Razowsky
certainly has a formal uniform he uses each time he goes onstage.
There is a set shirt, trousers and shoes that is donned to
enter the sacred stage. The story that Razowsky uses to mention how a
change affected a show one time (Razowsky, 2012), Carrie Clifford and
David Razowsky perform their two person production of Razowsky and
Clifford when one time new trousers of a different colour caused
aggravation. By putting on something different, the feel behind the
show was different or made the night uncomfortable, Clifford hated
the change and made that apparent. The brown trousers or perhaps even
shoes, instead of inspiring, had a negative impact. It would be
unlikely that it affected the show, as Razowsky has not
had a bad performance in twenty-five years (Victor, 2012). This is
due to Razowsky going through his individual philosophy and process
in the art form.
Teams
or groups of improvisers are composed of a merging of individuals.
The groups need to be able to have everyone represented. Augusto Boal
(1995) states in Rainbow of Desires that everyone presents who
they are in public and “With the actor is born the theatre. The
actor is theatre. We are all actors: we are theatre!” (ibid., p.
19). We, being the theatre, a performance for the world to view, can
engage in our own perceptions of ourselves to exuberate when in
public or company. We all are very different when we are alone at
home than when we are in public, with friends or in work. Each
environment asks something of us and we offer what that is. Onstage
we are asked to offer what the audience came for, our voice. This
means just being ourselves and we are presented. How we conduct our
self includes clothes. I do not put thought into what I wear each
day, but in line with Boal, I am dressing to show who I am, no matter
what I wear. In context to the considerations of Los Angeles and
other stages in America, people wear shorts (Armstrong, 2013). The
main issue people speak about with this is that it looks lazy and
inconsiderate. If that guy or gal needs to wear shorts and a t-shirt,
then all be it. They, being them, will be best represented by those
clothes. Whether the items of clothing are plain or quite vivid and
busy with patterns, the insight into who we are watching will be
clear.
The
audience can focus on the performer even with a graphic on their
clothes. In Green Man Festival 2013, there was a stand-up act wearing
a peculiar t-shirt. He captivated the onlookers drawing them in by
his game. His zombie set where the audience makes groans of a zombie
nature instead of laughing enhanced the act. Many responded to what
he said really well, the game truly adding to the experience.
However, that t-shirt was a struggle to work out, but eventually the
puzzle was solved as it was a zombie body image under the image of
torn clothes. Nonetheless, it did not take away from actually
laughing, well making zombie sounds as requested at funny points.
This is remarkable for me, I don't laugh at live stand-up normally.
However, it is not remarkable that anyone can do more than one thing
at once. We can also see that these clothes were his 'uniform' that
represented who he was and his set.
Many
professions have many different uniforms. From wearing jeans and a
t-shirt or t-shirt, jumper and trousers to a full scale suit. Every
role of work requires us to look like the company needs us, the job
practically requires us and the clientelle desire us. In an acting
job, the costume is set, so we know what we need to look like. In
improv, we do not want to set anything, in order to be accepted as
whatever we need to be. The audience will suspend their disbelief if
we do a good job. They will do so whatever we wear, like a good
captivating storyteller retelling that tale we have heard many times.
“Most well-known storytellers have a “signature” style or
look,” (King, 2013) that signifies that person. We ignore the
costume that is their uniform and engross ourselves in the story, as
the important part of what they do is not what they wear; that is
just a 'trademark' (ibid.). In any case, in relating this to improv,
we offer our own 'trademark' or signifying representation of
ourselves. In addition to this, if improvisers need a formal uniform,
there is no difference between a checkered shirt and a t-shirt
anyway. They both look as informal as each other. Razowsky says to
improvise in a uniform, but there is little value in overstating what
you are not, to then go forth in attempting to state you, your
comedic voice, in the improvisation.
In improv
we use our comedic voice, this is what the audience comes for. Dylan
Emery from the UK, in the improv symposium years ago (Emery and
McShane et al, 2010), spoke how improvisers market shows through the
people in the groups and not the concept. We, the improviser in a
team, merge voices, opinions and points of views in the style we
choose and all this forms the show. Therefore, the uniform needs to
be the person or people. The audience wants to see the man or woman
being instantly represented onstage. Anything else and the dishonest
and disconnected presentation shall disengage the audience with the
performance. We want the audience to be inspired and engaged, just as
much as the performers are seeking that engagement and inspiration.
Susan
Messing (Messing, 2013), and thoughts on movement improv, states how
the sensory input we have shall affect us, and the results of that
shall push an open and aware improviser to new places. Alike the
environment of the theatre, stage or pub function room, so do
clothes. Clearly don't dress as a doctor and play a Bulgarian
plainsong chanter, but wear you and play from there outwards.
Therefore alike anything, the influence that the clothes give shall
create something spectacular. If that means being less sweaty in a
warm place under warm lights due to wearing shorts that will push the
open and aware improviser to a certain place, then all be it. I don't
live in a warm place, so I rarely wear shorts anyway.
My
practice includes my clothing that I could be wearing any day and
with some extra thought in what the production needs of me and using
the more presentable items of clothing. It is not a shirt, trousers
and shoes, but it is more than walking in off the street – unless
that is what I am doing, i.e., not my show: a jam; not in my city or
such. Sometimes I direct or get involved in costumed improv where we
are inaccurately selling the concept. I am a hypocrite on the
occasion.
References
Armstrong, N. 2013. Improv Etiquette 101: You Don’t Have to Wear a 3 Piece Suit!. [online] Available at: http://www.nationalimprovnetwork.com/improv-etiquette-101-you-dont-have-to-wear-a-3-piece-suit/ [Accessed: 17 Dec 2013].Boal, A. 1995. The Rainbow of Desire: the boal method of theatre and therapy, Routhledge: London
Emery, D., Mcshane, M., Livingstone, T. and Schutte, K. 2010. Presented at Improv Symposium, Edinburgh, 24/08/2010.
King, C. 2013. Storytelling Power - What Do Storytellers Wear When Performing?. [online] Available at: http://www.creativekeys.net/storytellingpower/article1006.html [Accessed: 17 Dec 2013].
Messing, S. 2013. Specificity and Joy presented at The Nursery Theatre, London, 20/07/2013 – 21/07/2013.
Razowsky, D. 2012. You presented at Summer Intensive (iO West), Los Angeles, 06/08/2012 – 11/08/2012.
Victor, P. 2012. My Nephew is a Poodle: Geeking Out with...David Razowsky. [online] Available at: http://pamvictor.blogspot.co.uk/2012/12/geeking-out-withdavid-razowsky.html [Accessed: 14 Dec 2013].
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