Be Warned

4/13
4/24

This is Improv talk. Be warned.
First of all, next time I do a big trip like this, I’ll START with an intense week of improv training and THEN do some free-style vacationing. Heading into Stuttgart we’ve already been through Vienna and Prague and Berlin and Hamburg and Edinburgh and a teeny bit of London, so I’m going into these workshops a bit worn out already.
Fortunately, I really like improv and I like teaching, and ultimately everyone I’ve worked with so far (composing on 4/24) has been enthusiastic enough that my energy level in the workshops have been no problem.

The language barrier was a bit weird but not insurmountable. All of the students passably understood English, sometimes with a bit of translation help, so I taught in English and they performed in German. I don’t know any German but I know improv, so I actually didn’t have too much trouble identifying some of their problem areas and giving exercises to work on.

Most of the work was on points that were fairly universal: Heightening physicality in scenework and initiating with power.
Other elements are somewhat cultural. Most European improvisers like to improvise with a concern towards driving the overall story forward, and therefore make their improv moves and individual choices based on how they are likely to effect the overall story. European improvisers are influenced primarily by the writings and practice of Keith Johnstone. All American improvisers have at least read his opus “Impro”, but he’s not our main influence.

(Somebody has borrowed my hard cover copy of Impro, by the way. Do you have it? It’s black with yellow type and has a b/w picture of two actors doing mask work on the dust jacket.)

American improvisers, on the other hand, working from the Chicago style are influenced primarily by the work of The Second City, Del Close, Mick Napier schools and styles. Story isn’t nearly as important to us in our individual scenework as is relationship and game. We generally prefer to allow the structure of the longform itself help drive the story of the overall piece. Hence the importance of the FORM of longform improvisation.

I do not claim any level of objectivity in my preference for the Chicago style. That’s how I’ve been trained and I find it a much easier way to play. The Europeans with whom I’ve worked so far seem to be appreciating the Chicago-style tools I’m giving them, and I expect they’ll have success adopting some of these tools into their generally Johnstone style.
I hope.