5 ways to be a better actor or performer

In this blog, I will discuss the uses of five ways to be a better actor or performer. These come from my experiences and desires for and within improv. I warn you, there is a mini blog in this on clown... just so you know, as most other points are brief and concisely given. However, I like clown quite a lot. To be an actor or performer comes with assumptions and the main one is that improv uses them. This is to be pointed out, as a lot of people that get into it are not actors or performers, they are computer software engineers and veterinarians (etc.). Performing comes after and with a lot more value added into one's life too. So, here is how to become a better actor.

1. Take classes, any classes helps but acting classes works for this blog

Through taking further training outside of improv, you can gain skills in physical representation of the character, vocal training to produce increased control, sound quality and accuracy to the needs of them. The training can provide experiences in the differing rhythms, cadences and timing of a character. Whether this is RADA providing you with professional skills that will enrich your creative journey, or LIPA with their psychological and physical processes of acting. There are many well-established and famed school for actors to professionally develop. In this case, all that improvisers may desire is the exploration and not a full three year course. What aspect of acting training will best suit your current needs? Perhaps a bit of Meisner, a bit of Meisner, ...or maybe you wish to listen to Mamet’s acting approach. In any case, it is wise to find your route through the treacherous path.

I will advocate various paths in this blog, and the first (and largest section of the blog) is clown. Do clown. Not circus clown, but theatre clown… Whether it is a Lecoq-based class or a Mario Gonzales class, try it out. There are many styles to all art forms and clown is included. It could be that you wish to do the six masks of yourself with Sue Morrison, which has your personal mythology define your clown. By doing this you adopt the Native American and European style based on Richard Pochinko’s work. However, it could be that you instead wish to try renowned french teacher Phillipe Gaulier and his approach of childish pleasure and play to respectfully avoid the (Mr.) Flop. There are various types of clown teachers too. It is possibly a good idea to find out how the teacher works, if such information is available. The stereotype of a clown teacher is that they are brutal. However, this is not always the case. Dependent on their approach to being the clown (that is you) and how they go about teaching will result in vastly different results in the performer’s take-home discoveries. Whether that is ‘aren’t we all really stupid in the world’ or ‘connecting to one’s naivety helps personal growth’, we can celebrate all impacts that it has for individuals.

I teach clown. I teach it for its own sake and for improvisers. It works well for self-discoveries that support the basis of how people develop within their work. It translates into important stylistic methods in improv. This includes those that focus on Game of the Scene to those that enjoy thriving in short-form games. Clown centres around playfulness through listening, so the value strives from inputting this into your performances. It is good for life too, as we get to acknowledge when we are stupid and connect with others. When I first performed with Denni Dennis’ Company Clowns in Cardiff, it was an experiment - that was the performance - and was entitled, ‘Connections’. Clown is based on making those connections with each other and especially the audience.

A closely linked lesson to get involved in is tumbling. I recall Keith Johnstone stating to go take a tumbling class in 2009 to the whole room. Physicality can bring so much to the production that you improvise. The skill that is attained can bring a professional air to the work that you do. To bring an ability to be so vastly physical can open the windows of prospects to the comedic theatre that you create in your ensemble. Imagine being able to improvise something so beautiful (and funny) like it is directly from Gecko Theatre’s The Wedding. Having only personally taken a little bit of this, I still await the day when I can do a triple backwards somersault in some devastatingly exciting spontaneous car chase, as the vehicle caterpaults over a cliff and into the depths of the deep, clashing sea. One day.

Even non-acting classes help. Deepen your knowledge-breadth and it will bring more insight into the philosophical underpinning of the work: more understanding. I am not overly keen on clever d*cks prancing around spouting all they know; however, specific knowledge at points in a production that seems to have a use to the whole theatre show in-creation can be awe-inspiring. Any adult-ed class will enrich what you do, even if not directly the information gained.

2. Western vs. Eastern acting

A valid point about acting is that there are many approaches, and, furthermore, these are entrenched in the culture that surrounds it. Therefore, the western style of acting, albeit developing over the years, still has more of a psychological system than the eastern. Admittedly, this is a generalisation and it does not fit every practitioner and teacher. A good example is Tadeusz Kantor who treated theatre like visual art (to an extent). The meaning behind the theatre was tremendous and dealt with psychology of humans: our memory is forever dying. We only remember the last time we remembered that memory. Gloriously true from my experience. In any case, we can opt to discover what the opposing ‘broadly-speaking’ system can offer. If we were to act and perform from embodying a physical form first, then the results could present the inner workings of the character from an external-inwards approach. This is in comparison to the inner-outwards approach that configures how the character functions and brings about their physical form of being thereafter.

Eastern acting tradition comes from the combined duality of mind/body. This tradition stems from the thought that all performance comes from spirituality. It is about non-attachment and being ego-less (Forsythe, 1996). This approach has more focus on acting through movements, such as the Noh kata (movement patterns; Thorpe, 2014). Therefore, the system that an actor can work within is vastly different to the one’s that (perhaps) we are used to already.

By all means, this does link to the first suggestion of taking an acting class, but, more than that, explore where you come from as an actor. In the next few years, it is plausible to explore the eastern philosophy in your acting life (in which, I do mean your improv).

3. Study people; be interested in how people are

I have found that most actors have a common fascination: people. Actors like to watch others. On the tube, these types of people will be observing how people are within their bubble of existence, or even those doing the same thing and they briefly lock eyes with you (it has happened). So, study people. Personally, it is more of a natural tendency than a skill that I chose to engage in, as I probably could not act out how family and friends behave. However, I have brought observed behaviours and subconsciously embodied traits of many people I have met onstage. I do accidentally use other’s characteristics in my daily life, anyway. Through increasing your interest in other people, you can engage in these qualities in many ways for the spontaneous creation in the productions you improvise.

It could be suggested that more importantly you should study yourself. Be interested in how you are. This skill is very useful in improv. All the reasons to explore how other people present themselves are reasons that you should notice how you are too. What do you do? How are you in certain and various situations. By paying attention to whatever aspect that you so desire, you will conclude (to a level of accuracy) performable aspects of yourself. Furthermore, by being able to do so in the moment, you can begin using the skill onstage. The latter is probably more greatly useful than the first.

4. Be entrenched in the character

You are an actor. You are onstage. You (hopefully) have an audience, unless you chose not to for that huge artistic reason. This means that they see what you are doing, saying, being and, as a theatre production, it holds meaning to the overall piece you perform. What you bring to a scene, firstly, is a character. For that character to exist, you must be within it completely. There is no longer the actor acting, but the character being. This implies an acting approach, to some extent. However, even if those not willing wished to explore this, it translates: commit one hundred percent, be fully invested in the character.

I explored trance-based improv a couple of times over the last few years and this links to that practice. This is without masks, just performers being in trance. This sounds the same as being entrenched in the character. I will write a blog about this topic, separately. It is more to do with flow and trance, with a little potential for NLP and hypnotic states (areas for me to look into for practice-as-research sometime).

Nonetheless, the idea of a character without the actor present means that the audience can be with the character too. You can think of films that had famous actors in and you only noticed at the end or part way through; this is because they were swept away and you went with them. Be encompassed by what the character is - go on the journey with them and see where they take you.

5. Explore mentalities and physicalities

Fundamentally, these prior four suggestions are all about exploration of mentalities and physicalities. You can achieve a lot by leaning into the discoveries and letting go of what the usual practice is. What more can you do? Try a distinctly new mentality of your practice and within your practice of improv. The characters can come from a novel mental state. Explore who they are and what that means for the scene. Likewise, by adopting some of the previous advice, you will be performing from a mentality that could bring about something cataclysmically different. Similarly, the exploration of physicality can lead to stylistic choices that could be of great intrigue. Who improvises Beckett? What is that physicality to your scene? How about Berkoff? I taught improvised Berkoff once. It asks so much more of your improvisers - even more in a rehearsal room, as to teach a short class requires reducing it to more usual improv gimmicks and games.  

In conclusion, try stuff. Not the normal tenets of improv. That has existed for quite some time and we can explore further. Comedy happens in Beckett, in Berkoff, but theatre practitioners (more generally) create different theatre to one and another. We can do so in improv too. Skill-up, explore and you can bring about improv that is definitely performed better than most.

Those names in parentheses:

Forsythe, J. (1996). Spirituality in Actor Training. Theatre Research in Canada, 17(1). Available at: https://journals.lib.unb.ca/index.php/TRIC/article/view/7160/8219.

Thorpe, A. (2014). How can Westerners study Japanese Noh? An interview with Richard Emmert, Director of the Noh Training Project and Theatre Nohgaku. Theatre, Dance and Performance Training, 5(3), 321-333. doi:10.1080/19443927.2014.940113.

Master and Veterans

It is nice to be inspired to write an article. It is equally as nice to note the hypocrisy of the articles. In this, the topic shall be what has been written against previously. There are terms in improv that are not productive; common agreed terms that are not useful are 'should' or 'supposed to', because they put pressure and impossible for improv has definites: Obviously nothing has to happen, it is improvised. Nonetheless, the terms that this discusses and have a long-lastingly dislike for are master and veteran. The following will discuss, in a less referenced level than usual, the reasons that link to the previously used words.

Words! In improvisation, the training provides a freedom; it gives opportunity to explore yourself and your language (specifically in context of this article). The words that get uttered are the greatest, even if they are not. Improvisers build on whatever is said and done. After improving from the basics, further courses could well expand this into wider awareness of tone, phrasing and physical speech (any communication that is physical). Essentially, as improvisers that are building more experience and trust in ourselves and each other, people then get to own their words. Therefore, the word improv means something exact. In the Oxford English Dictionary (Oxforddictionaries.com, 2015), the definition of improvise is clear, “Create and perform … spontaneously or without preparation.” However, it also states for improvisation (ibid.), “The action of improvising”. The more appropriate of these definitions that works for the people in the art form is the one for 'improvising'. Due to one needing to refer to the other, as defined by O.E.D it is required that improvisation is in action of something in order to improvise. Therefore, that 'something' can be any action, anything. The word improvisation is a noun, a thing, and the definition relates purely to the action. Therefore, it is fair to suggest that improv is not a thing, but a doing of a thing. Another commonly agreed part of defining improv is by observing that it is all in process. All of humanity, and others, are in process: Our lives are improvised and are a process of birth to death (if not birth to death, then a to b). Improv is not just doing scenes or group games, or any other limited perception. To see further than this we can look at Forced Entertainment, Improbable, Fluxx, Geese Theatre Company and no doubt more.

Improv is an action and not the form. A form is seen to be, “The visible shape or configuration of something.” (Oxforddictionaries.com, 2015) Therefore, the form of improvisation can be scenic, dance, music, art, clown, fool, mask; however, then that is looking more into the subgenre of ‘scenic’, which is fact a subgenre of theatre. It is possible to improvise anything. Even scriptwriting is based in improvisation. A writer could have learnt and use as much structure as the person requires, but in the end the idea has to spontaneously come from somewhere. Once more, that seems a little too pedantic to continue this dissection with. Other verbs have form. For example, walk; when we walk we can walk in various shapes and configurations; it is possible to be in the form of a catwalk. This form has various conventions that can require the way you complete your verb, walking, can be restricted. Similarly, another verb is run; in this action we can run in the form of 100 metres or a cross country race. This is the exact same as improvising, as the forms we can use are numerous.

A master of an activity, skill or area of study has its acknowledged definitions and uses. The common understanding of a master is a person that has the most knowledge on the topic in the room. Therefore, every time one steps into a space, a survey would need to be taken to determine who the master is in that moment. The statement is hyperbolic; however it makes a sensible comment on the use of the term. In accordance to this, it is not wise to call oneself a master, because one cannot know that for sure. On the other hand, The Oxford English Dictionary (Oxforddictionaries.com) states the definition as “a skilled practitioner of a particular art or activity.” This offers a looser use of the term; anyone could be a master in one given location. Nonetheless, for various areas of expertise a master may not well be very skilled. When does one know that they are skilled? It is subjective, as one person's mastered skillset is another's student development.

To use these ideas in more of a context, improv being a process and not a thing means that being skilled at doing so is not possible. Can one master life? Life is also a process. To claim that an improviser has mastered the art form would be stating that they stopped improvising, alike stopped living; no one can currently know if the dead died due to their mastership. Improv is built on risk and change, or purely the 'not knowing'. Phelim McDermott (McDermott, 2008) once said, and this is paraphrased, that if improvisers stop taking the risk and do what they generally do, then they should stop improvising. There is no point in performing the art form if you are no longer learning and discovering because it is visible to the audience. Therefore, not being able to use the term master for improv, as it is subjective anyway, could allow people to rephrase the word's use. An improviser who is skilled at what they do could say that they are a master of what they do. This makes more sense. However, if improvisers master themselves, then we generally call this using their defaults. Using one's defaults is not seen as a positive.

Likewise, to look at the term veteran, The Oxford Dictionary (Oxforddictionaries.com) states, “A person who has had long experience in a particular field” and it must be mentioned that the other definition is the major connotation that was known. To be “An ex-member of the armed forces” seemed like stating that improv is a battle field. Improv is not the art form where we serve our country. It is important to own this ridiculousness. On the otherhand, an improviser who has had a long experience onstage improvising could be anyone. Once more, this term holds a lot of subjectivity. How long is a long experience? There is no answer. Even moreso, someone new to the art form can have more and better insight into the art form than a 'veteran'. Purely out of not knowing the teachings, the person can see clearer as they have nothing to obscure their view. Fundamentally, to use the term on oneself seems like ego. People have them, for sure, but it is not useful.

Hierarchy in improv seems pointless. Anyone can make a comment that holds value, which happens; therefore being a master or veteran is overvalued. Inside the structure that improv generally has around the world, teachers need to offer their students confidence. Along with being a teacher, ego would enter as segment of their trusting atmosphere. Contrastingly, training can hinder and ruin the untainted person when they enter improv. It is possible to look around and see untrained improvisers doing the job. In Bristol there has been various untrained improvisers that have gotten onstage and had an easier or more relaxed time than people that trained and still struggle.

In conclusion, the terms are unproductive. Improvisation is a process and being a master of it would merely determine that person as having stopped improvising. One can only master one's own improvisation and then be a default and predictable, offering the same as usual; this is called devising, therefore. Similarly, being a veteran is subjective. An improviser who needs to be a veteran wants their ego to inflate. Improvisation requires us to be equal, as anyone can give insight anyway.

Bibliogrpahy

McDermott, P. (2008). Cooking Chaos.

Oxforddictionaries.com, (2015). improvisation - definition of improvisation in English from the Oxford dictionary. [online] Available at: http://www.oxforddictionaries.com/definition/english/improvisation [Accessed 13 Jul. 2015].

Oxforddictionaries.com, (2015). improvise - definition of improvise in English from the Oxford dictionary. [online] Available at: http://www.oxforddictionaries.com/definition/english/improvise [Accessed 13 Jul. 2015].

Oxforddictionaries.com, (2015). master - definition of master in English from the Oxford dictionary. [online] Available at: http://www.oxforddictionaries.com/definition/english/master [Accessed 29 Jul. 2015].

Oxforddictionaries.com, (2015). veteran - definition of veteran in English from the Oxford dictionary. [online] Available at: http://www.oxforddictionaries.com/definition/english/veteran [Accessed 29 Jul. 2015].

Oxforddictionaries.com, (2015). form - definition of form in English from the Oxford dictionary. [online] Available at: http://www.oxforddictionaries.com/definition/english/form [Accessed 20 Oct. 2015].

So Razowsky: Live Life in the Present

To continue the series of articles inspired by or based on words from the famed improviser and teacher David Razowsky from USA, once the artistic director of Second City, on SCTV, and a prevalent voice in the improv community all around. After some immense moments with the man, it has led to a lot of great results. Unlike the previous semi-season of articles, this completes this half of the series with aspects that are congruent with his thoughts. In this article the topic is about living life in the present.

Ambition drives people, but it controls people too. The drive is useful, but it is painful when you end up battling reality with desire. The persistent desire can blind the real, the present situation. As the moral of a Buddhist tale states fools get trapped by their desires. (Buddhanet.net, 2014)

What is happening is no doubt great. This offers a focus on the present moment. If it is possible to accept the opportunities that surround us, it is viable that the sense of happiness is present. Furthermore, reaching the space where living in gratitude happens it will stop misery from the 'future'. Live in the present, in the now, and be grateful for what is. Razowsky states, on his podcast (Razowsky, 2014), to replace ambition with gratefulness (Victor, 2012). Pick the Brain's editor in chief discusses how seeking more implies that the current is not good enough, there is unhappiness. Also looking to the future, to the ambition is deeming now as unsatisfactory. (Pick the Brain | Motivation and Self Improvement, 2007)

In a similar way, Razowsky, (ibid.) says how he felt he would be happy if, at any moment, the job ended. For example, for Razowsky, on 'Main stage' at Second City with Steve Carrell and other such well known names, if it had just stopped he would have been happy. This comes from the happiness in the fact that it happened in the first place; it is not about it having ended. As with all process-based approaches, it is a practice. Everyone fails at some point. Like the aforementioned mental adjustment to that special something stopping, failure is an opportunity to remind ourselves why do it in the first place.

A positive approach to life will be more useful than a cynical perspective. A car could die in the middle of a long journey. However, it got the person that far; what adventure, new experience, will it lead to and become useful or important for later? Steve Jobs states that after dropping out of college, the skills he decided to learn are now our norm in computing. Jobs took classes in calligraphy and without that our fonts would not be anything like they are now. (News.stanford.edu, (2014)

The origins of the phrase 'every cloud has a silver lining' comes from John Milton in 1634 (Martin, 2014) in the book Comus: A Mask Presented at Ludlow Castle; the term silver lining is used to offer the better side, the silver side of the moment. In 1840 the proverbial form arrived, which ever since has been a reminder of the positive side of a situation. In improv, seeking the new perspective is taught. In Charna Halpern, Kim “Howard” Johnson and Del Close's book Truth in Comedy they write about perspective with an analogy: "'You've got chocolate in my peanut butter!' The other replies, 'You've got peanut butter on my chocolate!'" (Halpern, Close and Johnson, 1994, p.3) What this gives insight into is seeing anything fom a different view. Everybody has a different look on the same thing, in improv we take advantage of that by putting it onstage. Not only that but being positive and supportive is taught too, hence the reason why the practice of a positive life is more apt. Everything has a purpose, maybe not in the moment or perhaps not directly relating to another era in life, but, as with improv, it builds to a total result, with all aspects accounted for.

Being in the present enables better insight into the moment; internal reactions; people's behaviour; the state of actions in the surroundings. It is these qualities that can start the long process and practice in self-realisation. To realise the reason for an anger impulse will calm it down quickly. Nonetheless, we can be present with the emotion; knowingly live with it or willingly release it. Razowsky uses the phrase, “lose what no longer serves you”. (Razowsky, 2014) A negative emotional state does not do any use, so lose it. It is understandable to be locked into an emotion, but once it is realised it can be dropped. A challenge is to be angry when the reason behind it is fully understood. Along with not externalising issues, obviously, then the emotion will deplete itself. This is what Steve Wells and David Lake (2010) call the dark side. Wells and Lake suggest that people wish to want the problem to exist. (p.144) It seems true that people avoid acknowledging and cannot connect with themselves, which hinders all realisation potential. Razowsky (2014) lets people have there emotion as it is not to do with him, even if it is at him.

Many people get stuck with themselves and are unable to release their capacity to achieve. Everyone has many reasons they tell themselves. A favourite saying Razowsky has from what he says is 'if you says so.' If the individual stops telling themselves these statements, which they hold on to, they will be what they say they want. This is one way procrastination happens. Craig Ballantyne says that people tell themselves these lies that they cannot do this or that. (Ballantyne, 2012) It is a stopping factor; it will stop someone from changing that thing that they want to. Many factors come into the problem, like Ballantyne suggests, such as social re-inforcement and societal pressure. However, we can look at the circumstances of various statements that are made: For example, 'I cannot stop eating chocolate biscuits.' The response to this is 'If you say so.' All these statements derive from the place of avoiding a task, i.e. cannot or can't, and labelling ourselves in judgement, e.g. I am too clumsy. The facts behind these statements are historical and not present. People that wish to change can. Holding onto the past means you are not present with what is. The phrase, 'if you say so' can free people from their lie. Ballantyne (ibid.) states the biggest lie we tell ourselves is we can't do something: we can.

Likewise, Razowsky also says to lose the why and the how of doing a task. Lois Holzman (2014) explains that we are trained to seek the causality of all situations and moments. Holzman describes the cause-effect thinking that most, even in psychology, hold to be useful. This is furthered by the example of how a therapist could open the possibilities of non-causality response by suggesting that the reason for the effect is seeking the cause or the resolution to the effect. The example (ibid.) is the patient is depressed and stayed in bed; Holzman suggests that the therapist states the potential that the reason the depression arose is due to seeking the cause and resolving it with staying in bed. Clearly in the article, Holzman is querying the use of asking why. Another perspective can also be to query why to do this or how to do that will merely be a procrastination to the actualisation of the event. Jenny Maryasis (2002) wrote, “procrastination thrives on a cycle of blame shifting and avoidance.” When people ask why to do a task, they miss the opportunity to find out. Although in generalisation the question is to avoid or judge the activity. A constant shuffling around the next step in the path that is available will only lead to it staying still. Improvisation teaches us to move forwards. If an improvisers hides in judgement or is asking why improvise the scene or how to improvise the scene, that scene will not happen. An improviser lives in the present; they live with what is present; they treat everything as gold, including the people around them.

So the important lessons from what Razowsky has found and speaks about, and linking to improv, is to replace ambition with gratefulness. The happiness this brings shall improve the quality of life, like not holding onto negative emotions; release the anger by realising why that exists. Similarly, procrastination comes in forms of judgement such as asking why to do an activity or how to do it. When it ends, it ends; remember that it at least happened.

Bibliography

Ballantyne, C. (2012). The Biggest Lie You Tell Yourself. [online] Earlytorise.com. Available at: http://www.earlytorise.com/the-biggest-lie-you-tell-yourself/# [Accessed 31 Oct. 2014].

Buddhanet.net, (2014). Buddhist Tales: The Fortunate Fish. [online] Available at: http://www.buddhanet.net/bt1_36.htm [Accessed 30 Oct. 2014].

News.stanford.edu, (2014). Text of Steve Jobs' Commencement address (2005). [online] Available at: http://news.stanford.edu/news/2005/june15/jobs-061505.html [Accessed 30 Oct. 2014].

Halpern, C., Close, D. and Johnson, K. (1994). Truth in comedy. Colorado Springs, Colo.: Meriwether Pub.

Holzman, L. (2014). Why Ask Why?. [online] Psychologytoday.com. Available at: http://www.psychologytoday.com/blog/conceptual-revolution/201410/why-ask-why [Accessed 4 Nov. 2014].

Lake, D. and Wells, S. (2010). Enjoy emotional freedom. Wollombi, N.S.W.: Exisle Publishing.

Martin, G. (2014). Every cloud has a silver lining. [online] Phrases.org.uk. Available at: http://www.phrases.org.uk/meanings/every-cloud-has-a-silver-lining.html [Accessed 30 Oct. 2014].

Maryasis, J. (2002). Procrastination: Habit or Disorder?. [online] Serendip.brynmawr.edu. Available at: http://serendip.brynmawr.edu/bb/neuro/neuro02/web1/jmaryasis.html [Accessed 31 Oct. 2014].

Pick the Brain | Motivation and Self Improvement, (2007). Are Ambition and Gratitude Mutually Exclusive? - Pick the Brain | Motivation and Self Improvement. [online] Available at: http://www.pickthebrain.com/blog/are-ambition-and-gratitude-mutually-exclusive/ [Accessed 30 Oct. 2014].

Razowsky, D. (2014). A.D.D. Comedy. [online] Addcomedy.com. Available at: http://www.addcomedy.com [Accessed 30 Oct. 2014].

Victor, P. (2012). My Nephew is a Poodle: Geeking Out with...David Razowsky. [online] Pamvictor.blogspot.co.uk. Available at: http://pamvictor.blogspot.co.uk/2012/12/geeking-out-withdavid-razowsky.html [Accessed 31 Oct. 2014].

So Razowsky: Economic Words

This continues the series of articles inspired by or based on words from the famed improviser and teacher David Razowsky from USA, once the artistic director of Second City, on SCTV, and a prevalent voice in the improv community all around. Having spent some immense moments with the man, it has led to a lot of wonderful results. However, unlike the previous articles, this one shall be aspects that tie tightly with his thoughts. On the podcast, “ADD Comedy with David Razowsky and Ian Foley,” (Razowsky, 2014) the topic of words comes up. In previous writings this has been discussed, although not precisely on the economy of words. Razowsky believes that words are powerful and has various thinkings about the area of discussion that shall be explored. Economic words are an enabler for people.

The exaggerated end, and a bit that appeared in conversation on the podcast, of being economic with words is the concept that people die after x amount of words. The idea is that anyone that talks aimlessly or pointlessly will be taking up their life quota of words. Razowsky speaks about how someone driving around chatting a lot may just suddenly die mid-sentence. The overall message that this can offer is summed up by Steve Job's (News.stanford.edu, 2014), “Your time is limited, so don't waste it... .” Words will stop at some point, maybe not the mystical cause of the definite end, but it shall all stop. Treating words like they matter is important; be concise with your words.

Every word matters. To begin with writers, Melissa Donovan states, “Finding the right word can breathe life into an otherwise lifeless sentence. When we choose words carefully, our writing is clearer and more meaningful.” (Donovan, 2014) Training ourselves to become clearer and more meaningful is a productive task. In comedy, someone once said to put the funny word on the end of the sentence. Obviously that would make sense, as the laugh in the middle will stop the sentence. Even with a statement that is deemed funny; the laugh needs a spark, an end term or conclusive moment to instigate it. Annie Binns (2008) describes it as “...applying the funny word, phrase or sentence at the last possible moment.” Seeking out the best wording is a practice and can be beneficial to general communication.

The term eloquent exists for a reason. From the late fourteenth century Old French eloquent and Latin eloquentem (Etymonline.com, 2014), which means to have the faculty of speech. The act to truly be heard, understood and cause purpose comes from having the capacity to speak. Therefore, being mindful of what is being said will ensure the words found are the best suited to the purpose of what is being communicated.

“Be careful what you say and protect your life. A careless talker destroys himself.” (Biblesociety.org.uk, 2014)

Following on, the proverb given in the Good News Bible offers a further development on the mindful ideal. Words matter and can hurt. The consequence of what you say shall last in memories. Our memories do not help this either. As Kantor created plays about, memories are forever dying (Kantor, 1990). Northwestern medicine proves this:

“Every time you remember an event from the past, your brain networks change in ways that can alter the later recall of the event. Thus, the next time you remember it, you might recall not the original event but what you remembered the previous time.” (Paul, 2012)

As our brains betray us and transform our memories, as Ian Chant (2012) mentions, we will deepen the origin feeling about what someone has said or may have said. A good reason to communicate clearly.

Stopping a sentence mid-sentence can also embody the whole sentence. As long as the half sentence holds the complete meaning... Another thought Razowsky (2014) played a bit about was being able to stop mid-sentence and still be understood. Completing the communication of the sentence being spoken without finishing the sentence can be possible. It is clearly doubtful in writing; however it is a reduced array of tools used in this medium. Through using the listener against themselves, it is viable to make the person assume the rest of the sentence. In embodying the whole meaning in half the sentence the speaker is creating their point with the minimal effort. This does happen in reality, but it goes unnoticed due to being in friendships or with people that know each other well. Something unsaid could be communicated that can also happen in these circumstances. However, when speaking we desire clarity.

Say what is meant. Clearly it is important to be mindful of what is being said and be clear. Subtlety is prone to obvious interpretation. All language is, but when someone is only hinting at the meaning, the problems arise. As improvisers such use of subtleties will ensure the scene partner more work. Improvisation is not work, it is play. Therefore, the contradictions prevail the point that improvisation requests clear meanings. Say what you mean and the other improviser shall be in a better position to react and respond. Often improvisers 'waffle'. It is a tedious trait that is sometimes taught due to the need to get a lot of detail out at the top of the scene. Spolin's theories on using the 'who, 'what' and 'where' are a useful training tool that will capacitate the scene. A frequent error in teaching is that these are spoken. Physicality beats words. As Jeff Thompson (2011) breaks the old percentages of communication down to the reality; Thompson recapitulation states seven percent of certain situations are the words themselves. Fifty-five percent is body language, which means the details of an improvisers scene are best from non-verbal creation. It also does not bore the audience with 'waffle' at the top of a scene. Johnstone's theory of 'nothing, nothing, something' (Johnstone, 2009) asks the actors to do nothing until that something organically arises. Furthermore, the statement, “...I mean...” is another attribute that improvisers can be prone to develop. Similarly to the 'waffle' issue, this one has been available to read about and hear on podcasts and similar; however, only recently has it been able to witnessed locally. The need to use the phrase “...I mean...” means that the improviser is not endeavouring to be clear. Improvisers definitely wish to portray people onstage, but in everyday life it is not possible to hear it as much as onstage. The potential reason to why this has arrived is the judgement or expectation that is linked to playing in a more complicated manner. Certain methods may put performers into thinking and due to that, they talk without being mindful of what they are saying. Beat the issues by purely saying what you mean.

To be mindful of what we say is important onstage. Talking too much maybe leads to death. If we do have x numbers of words before that moment, then we better be careful; live and play like that is true and real and the words will always be clearer. In doing so we find that the words matter more and we don't just say something for the sake of saying something. Perhaps even getting to a point where we can stop mid-sentence and have a complete … So mean what you say.

Bibliography

Biblesociety.org.uk, (2014). Bible Society - GNB Proverbs 13. [online] Available at: http://www.biblesociety.org.uk/the-bible/search-the-bible/GNB/Prov/13/ [Accessed 30 Oct. 2014].

Binns, A. (2008). The Secret of Writing Funny. [online] Write to Done. Available at: http://writetodone.com/how-to-write-funny/ [Accessed 17 Nov. 2014].

Chant, I. (2012). [online] Themarysue.com. Available at: http://www.themarysue.com/memory-distortion-in-brain/ [Accessed 30 Oct. 2014].

Donovan, M. (2014). Writing Tips: Every Word Matters | Writing Forward. [online] Writingforward.com. Available at: http://www.writingforward.com/writing-tips/writing-tips-every-word-matters [Accessed 30 Oct. 2014].

Etymonline.com, (2014). Online Etymology Dictionary. [online] Available at: http://www.etymonline.com/index.php?term=eloquent [Accessed 30 Oct. 2014].

Johnstone, K. (2009). Impro.

Kantor, T. (1990). Wielopole/Wielopole. London: M. Boyars.

News.stanford.edu, (2014). Text of Steve Jobs' Commencement address (2005). [online] Available at: http://news.stanford.edu/news/2005/june15/jobs-061505.html [Accessed 30 Oct. 2014].

Paul, M. (2012). Your Memory is like the Telephone Game: Northwestern University News. [online] Northwestern.edu. Available at: http://www.northwestern.edu/newscenter/stories/2012/09/your-memory-is-like-the-telephone-game.html [Accessed 30 Oct. 2014].

Razowsky, D. (2014). A.D.D. Comedy. [online] Addcomedy.com. Available at: http://www.addcomedy.com [Accessed 30 Oct. 2014].

Thompson, J. (2011). Is Nonverbal Communication a Numbers Game?. [online] Psychologytoday.com. Available at: http://www.psychologytoday.com/blog/beyond-words/201109/is-nonverbal-communication-numbers-game [Accessed 30 Oct. 2014].

Not So Razowsky Series: Try

Continuing the series of articles inspired by or based on words from the famed improviser and teacher David Razowsky from USA, once the artistic director of Second City, on SCTV, and a prevalent voice in the improv community all around. I spent some immense moments with the man that has led to a lot of wonderful results. I perform based on his teachings, I teach through some of his thoughts and proclaim the tellings that he once told in conversations to many improvisers. Nonetheless, not all of what I heard from the wonderful man I agree with, and this is what the series shall be about. I get to write these with consent to the concept of the series too. The topic at hand is going to be how Razowsky removes the term try. Razowsky, and many others, believe that we do not try in improvisation, we just do. I preach just do, except I also like the term try.

The history of what happens when Razowsky hears the term try goes back to how he was taught too. In 'Second to None,' 2009, in an interview with Scott Adsit, the answer that is provided is how Second City has taught them how improvisers do not try when they get onstage. Instead of trying to do something, they just do it. In Razowksky's podcast, 'A.D.D. Comedy' (2014), it is a frequent occurrence that the guest is stopped on their phrasing and questioned about if they really try, or another word that is not thought possible by Razowksky. Most times the guest gives into the idea that no one ever tries, you either do or don't. The term try also has its history.

try (v.) c.1300, "examine judiciously, sit in judgment of," from Anglo-French trier (late 13c.), from Old French trier "to pick out, cull" (12c.), from Gallo-Romance *triare, of unknown origin. The ground sense is "separate out (the good) by examination." Meaning "to test" is first recorded mid-14c.; that of "attempt to do" is from early 14c. Sense of "to subject to some strain" (of patience, endurance, etc.) is recorded from 1530s. Trying "distressing" is first attested 1718. To try (something) on for size in the figurative sense is recorded from 1956. (Etymonline, 2014)

Trying has been around for quite some time. The ability to test something out, like the common educational lesson that happens for the young in their schooling careers of trial and error, is an important aspect of life. Everybody in their everyday lives has to attempt to do some task or a method. It is plausible for someone to try to get to work today, as they will only know if they do or don't when they have completed the task with some result. In the UK, we are hindered considerably by the weather to an ever increasing eventuality that poor conditions stops most people doing anything. In the past few years, the snow has closed bridges, stopped workers traveling, reduced the days of school in a given winter term and so on and so forth. In the UK, for unknown reasons, the preparation for such affairs is non-existent. Therefore, in the days of snow or more recent, floods, we cannot be certain. Hence the use and existence of the term try.

Try is not a word that depicts success or failure, it is not a term to associate with a black or white point of view. Try is a process and to attempt to do an activity requires an open mind about its prospects. The Centre for Clinical Intervention (2007) state, “One of the things we have noticed is that people use unhelpful thinking styles as an automatic habit...One of these thinking styles is called 'black & white thinking'.” (p. 1) Furthermore, the idea that without trying, you are left with this way of only having the one extreme or the other. Anxiety BC in 'Thinking Traps' (2013) also progress this by explaining the need to a more real and moderate response. In life we encounter a lot, and most of these are never just one thing; it is often the case that whatever is found is a mix and a merge of complexity. A human can feel a whole web of emotions that cannot be put down to one word. Likewise, a human can experience more than just the success of what they want or the failure.

People seek a simpler life. It is a complex world that we live in; from the growing contradiction, melding of the bourgeoisie and the ruling classes historically to the present day not much has changed (Harman, 2008). People are complicated; it can be overheard frequently that it is desired to have a simpler life, or that he or she doesn't understand me. So much that surround us is complicated, from the development of new words that have been popularised and then accredited into a dictionary, ruining the old game of Scrabble for many (or making it easier for others), to the unchanged and complex needs of the individuals in the human race. In the action to seek a simple existence, we try; this is an indefinite journey.

Trying, in comparison to success or failure, is like aiming for perfection. No one is perfect, it does not exist. One person may deem something perfect, but it is perspecitvely so only. In Hewitt and Flett et al (2003), the problem that this causes can be the psychological distress of regulating self-esteem. Aiming high and setting expectations at a 'challenge' rate (Petty, 2011) for that perfection is a positive and opening sensation that the target holds. It allows us to try to be the best we can. We cannot be perfect or imperfect, as the journey to it remains.

Try is improvisation like people are on a journey through life. The correlation has plenty of connections to what and where try comes into fruition. As people, we do or we don't do, when we do something and instigate the process of the task, we try it out. In any given moment of an attempt, we may be doing well or not. This is not the end of the task, the person that decides the end is the one who started it, based on that person doing or not doing. (An obstacle that is a person of more hierarchical value may attempt to hinder the trial of the unspecified endeavour, but only one person may complete it always.) Everyone improvises their life, life is a journey, so clearly improvisation is one too. Not many improvisers would disagree with that, I think. Mary Scruggs and Michael J. Gellman wrote a whole book on it, 'Process: an improviser's journey' (2008). So every time we enter the stage, we try out or attempt something new: We improvise. The short-term journey we go on together is a live experience of trial and error. With every error we make it great, allowing the process to be hugely positive.

Now it comes to the whether or not removing the word try is truly inline with the positive and open environment that the art form is. A removal of a term is not positive. Negating anyone the opportunity to say a word, like in the podcast aforementioned, is restrictive. So many beautiful languages have died out and become extinct; this is not to do with improv or people enforcing the opinion that the word has little purpose, but it does point out that we lose a lot when we rid ourselves of words. We do not rid ourselves of an offer an improv partner gives onstage. Many do have words they don't like, for example, in improv there is no should have or supposed to; there is in the rest of life. By restricting these, we open up the opportunity of, like Razowsky says, 'getting to' do. By not having to or supposed to, and getting to, we have a positive interaction whereby obligation does not hinder us. In comparison to the removal of trying where we either succeed or fail, with the removal of obligation and offering opportunity, we get a massive contrast.

All references adhere to the relevant copyright laws, whereby given reference to the original source complies with the laws, such as Copyright Act 1968 (Cth).

References

Etymonline.com. (2014) Online Etymology Dictionary. [online] Available at: http://www.etymonline.com/index.php?term=try&allowed_in_frame=0 [Accessed: 17 Feb 2014].

Harman, C. (2008) A people's history of the world. London: Verso.

Hewitt, P. L., Flett, G. L., Sherry, S. B., Habke, M., Parkin, M., Lam, R. W., Mcmurtry, B., Ediger, E., Fairlie, P. and Stein, M. B. (2003) The interpersonal expression of perfection: perfectionistic self-presentation and psychological distress. Journal of Personality and Social Psychology, 84 (6), p. 1303.

Petty, G. (2011) Have we got Equality and Diversity right?. [e-book] Institute for Learning. pp. 1 - 22. Available through: Have we got Equality and Diversity right? http://www.ifl.ac.uk/__data/assets/pdf_file/0018/24552/Have-we-got-Equality-and-Diversity-right_-download.pdf [Accessed: 17 Feb 2014].

Razowsky, D. (2014) A.D.D Comedy. [online] Available at: http://www.addcomedy.com [Accessed: 17 Feb 2014].

Scruggs, M. and Gellman, M. J. (2008) Process. Evanston, Ill.: Northwestern University Press.

Second to None: 10th Anniversary edition. (2009) [DVD] Chicago: HMS Media.

Thinking Traps (2013) [e-book] New Westminster, Canada: AnxietyBC. pp. 1-2. Available through: Anxiety BC http://www.anxietybc.com/sites/default/files/ThinkingTraps.pdf [Accessed: 24 Dec 2013].

Workshops #2

Improv for Beginners

The journey to the unknown starts off the discovery and exploration of improvisation with Nathan's focus of play and playfulness. Throughout the workshop we get to know the players and discover the unknown together and exploring what improv is and playing with this art form. Covering topics from Keith Johnstone, Viola Spolin and some from the infamous Nathan Keates (amongst others). By the end of the workshop you should have a good understanding of the basics in art form of improvisation and can stroll through the wonders that are your journey to the unknown.

We call the process the 'journey to the unknown' because no one can tell you how to improvise and everyone has a different 'journey' or process to finding their approach that suits them.

200e (3 hour Workshop)
350e (Full day 6 hour Workshop)

Musical Improv: A Cappella

Release the sensation of the highest quality through musical improvisation. Push your skills and get out your way, as spontaneous songs burst out of you. In the workshop, we discover the roots of creating astonishment in your audience with the explosive chorus, tender verses and brilliant bridges. The exploration of a capella urges the performers to engage in the utmost co-operation and group mind. In this way, the need to play with each other is highly important. The session covers creating an opening number into the story to a grand ending using wonderful spontaneous choreography and sublime songs. No need to be a singer if you just go for gold!

220e (3 Hour Team Workshop)

Shut-Up and be Silent: make everything from the nothing

In the quiet, there is the physical. In the scene, there is the tonality. In the air, there is the everything. This everything can be read, said without words and communicated thoroughly. Bodies are subtle and radiate more than words. Even the exaggerated has its form and utility. Showing a simple gesture, motion or stillness grips and gauges. The forms this leads to are clown, soundtracking, physical theatre forms, mindful scenework and more.

200e (3 Hour Team Workshop)


Youth Improv

Young people develop a loss of creativity or adaptability, rather, as they get older. To sustain the youthful playfulness, getting those ages into improvisation will manage to keep their growth and development to a more open and accepting nature.

Here is an article I wrote about this for The Sprout, a Cardiff-based online youth magazine. Click here.

200e (3 hour Workshop)
350e (Full day 6 hour Workshop)

Processworks: beyond your limitations and edge

People have opinions that we sometimes agree with and other times do not. Processworks is a system of exploration of our views and opinions that uses applied improvisation to find our personal limitations, our edge of capability and asks us to overcome them. It is a way of discussing that breaks-down and passed culture, society and self and allows us to fully express and discover. This is the maximisation of discourse through improv that will help people engage and fully realise themselves immersively.

Here is an article I wrote about this for The Sprout, a Cardiff-based online youth magazine. Click here.

200e (3 hour Workshop)
350e (Full day 6 hour Workshop)


The Magic of Wizardy

With mind, body and our verbose antics, we form the art. World creation through Physical aesthetics and the Embodiment of new universals focus the ensemble. In these Retrospective realities, the unexplored can be scavenged. The impossibilities are mobilised. Trance-based Improv

How about KJ's trance masks - without the masks? This is based on the ritualisation of masks and the hypnotic-like capacities that people have to be free within oneself. No hypnotism will happen. We achieve an altered-state of consciousness (ASC) through intensifying the flow state that we seek in improv, anyway. It can be crazy. It can be wild. It should be explores - so, lets! For the Main classes available, see here!

Mouse That Soared [December 2010]

Past articles were written for Ludus Ludius Improv.

#2: Improvisation (General)

Mouse That Soared [December 2010]

The article was in the Daily Mirror on Friday 12th November 2010. There I was sat in Chapter Arts looking for a interesting article. What I saw from this mouse was delightful. The article explained that the mouse was after food. This 'little fella' is just like an improvisation player, or improviser, as us little fellas are also after our food. Food being something we need and like.

Our little fella in this article was keeping his eye on the food and
climbed up an axe handle and soared through the air for the delicious reward. His leap was not based on the possibility that he (or she) may fail. The little fella didn't calculate or hesitate about how he (or she) may get to the other side. Therefore, our little fella risked without pause for what he (or she) desired.

Each time us little fellas climb up our axe handle onto the stage we do so by hurling ourselves into the unknown. If its just for a grain of corn that is enough. We risk failure and we do not hesitate and certainly we cannot calculate. (There has been times were we end up in a mathematical problem and then we quickly work it out and say it, but this is not what I mean). By all means there is no hurry, the little fella didn't rush up the axe and dive dive dive. Alike us we keep our eye on the food and steadily explore and soar. The air is our ground. The heights are the wonder. The sensation is our stimulus. The snapper (photographer) for the little fella that made it all happen for the mouse, he is our watcher too. They snap us every moments we offer. Our snappers make the show.

Our audiences like to see our risk. That's what they snap up. The offer, the building something together, the unknowing and risk. The photo caught a mouse soaring, This is just as delightful as if we saw it in person. This, thus, means that no matter how rapid fire the manouevre is there will still be pleasure from it. Same risk, same goodness. The snapper was Scott, 33 year old. He had taken other brilliant photographs too. The main reason he is worthwhile mentioning further is because he said, "it was a challenge." Risk is a challenge, we indulge it.

http://www.mirror.co.uk/news/top-stories/2010/11/12/the-mouse-that-soared-115875-22710497/