Showing posts with label confidence. Show all posts
Showing posts with label confidence. Show all posts

Sunday 13 January 2019

Guest blog: Why Improv?


Having discovered improv comedy a year ago and having fallen under its spell, I find myself trying to explain what compels me to return again and again to what feels like its magic.

Having dived deep into another weekend course this one called “Efficiency in Scenework” with Nathan Keates. I find myself already missing its end, even though I’m only half way through.

So the word magic seems apt.  This is the best way I can explain what occurs in improv. But don’t get me wrong it’s not that all that happens is magic, it’s just that sometimes magic happens.

And what is this magic I hear you ask? Well I don’t know what it is, but except it brings a feeling of joy. A place where you are in a world of imagination, on the cusp of discovery and where you sometimes find gold.

Perhaps we should call it fools gold, because once you discover it, it has gone again and that can never be repeated in the same way, but it then it does return in another, later place, often in one you are least expecting. And at that moment its like you’ve been kissed with delight and often a response of laughter. One more note about improv is that the magic it can be found in watching others find their own gold and also it is often found in collaboration with others.

One area I have had a similar experience is working with clay, in which out of something formless something emerges and often almost without intention and impersonally. It's as if we are responding to the clay in some symbiotic dance between creator and potential where on some occasions there is some magical conclusion, and also sometimes not.

So there is something more generally to be said about being in touch with this creative edge and being in the moment and it being impersonal.

Improv is one place I can find this, but creativity in any form can be the edge we need. To be present, playful and enquiring allows us to drop the fa├žade that we are in charge of this manifesting present, we are a part of the play but not in charge of the script, as it is continually unfolding before us. At this edge perhaps we feel most in touch with the creative spirit within us and creativity around us, and it feels right and we feel good and we want more.

So why improv?  
I think it’s about the creative magic, of how you lose yourself in the present, and sometimes out of it comes a real present. For which I say thank you please come again. And I do.

By Chris 

Friday 4 January 2019

5 awesome tips for being bold onstage

Every improviser seeks to be better at improv. One way is to just be bolder onstage. Nonetheless, is that easy to achieve? What does that really mean? If we ignore the constant invention, re-invention of categorising people (which is fun and interesting to a point - it is just not practical), we can look at what skills and attitudes gain results. Here are my five tips to being bold onstage, and they are not about being big, broad-stroke characters (you can do all sorts of improv using these).

1. See everything (that you have currently managed, and see what else you wish to push to notice next)

If you notice it, then you'll use it. This gives an appearance of making choices, when the reality is that you've increased the amount of what you get point out. You can use everything; this will be either internally or explicitly. You get to directly reference what you have observed, heard or felt in response in the scene, or you can internalise these. It depends what it is, but you will seem bold as a performer.

No one is ever aware of everything. It's fundamentally why improv is endless. There's no end to what you could be aware of and you'll never be always aware of the same stuff. Do what you do, seek to notice more.

Bold by using it. This defeats the problem mentioned in the introduction, boldness is not being brutal in performance approach. A gentle improviser may be more open; a careful improviser will access more that is around them and inside themselves. These make you bolder, as you have more to use.

2. Trust yourself 

The only difference between experienced and beginner is trust and confidence in themselves and others. This means that you must find a place in yourself where you know you can do all what you want to do now. To use a Razowski-ism, if you know you want something, you have already found it. 

You are enough. You can do all you want to do currently, the way that you know it. I have left people to do what they do, and it turns out interesting. I would not say that it suits me, but I am clogged up with experiences in improv and theatre - it seems illogical in design what they wanted to do. However, if people want to be self-taught, it is important to stay out their way (to some extent). This exclaims that you will do what you do, but the best effect from it comes from trusting that you will deliver what you want to. You are all you need to be to perform your improv.

3. Use sustainable physicality 

The connotation about being bold brings up physical presence onstage. If you are comfortable in yourself, then you will hold stage presence anyway. However, in characters, you get to use a physicality that distinguishes one person you find from another.

When finding these characters, being open to exactly what you do will enable the character to be defined. Each character needs to be sustainable. You must be able to keep this going. I remember an early performance of my own back in 2008 where I explored the essence of Decon opening in a highly-structured and silly longform format, ‘The Flurry of Florence’. It was theatre with set, props and two actors. In the premiere of the production, I did not find a sustainable voice; I think the character I was going to be started Australian (I don’t promote using accents). The accent disappeared. Lets not let your characters drop; if you physicalise something, stick with it. A person is who they are through how they are.

4. Have a specific (and personally memorable) voice

This is alike the last, but on vocally finding your character. Obviously, as the anecdote in the last one determines, it must be sustainable. However, more importantly, it must hold details within it. Notice the specific elements of what you are doing. If you are not a voice person, don’t try to be. Maybe one day you will be, but the voice a character has needs to be personally memorable. Be in the right show for this to work for you, too.

The show you choose to be in will ask certain stuff from you. A person with a bad back, should not be in a physical theatre piece, and a person with less voice capabilities should not do a set that asks them to create through a wide vocal change.

5. Try out performing like someone else would - get away from your own defaults and nail down how someone else would adopt a persona

On the contrary, we do not want improvisers staying safe, as that makes your improv pointless. It was McDermott that said (in person, no reference to when) that improv requires risk, otherwise the purpose of using improvisation is lost. Just devise or write, in which case. We all have defaults we go to in improv, either consciously (I hope not) and subconsciously. Don’t be safe, take the risks that makes the theatre feel alive and present with this audience.

You can perform like someone else. Not for a set, but for a character, improvise like someone else would. Adopt a persona of them performing this character you are finding. It will break the boundaries of how you perform; it would also ensure that, through total embodiment, you will achieve something vastly different that usual.