style="color: brown;">good cheer</span></a>. We do encourage you to book in advance, like <em>Lydia Bennett</em>, we are rather popular with the Regiment and our dance card can get very busy indeed. Always room for a Captain of course!</strong><br /><br /><strong>And you can also find us twice a month at <a href="http://austentatiousimpro.us5.list-manage.com/track/click?u=31734dfcb65cd537f5901d90d&id=e20a0b1e4d&e=b2773f5cc8" style="color: #d83826; font-weight: normal;"><span style="color: brown;"><em>The Wheatsheaf</em></span></a><span style="color: brown;"><em>.</em></span></strong></span></div>
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London Improvhttp://www.blogger.com/profile/15348789588754972738noreply@blogger.com0tag:blogger.com,1999:blog-4819753470310197410.post-766621776909686732012-12-02T10:43:00.000+00:002012-12-05T10:40:14.278+00:00FutureShock at The Camden People's Theatre<div style="text-align: center;"><div style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 15px; line-height: 20px; text-align: left;"><div class="separator" style="clear: both; text-align: center;"></div><div style="margin: 0px;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4aLTUGKXOQHpDwKwkAixAcpXoGb30Hhj9P8meYnj_1au8N5_Zvsd7pqpBgSsbnFGwjBFHj4I0Y5bA6zZJ55jSo3NjmCS8i_ArtbV2sh_PfSTnISPekJPfQ2V7KLe1T3rZeJ8TNq_uEA/s1600/1070.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="197" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4aLTUGKXOQHpDwKwkAixAcpXoGb30Hhj9P8meYnj_1au8N5_Zvsd7pqpBgSsbnFGwjBFHj4I0Y5bA6zZJ55jSo3NjmCS8i_ArtbV2sh_PfSTnISPekJPfQ2V7KLe1T3rZeJ8TNq_uEA/s200/1070.jpg" width="200" /></a></div><span class="Apple-style-span"><span class="Apple-style-span" style="color: #cc0000;"><b>SATURDAY 8TH DECEMBER</b></span></span></div></div><div style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 15px; line-height: 20px; text-align: left;"><div style="margin: 0px;"><span class="Apple-style-span"><b>FUTURESHOCK CABARET NIGHT & AFTER SHOW PARTY </b></span></div></div><div style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 15px; line-height: 20px; text-align: left;"><div style="margin: 0px;"><span class="Apple-style-span"><b>with PROJECT TWO</b></span></div></div><div style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 15px; line-height: 20px; text-align: left;"><div style="margin: 0px;"><br />
<div style="font-family: Verdana, Arial, Helvetica, sans-serif; font-size: small; line-height: normal; padding: 0px 0px 7px;">A centrepiece event of the <b>CPT</b> <strong>Futureshock</strong> festival, this one-off night of works-in-progress, cabaret acts and installations will be a carnival of the futuristic!</div><div style="font-family: Verdana, Arial, Helvetica, sans-serif; font-size: small; line-height: normal; padding: 0px 0px 7px;">The evening's mouth-watering roster of acts includes: Foster's Comedy God and creator of Sprint 2012 smash <em>Incontinental</em>, Kazuko Hohki; the terrific Dumbshow Theatre; The Conker Group, whose show <em>Underhero</em> was a CPT hit at the Camden Fringe; <b>sci-fi improvisers <a href="http://p2improv.weebly.com/" target="_blank">Project Two</a></b>; and many more.</div><div style="font-family: Verdana, Arial, Helvetica, sans-serif; font-size: small; line-height: normal; padding: 0px 0px 7px;">The evening will culminate in a party at the end of the world, with music, entertainment and drinks of a futuristic flavour.</div><div style="font-family: Verdana, Arial, Helvetica, sans-serif; font-size: small; line-height: normal; padding: 0px 0px 7px;">The <strong>Futureshock</strong> festival is generously supported by the Royal Victoria Hall Foundation.</div></div></div><div style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 15px; line-height: 20px;"><div style="margin: 0px;"><span class="Apple-style-span"><br />
</span></div><div style="text-align: right;"><div style="margin: 0px;"><div style="margin: 0px;"><div style="margin: 0px;"><div style="margin: 0px;"><div style="margin: 0px;"><div style="margin: 0px;"><div style="margin: 0px;"><div style="margin: 0px;"><div style="margin: 0px;"><div style="margin: 0px;"><div style="margin: 0px;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgRnqLcfQCD9tKOUbmnWe0QEb5mKPZ6T5XcaL-nFCxQlF7zJaq8ihP0VCtoh8UuUmEIMz1VaU0f1nj87LatX77othN_mBERdtfIpJQlUujSU2rL41lLcfBb2ym-J21NoYLKjsv2rvWaQ/s1600/logo.gif" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgRnqLcfQCD9tKOUbmnWe0QEb5mKPZ6T5XcaL-nFCxQlF7zJaq8ihP0VCtoh8UuUmEIMz1VaU0f1nj87LatX77othN_mBERdtfIpJQlUujSU2rL41lLcfBb2ym-J21NoYLKjsv2rvWaQ/s1600/logo.gif" /></a><span class="Apple-style-span"><b><b><b><b><span class="Apple-style-span" style="color: #cc0000;"><b>WHEN:</b> 7:30pm, Saturday 8th December</span></b></b></b></b></span></div></div></div></div></div></div></div></div></div></div></div></div><div style="font-weight: bold; text-align: right;"><div style="margin: 0px;"><div style="margin: 0px;"><div style="margin: 0px;"><div style="margin: 0px;"><div style="margin: 0px;"><div style="margin: 0px;"><div style="margin: 0px;"><div style="margin: 0px;"><div style="margin: 0px;"><div style="margin: 0px;"><div style="margin: 0px;"><span class="Apple-style-span"><b><b><span class="Apple-style-span" style="color: #cc0000;"><b>COST:</b> <a href="http://www.cptheatre.co.uk/event_details.php?sectionid=theatre&eventid=589&searchid=current" target="_blank">£12/£10</a></span></b></b></span><br />
<span class="Apple-style-span"><b><b><span class="Apple-style-span" style="color: #cc0000;">WHERE: <a href="http://www.cptheatre.co.uk/event_details.php?sectionid=theatre&eventid=589&searchid=current" target="_blank">Camden People's Theatre</a></span></b></b></span></div></div></div></div></div></div></div></div></div></div></div></div></div></div><div style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 15px; line-height: 20px; text-align: center;"><div style="text-align: right;"><div style="margin: 0px;"><div style="margin: 0px;"><div style="margin: 0px;"><div style="margin: 0px;"><div style="margin: 0px;"><div style="margin: 0px;"><div style="margin: 0px;"><div style="margin: 0px;"><div style="margin: 0px;"><div style="margin: 0px;"><div style="font-weight: bold;"><br />
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<iframe allowfullscreen="allowfullscreen" frameborder="0" height="300" src="http://www.youtube.com/embed/SVw0W8bcauk" width="550"></iframe>London Improvhttp://www.blogger.com/profile/15348789588754972738noreply@blogger.com0tag:blogger.com,1999:blog-4819753470310197410.post-78361599779631153822012-09-28T09:35:00.002+01:002012-09-28T09:35:41.765+01:00A Regency Residency at Leicester Square Theatre - how delightful! <table border="0" cellpadding="0" cellspacing="0" id="templateContainer" style="-webkit-text-size-adjust: none; background-color: #f8e1d4; border: 8px solid rgb(12, 9, 9); color: black; width: 600px;"><tbody>
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<tr><td style="border-collapse: collapse;" valign="top"><a href="http://www.chortle.co.uk/shows/edinburgh_fringe_2012/a/20474/austentatious%3A_an_improvised_jane_austen_novel_2012"><img alt="One of the most impressive comedy shows on the fringe - chortle" border="0" class="blockImage" height="200" id="campaign-icon" src="http://gallery.mailchimp.com/31734dfcb65cd537f5901d90d/images/Mailquote1.1.jpg" style="border: 0px none; display: block; height: 200px; line-height: 16px; margin: 0px; max-width: 200px; outline: none; padding: 0px; text-decoration: none; width: 200px;" width="200" /></a></td></tr>
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<span style="font-size: 11px;"><span style="font-family: georgia, serif;">The Milk Monitors </span>present</span></h2>
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<span style="font-family: georgia, serif;">Austentatious: An Improvised Novel</span></h1>
<span style="font-size: 14px;"><strong>After their sell-out Edinburgh Fringe debut,<em>Austentatious: An Improvised Novel</em></strong><strong> are proud to announce a new monthly residency at the Leicester Square Theatre. The residency follows their hugely popular one-off show on the main stage in September.</strong></span><br /><br /><div style="text-align: center;">
<span style="font-size: 18px;"><strong><em>~ Join us for our first show on ~</em></strong></span></div>
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<a href="http://leicestersquaretheatre.ticketsolve.com/shows/873485733/events/126747659" style="color: #d83826;" target="_blank"><span style="font-size: 18px;"><strong>9th October at 7pm</strong></span></a></div>
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<em style="font-size: 14px; font-weight: bold;">Austentatious</em><strong style="font-size: 14px;"> is an improvised Jane Austen novel, based entirely on audience suggestions and entirely new every time.<br />Chock-full of wit, flirtation, and dastardly behaviour, <em>Austentatious</em></strong><strong style="font-size: 14px;"> was one of the top ten best-reviewed shows of the Edinburgh Fringe; now is your chance to catch it in our Great Capital.</strong></div>
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<span style="font-size: 14px;"><br /><strong>We can also be found at the Leicester Square Theatre on <a href="http://leicestersquaretheatre.ticketsolve.com/shows/873485733/events/126747660" style="color: #d83826; font-weight: normal;" target="_blank"><em>November the 10<sup>th</sup></em></a></strong><strong> & <a href="http://leicestersquaretheatre.ticketsolve.com/shows/873485733/events/126747661" style="color: #d83826; font-weight: normal;" target="_blank"><em>December the 9<sup>th</sup></em></a></strong><strong>, and twice a month at The Wheatsheaf, Rathbone Place. All the details are available on our website.</strong></span></div>
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<a href="http://www.theskinny.co.uk/comedy/fringe_2012/302542-austentatious_improvised_jane_austen_novel"><img alt=""Witty, silly and gloriously funny"" border="0" class="blockImage" height="500" src="http://gallery.mailchimp.com/31734dfcb65cd537f5901d90d/images/Mailquote3.1.jpg" style="border: 0px solid; display: block; height: 500px; line-height: 16px; margin: 0px; max-width: 200px; outline: none; padding: 0px; text-decoration: none; width: 200px;" width="200" /></a></div>
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London Improvhttp://www.blogger.com/profile/15348789588754972738noreply@blogger.com0tag:blogger.com,1999:blog-4819753470310197410.post-37747311629460881422012-07-19T14:36:00.001+01:002012-07-19T15:54:23.253+01:00#ChicaGoUK: The Funkhouse<i><span class="Apple-style-span" style="font-family: inherit;">Yes, there really are more of us going to Chicago this summer. Here's another one. Jonathan Monkhouse is the creator of London Improv and has been producing improv shows since it began. Over the years he's been part of 8bit, Music Box and a few improvathons. He goes to Chicago tomorrow morning. He is currently talking about himself in the third person.</span></i><br />
<i><span class="Apple-style-span" style="font-family: inherit;"><br />
</span></i><br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqrPz8vNmEfLjCvz8EkvW6H5tMd4Sa4ZvAuxi9t9fdfvxT6JZ8OgicbdL5hregOyA28C3xUl-f4nSvCPfbR_Yl4Jwz9-KeoVsScJJPxwGW3e6aRX3r8LgnmR7nJXJl0HQ1Fp90cg-Lhw/s1600/Screen+Shot+2012-06-25+at+16.54.06.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><b><span class="Apple-style-span" style="font-family: inherit;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqrPz8vNmEfLjCvz8EkvW6H5tMd4Sa4ZvAuxi9t9fdfvxT6JZ8OgicbdL5hregOyA28C3xUl-f4nSvCPfbR_Yl4Jwz9-KeoVsScJJPxwGW3e6aRX3r8LgnmR7nJXJl0HQ1Fp90cg-Lhw/s200/Screen+Shot+2012-06-25+at+16.54.06.png" width="155" /></span></b></a></div><i><span class="Apple-style-span" style="color: #333333; font-family: inherit; font-style: normal; line-height: 17px;"><b>Tell us a bit about yourself..</b><br />
<br />
I studied to be an actor at university, but didn't enjoy learning scripts or being on stage and ended up mostly doing set-design and lighting. I saw <i>Baby Wants Candy</i> way back in 2001, but just thought they were superhuman, and didn't realise that anyone can train in improv.<br />
I didn't set foot on stage after uni, until I got dragged to an improv workshop about 7 years later where, predictably, my obsessive personality caught the bug and have been improvising since. I also do a lot of impro-lighting, the most fun of which is for <i>Showstoppers</i> because they work in theatres with proper lighting rigs.<br />
<br />
<b>What's the best improv call-out you've ever heard?</b><br />
<br />
My favourite one ever was a call for a location, which was "in a time-travelling caravan." Sadly that was a rehearsal though, so I don't know if it counts [even though I am the one conducting this interview, so I make the rules... oooh, Meta]. The best one for a show was probably Orient Express, because it led to the most satisfying show I've ever been in.<br />
<br />
<b>Which improv course are you doing, and what made you choose that one?</b><br />
<br />
I'm doing the week intensive at The Annoyance Theatre. Earlier this year a bunch of people started saying they were going to iO for five weeks, and I couldn't do that. But then The Annoyance came up in conversation and that seemed to be a perfect fit. I like the idea that The Annoyance focusses closely on a performer's instinct.. slightly different to other schools of thought. I think if you want to become better at something you should be open to all the different ways of doing it, seek out all the best practitioners, and find out what works best for you. Like Bruce Wayne does.<br />
I'll be learning Ju-jitsu from Mick Napier and bare-knuckle brawling from Susan Messing.<br />
<br />
<b>When/how did you start planning your trip?</b><br />
<br />
About a week after the Annoyance conversation I booked the course. Then I set about trying to get my friend Chris [Mead] to come too. Once that was sorted, we looked for a place to stay. Originally we tried to keep it as cheap as possible, but then I found an amazing apartment to rent and our Chicago motto became "Go big, or go home." Our apartment is absolutely beautiful, but so expensive it makes me feel nauseous.<br />
<br />
<b>What are you most excited about?</b><br />
<br />
I think living in an improv bubble for 10 days will be energising and helpful. Being in workshops and seeing shows for that whole time will be really useful for developing as an improviser.<br />
There is talk of someone in Chicago producing a UK improviser show for us, so if that happens it'll be really fun. And seeing a new city is always cool.<br />
<br />
<b>Are there any shows you HAVE to see while you're over there?</b><br />
<br />
There's more I want to see than I'll probably have time for. I really want to see TJ and Dave, Messing With A Friend, Felt [improvised puppet show] and Co-ed Prison Sluts. Seeing Baby Wants Candy in their natural habitat would be great. I've also heard that Improvised Shakespeare are pretty phenomenal.<br />
Stupidly I've also set myself the challenge of finding the 'worst improv show' in Chicago, although this will be pretty hard to do tactfully. And it may not be that rewarding, apart from a good dose of schadenfreude.<br />
<br />
<b>What are you going to do in Chicago when you're not improvising?</b><br />
<br />
Eat... and I've heard there is an excellent architecture tour, on a boat. Not something I'd think too much about, but a bunch of different people have told me about it individually. The new Batman film comes out while I'm there so I want to do the American movie theatre thing with a half tonne of Coca-cola and a 3 metre hotdog.<br />
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<b>How do you think the trip will change you?</b><br />
<br />
Pretty badly, financially. Afterwards, I'm flying straight from Chicago to the Edinburgh Fringe Festival for a month. In total I won't see my house for just under 6 weeks. Or be earning much money. I'm trying not to think about it too much.<br />
As for my improv, I'm just looking forward to getting back into it. I've been doing so much of the production/lighting side of shows that my stage work has really suffered. All this will change.<br />
<br />
<b>Do you think you'll go back another time?</b><br />
<br />
There's an idea that Chris and I return next year to do the iO five-week intensive. But there's loads of other really exciting cities with interesting improv scenes to explore. I've been asked to play in the Hideout Theatre 44-hr Improv Marathon next June in Austin, TX, and I don't want to miss that. And I've had invites to Edmonton in Canada too. <br />
I should start entering the lottery.<br />
<br />
<b>If you could name a new impro group anything, what would it be?</b><br />
<br />
I've wanted to call an improv group "The Margate Archery Club" for years, but all my show format ideas are science-fiction based, and no-one else seems to like it. I heard someone suggest "The Racists" once, which I enjoyed but I can't see it taking off.<br />
How about "The Smell of Regret"?<br />
<br />
<br />
<i>Jonathan appears in <a href="http://londonimprov.blogspot.co.uk/search/label/Project%20Two" target="_blank">Project Two</a>, <a href="http://www.sillystringtheory.co.uk/" style="color: black; text-decoration: none;" target="_blank">Silly String Theory</a> and <a href="http://www.youtube.com/watch?v=QvblW7DV260&feature=plcp" target="_blank">Ghostbusters: The Musical</a>.</i></span><span class="Apple-style-span" style="color: #666666; font-style: normal; line-height: 20px;"><br />
</span><span class="Apple-style-span" style="color: #666666; font-style: normal; line-height: 20px;"><i>His Twitter name is <a href="http://twitter.com/the_funkhouse" target="_blank">@<span class="Apple-style-span" style="color: black;">t</span>he_funkhouse</a></i></span><span class="Apple-style-span" style="color: #666666; font-style: normal; line-height: 20px;"><br />
</span><span class="Apple-style-span" style="color: #666666; line-height: 20px;">Follow all the improvisers at</span><span class="Apple-style-span" style="color: #666666; line-height: 20px;"> </span><span class="Apple-style-span" style="color: #666666; line-height: 20px;"><a href="http://twitter.com/#!/search?q=%23ChicaGoUk" style="color: black; text-decoration: none;" target="_blank">#ChicaGoUk</a></span></span></span></i></span></i>London Improvhttp://www.blogger.com/profile/15348789588754972738noreply@blogger.com1