Like the 5 Things warm-up? You’ll love this one.
Or so you will if you’re like I was when exposed to this warm-up tonight by Matt Newman.
Looking for a nice in-your-head out-of-your-head patterns-on-patterns warm-up? Continue reading
Aaron Grant once took the stage across from me, making eye contact but planting his feet firmly just beyond the stage right wing. I mirrored him on stage left. He mimed the classic flirtatious fishing move. I played his fish but broke his line bashfully, the stage’s distance remaining between us. I danced as someone with a club; he played my seal. He loaded his heart into a gun and shot it at me. I loaded my heart into a mortar and launched it at him. He shot me with a bazooka of love. I put love in a centrifuge and then in a bomb that erupted in a mushroom cloud of hearts. He built and climbed into a B-52 bomber than rained love upon me. We both stood up from the rubble and traced out hearts to one another. Never a word was spoken.
How does one teach Silent Games? Read on! Continue reading
Friends, it’s 2018! Luckily all the bad stuff from 2017 has been tidied up nicely and we have a brand new start!
Well,… how about updated improv curricula in lieu of world peace and universal sanity? Continue reading
On the one hand, if the point of going through classes is to learn to do performance-ready-level improv, then it seems sadistic to make 101 students “put it up on its feet.”
But on the other, nothing informs an improviser like improvising and all it entails – collaborating to build something out of nothing in-the-moment before a live audience. And so practice in front of a live audience should be part of each course.
So the in-between place becomes preparing each class for a performance that showcases – in grand improv style – all that they learned in class, on top of everything they’ve learned before, within bounds that keep them from stumbling into unknown territory.
Here are examples of how to do it…from 101 to 401… Continue reading
Check out this wonderful example from The Coalition Theater‘s class showcase. I am particularly fond of the players’ choice to enthusiastically agree and trust in the power of emotion alone when met with the suggestion of “Trump rally.”
Performers are Sheldon King, Cindy Nester, David Pratt and Britne Walker
“The mountain’s top is held on with duct tape.”
“Cellophane bushes rustle in the wind.”
“This one side is a different color than all the rest of it.”
Looking for a fun warm-up to get your ensemble playfully building a world together? Here’s one! Continue reading
Nothing bugs me more than a scene where two improvisers meet stage center, stare only at each other and talk only to and about each other.
I get it. Your stage partner is truly the only other active element on stage with you. But, c’mon, show some imagination.
The audience likes to see us interact with things we imagine. The audience loves to see us care about things we imagine. The audience f*#king adores when what we imagine makes us feel.
If you and/or the ensemble you’re in and/or the ensemble you coach are having the tendency to do centerstage talking heads scenes then this warm-up exercise might be right for you.
Do you want to see some Harold‘s performed?
Here are two performed by The Coalition Theater’s Fall 2015 Long Form Performance class conducted back to back nights.
Player are: Shahenn Ali, Teddy Armstrong, Amber Hendrix, Jesse Hill, Meredith Hughes, Laura Kelly and Christopher May
In a Patterns and Games, success and failure hinged on the collective performance of the group. And…this class succeeded. Watch them all support each other through a performance that runs the gamut of games – rubric and organic, shorter and longer, lots of folks and few folks. The show is well paced, varying the use of moves from scene to scene. Most importantly, as you can see, the group clearly had a lot of fun performing in it. And the audience loved it.
When improvisers follow each other, committing to taking the next step together, confident they’ll find whatever end together, the audience leans in, along for the ride. That’s improv as improv does best. Especially impressive given the size of the group, the level of collaboration shown here by a 301 class is alone worth the watch. Enjoy!
Players are: Gerard Antoine, Sarah Berday-Sacks, Kevin Clatterbuck, Michael Farmer, Patrick Gaskill, Zachary Mann, Shannon Rodriguez, Hannah Rumsey, Max Senu-Oke, Geoff Stone, Vince Sunga, Carter Tait and Elliot Wegman
There’s more than one way to draw a straight line.
Both scenes work in an improv context. No doubt. But I prefer the second iteration.
The second scene is more dynamic. Yes, both Bobs are altered by scene’s end and both scenes progress, but in the second scene Bob’s change is clearly delineated to establish a rhythm and to set expectations for heightening repetition with the audience.