Introduction Here’s another technique that I would not mind seeing more often on stage: “Endowment”. The Oxford Dictionary definition of endowment is: "to provide with a quality, ability, or asset". As far as I know Keith Johnstone introduced the term into Improv vocabulary in his book "Impro for storytellers" (more on that later). Improv Encyclopedia defines … Continue reading Endowment & Pimping
IntroductionHere is one of my favorite exercises and the topic is “building upon”. I call this “anding” - referring the the second half of Yes-And. This is a real workout on “making next steps in a story”. The vehicle I use is actually a game, sometimes used for performance, be it that the instructions to … Continue reading Extreme Anding
Introduction In this post I’d like to talk about a term I often use when I teach workshops: “sandpaper”. It’s a metaphor, and it refers to the following: if you rub sandpaper over your skin, you’ll get a painful, burning sensation. It is impossible not to feel the ache of a sandpaper burn. I would … Continue reading Improv Sandpaper
Introduction At a recent international festival I happened to stumble into several discussions, with different groups of people, about taboos in improv, on whether e.g. minorities should (or should not) be portrayed on stage, and if so, how, or whether & how touchy or dark subjects should be addressed in improv. It so happens … Continue reading The Dark Side: Can & Should Improv Go There?
Introduction In a previous post ( Protagonists & Antagonists - Part I ) I outlined the use in impro of storytelling concepts like protagonists, antagonist and sidekicks, from a theoretical point of view. In this post I explain how I use these in an improv workshop setting. In workshopping I tend to let the players discover … Continue reading Protagonists & Antagonists – Part II
Introduction Last month I posted a blog listing 13 essential music-related skills for improv Musical Directors. I made the point in that blog that those skills can be learned outside of an improv setting, and cannot be acquired during e.g. a 3 hour workshop. Besides, those skills are general music related skills that are unrelated … Continue reading 11 Non-Musical Improv Skills for Musical Directors