Nonetheless, the international improv identity is world wide and actually quite similar on certain aspects. In various countries there are spectacles of improvisation like Theatresports. It and many other influences, like the competition of Theatreports, have managed to travel. One man that achieves the goal of transmitting his style and culture, and now moved to Madrid, is Omar Argentino Galván. This one man with stickers all over himself, pulls one off with the audience suggestion on and improvises (Galván, 2013). Originally in Argentina and travelling around South America and Europe, he puts on this spectacle. Likewise there is the stadium-filled improv performed in Portuguese and translated with captions on YouTube, which can be found on Improvavel's channel (http://www.youtube.com/user/videosimprovaveis). These spectacles are attractive to huge audiences. In some manner, we can associate spectacles with the likes of sport, football has a wide and world audience. The competition may be that aspect that allows bigger audience's to understand it quicker. Competitive improv is the world recognised style that offers similarities. Two places that do so are Cape Town, who run the Theatresports format (Improguise.co.za, 2013) and Berlin, Germany, who have Comedysportz (Comedy Sportz, 2013). Europe has two groups that are apart of the sub-community of improvisation, Comedysportz. These franchised formats offer an even more specific community that builds international connections. Anyhow, between two continents of Europe and Africa we see similarities of competition. In South America there is ImproSport, and this has been a festival too (Improsportargentina.com, 2013). This further demonstrates that all these continents share this similarity. In order to emphasise these similarities more, in 2004 in Mexico City, various countries competed in the 'World Improv Championship' in Spanish (Improvresourcecenter.com, 2013). Furthermore, 'Catch Impro', an originally French format, is performed in various European countries and I know of it being played in Mexico too. It derived from the patented Canadian French format Le Match d'Impro (Sophie, 2013). Not to mention 'Catch Impro' influenced and inspired 'Ultimate Improv' in United States of America. It is also possible to find leagues of improv teams in the Czech Republic. The Czech Improvisation League is in Prague (Fuzzyco.com, 2013). This could have come from one influence, Keith Johnstone, the creator of Theatresports is a noted influence on 'Catch Impro' and the treatment of improvisation as a sport is clearly what the leagues are aiming for too. So this displays how short-form is worldwide through being competitions. We can also hear about worldwide improv and discover more connections.
We can hear all about long-form around the world through various podcasts. Listening to podcasts and hearing various perspectives can support the integration of identities to influence our journeys. On the Flint Podcast, (Redmond, 2012) one episode spoke with Rama Nicholas from Australia. Nicholas discussed 'The Wishing Tree' that honed in on elements of long-form to create stories (Nicholas, 2013). Nicholas was inspired by Japanese culture of the Tanabata where people are invited to share their honest wish. In the Osaka Twilight festival, Nicholas realised the concept of wishing and myths. The Wellington Improvisation Troupe, from New Zealand also perform this production (The Wellington Improvisation Troupe, 2012). They moved into long-form in 2005 with 'LovePossibly', which was inspired by the movie genre of romantic comedies. The influence offered here is from their focus on story to their theatricality and artistic vision for the production. It is possible to listen about them with the Flint Podcast too (Redmond, 2012). In Austin, Texas in North America, the group known as P'graph, or in full Parallelogramophonograph, perform inspired by various genres. (Pgraph.com, 2013) Although they hate the term narrative improv, they can be described as doing so. Not so strangely enough, they too have been interviewed on the Flint podcast. The international identities that can be suggested here are the connected and similar focus on story and genre. These podcasts are for people to offer influence for your journey, give information and history. The fairly endless list of podcasts available, which I still desire to find more as I know there are some I've not found, can be the clarity you need, the reassurance of your thoughts you are currently pondering on and the opposing thoughts that will strengthen your theories too. An example is the Ian Roberts episode in Stephen Perlstein's Improv Obsession podcast (Perlstein, 2013) that offers insight and experience from one of the founders of the UCB, I did not agree with some of what he says. This is my opinion and maybe as time goes on, I will get to see his perspective more. However, in a contrary manner, I agree with what Mick Napier states in Mark Colomb's infamous (or at least should be, it was one of my favourites) 'Poor Choices Show' podcast (Colomb, 2013). For those thoughts that are contrary to the podcasts' participants, they will enable you to reason for yourself or allow you to question yourself. This is because we are individuals, we have our own focus and identities to offer too.
Improvisers bring a lot to the set. The Rapid Fire Theatre do short-form competitive format and lives happily in Edmonton, Alberta (Rapid Fire Theatre, 2010) next to the episodic long-form of 'Soap-A-Thons' from Die Nasty in the same Canadian city. (Casaannett.com, 2013) The varied formats of improv can mix and use the same casts of improvisers and in doing so have enabled the groups to perform using the attributes or productions of both long-form and short-form (not that the distinction is of massive importance, but that is for another time). These players are therefore linking their identity as an improviser in the two needs of the structure and techniques of the formats. Furthermore, The English Lovers from Vienna, Austria, perform with a cast from all over the world with a mix of improvisation identities. (English-lovers.com, 2013) Each improviser comes from their background and experiences to offer into the performance what they will. When they can all come from their countries in order to perform, it merges their identities in the performance. This surely goes beyond the slight back and forth of influence of neighbouring improvisational productions in the same city. The concept that each improviser on their journey that are developing and being influenced external to the rest of the group, as they are in another country, is a thought that is enjoyable as they bring that difference of identity into the production. The group may settle into old ways, but it is interesting to suddenly be in a scene with a performer who is offering from a new mindset that they may have had before.
Improv Comedy Mumbai. 2011. Improv Comedy Mumbai. [online] Available at: http://improvcomedymumbai.com/i-c-m-goes-to-amsterdam/ [Accessed: 16 Dec 2013].
Nicholas, R. 2013. The Wishing Tree. [online] Available at: http://www.ramanicholas.com.au/the-wishing-tree/ [Accessed: 16 Dec 2013].
Sophie, A. 2013. Facebook Comment. [online] Available at: https://www.facebook.com/groups/555100921205263/596234727091882/ [Accessed: 16 Dec 2013].
The Wellington Improvisation Troupe. 2012. wishing tree | The Wellington Improvisation Troupe. [online] Available at: http://wit.org.nz/?tag=wishing-tree [Accessed: 16 Dec 2013].
Further corrections or points can be added, so far I thank Anja Sophie.