tag:blogger.com,1999:blog-25819369944276405592024-03-18T20:00:22.280-07:00Improv, NYCJustin D. Torreshttp://www.blogger.com/profile/00377703412915155334noreply@blogger.comBlogger60125tag:blogger.com,1999:blog-2581936994427640559.post-63846249503147874902017-06-12T10:25:00.000-07:002017-06-12T10:25:46.751-07:00The Walk On LabelerHere's a fun exercise to help teams exercise big moves and restraint at the same time.<br />
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Have two people do a scene, have them almost intentionally make the scene everyday life or non-specific. Have them hold back the name, where they are, what they are doing, or where they are working, or why they are there. Have a walk on come on and label some part of the scene or as many parts of the scene as they want. The only rule for the walk on is that it can't be scene painting. They have to somehow be a part of the scene. Narration is a maybe move.<br />
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What should happen is that the two characters on stage should be able to find the restraint not very restraining. They may really relax into a grounded scene about details. This would be great. However, they are expecting the walk on.<br />
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The walk on should be looking for opportunities to really add to the scene. Rather than have the walkon change the interaction, it just focuses the interaction. Or maybe it just pulls the camera back a little to see more of what's going on. This walk on strategy forces walk ons not to take focus.<br />
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Why is this so important?<br />
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Too many times, improvisers come on stage with so little that the scene ends up being grounded with nothing else. I hate the label of grounding because it forces people to not play, to not make moves, to not have fun. If you're ever in a grounded scene, if it's just every day life, then it's not funny. If you watch the best players, they may be grounded but there is something weird going on, or maybe something just happened, or something isn't right. You may see the best improvisers talk about their life and how their family does this or that but when people laugh it's not about the life stuff it's about the weird stuff.<br />
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So, you can't depend on slice of life. If you do, you have to actively be okay with nothing happening and no laughs. Deep down, no one is okay with that.<br />
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But, if you're on stage and INTENTIONALLY holding back some details so that you DISCOVER your job, your location, your name. Then, you're using the grounded mentality to ACTIVELY find aspects of the character. Or your USING the groundedness to wait for the moment to make a BIG MOVE.<br />
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The key in this exercise is to be INTENTIONALLY grounding for effect and then knowing the big move is coming. When put into action, we should all be discovering the big moves or making big moves to discover more moves.<br />
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<br />Justin D. Torreshttp://www.blogger.com/profile/00377703412915155334noreply@blogger.com0tag:blogger.com,1999:blog-2581936994427640559.post-47345190139279490452017-06-05T07:45:00.001-07:002017-06-05T07:45:15.909-07:00The Improviser and the ActorAs I've been a part of the NYC improv community, I've found that a lot of the students taking part in improv are either actors or people who want to take acting. The remainder are a combination of people trying to meet new people and people trying to get over a fear. Admittedly, this is a huge generalization but for the purposes of this blog, it works.<br />
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On the one hand, you have acting teachers and agents recommending improv for actors to help with comedy or commercial work. On the other hand, you have improv teachers basically teaching people how to accept themselves and be comfortable with being themselves in front of other people.<br />
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In voiceover, you may do a million voices but when confronted with natural or conversational, you're more likely to just do your voice. In this aspect, Improv shines through. You're comfortable and your having fun. But, you need to know the basics of acting to get through it as well. Hitting certain words, being able to separate scripts into beats, using your body, those are all acting techniques.<br />
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So, unfortunately, the improviser and actor get closer and closer together to the point where most actors do improv and most improvisers have acted. The rare cases when they are successful in both is where you probably know the names of those famous people.<br />
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If you're looking to learn acting or get into voice over. Feel free to connect to my website Everything <a href="http://www.everythingvoiceover.com/" target="_blank">Voice Over</a>.<br />
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Have a great day everyone!Justin D. Torreshttp://www.blogger.com/profile/00377703412915155334noreply@blogger.com0tag:blogger.com,1999:blog-2581936994427640559.post-76893707593452544792017-05-30T09:11:00.001-07:002017-05-30T09:11:47.298-07:00Improv in Voice OverHey Everybody,<br />
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I don't usually like to mix and match but I actually run a website called Everything <a href="http://www.everythingvoiceover.com/" target="_blank">Voice Over</a> and a while back I put up an article regarding how to use improv in voice over.<br />
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There are some really great strategies, whether it be using the in-between moments to hum or think or even outright speaking off script. It can really make you seem unique and interesting. Unfortunately it's not always the best strategy but for certain types of voice over work, it can be awesome!<br />
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If anyone is interested in voice over or the improv article. I'll post a link here.<br />
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<a href="http://everythingvoiceover.com/the-improv-toolkit-for-voice-actors--chapter-01.html" target="_blank">Improv Toolkit for Voice Over</a><br />
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Improv has a tendency to free people's minds up and relax them. It can be a very valuable tool in voice over too!<br />
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Keep it up yall!Justin D. Torreshttp://www.blogger.com/profile/00377703412915155334noreply@blogger.com9tag:blogger.com,1999:blog-2581936994427640559.post-48123745911403892442017-05-25T17:48:00.001-07:002017-05-25T17:48:49.578-07:00The new "3 Things" improv exerciseThe new "3 Things" exercise<br />
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Here's a great exercise I got from Kathleen Armenti in a rehearsal with Squash. A great musical improv team now on Tuesday nights at the Magnet Theatre.</div>
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We all know the "10 Things" exercise where we all get into a circle, pat on our knees, and ask the person next to us, "10 Things you BLANK" and when they say each thing we yell out the corresponding numbers.</div>
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In this newer version of the exercise, Person 1 tells Person 2 "3 Things BLANK".</div>
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Person 2 then PHYSICALLY tries to communicate the three things.</div>
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Person 3 (to the right or left depending on who started) tries to interpret those things.</div>
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It essentially becomes a group mentality and fun building project.</div>
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HINT: If people intentionally make the 3 things unable to physically done, for example, "Three names for a baby". It ends up being even more fun. </div>
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I would put this exercise in the realm of, getting teams to have fun, getting teams to feel comfortable, and getting the energy up. </div>
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I'm usually very hesitant to bring energy down or take on something that requires critique. But, if you need a fun one, this is great!</div>
Justin D. Torreshttp://www.blogger.com/profile/00377703412915155334noreply@blogger.com0tag:blogger.com,1999:blog-2581936994427640559.post-2060637739592193122016-06-06T11:14:00.002-07:002016-06-06T11:14:57.490-07:00The Carpool OpeningThis week was my second week in Nick Kanellis' Short Form uses for Long Form class. Which is pretty awesome and amazing and fun. I definitely recommend it.<br />
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If you've got a team who needs an opening, here's an option. Heartbeat may at some point give it a go, but I think this might be a good one especially for newer teams.<br />
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Openings, in my opinion, should do a few things.<br />
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1) Get EVERYONE involved. And I mean everyone. Everyone gets an idea out. Not everyone wandering.<br />
2) Unleash a lot of different energys.<br />
3) Give out at least 4 ideas.<br />
4) It has to be fucking funny.<br />
5) Has an end.<br />
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Every opening does at least one of these things, but when the opening goes well, you want it to do ALL of these things. More importantly, it has to do all of these without a sense of too much work.<br />
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The carpool is the idea that you set up chairs and then there is a driver. The driver maybe has a second to explain where they are going and what not, they pick up either hitchhikers or friends (it's better for friends) on the way. Each hitchhiker has a different voice, energy, saying, or anything. The whole car matches the energy as they come in. They pick up every hitchhiker and they make it to their destination.<br />
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Let's check if it works.<br />
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1) Everyone does get a specific idea.<br />
2) You'll be making 7-8 different energies so it should produce variation.<br />
3) you get as many ideas as people.<br />
4) It ends up being quite funny.<br />
5) The end is where everyone arrives.<br />
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Compounding on my last blog entry. Everyone gets involved. There should be characters or ideas abound. Give it a shot.<br />
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Justin D. Torreshttp://www.blogger.com/profile/00377703412915155334noreply@blogger.com0tag:blogger.com,1999:blog-2581936994427640559.post-75306555050161462972016-05-23T21:16:00.000-07:002016-05-23T21:16:06.033-07:00Starting with A Group SomethingIf you've been improvising for a while, you've probably been placed on a team, whether it be an indie team, house team, outside team, or a mix em up team. <div>
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The more I've watched improv, the more I've come to a simple conclusion. The quicker everyone gets in, the quicker the team becomes a team.</div>
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The singular problem with harolds and musical narratives is that they don't have a weighted group agreement happening. </div>
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<br />If you're in musical, you have the opening number. Yes. But, if you're opening number just gives a small detail or maybe a single character, that's not affecting the show. I've seen teams and I've been on teams that throw away the opening number and use it as a jumping off point of inspiration and it never affected the audience.</div>
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If you're in regular improv, you may be shackled with opening-less Harold. Which means everyone doesn't get onstage until the group game, and even then some people may not get out. </div>
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If you're on a team that has ANY hesitance, try starting with a group game. And not just any group game, a GAME THAT INVOLVES THE GROUP. If a person initiates a group game with such premise that people feel the PRESSURE to be funny, it'll feel like they weren't taking part. Group games that are organic, walk on centric, presentational, or started with half initiations are the best.</div>
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Group mind is what causes you're own team to surprise themselves. Sure, you may have a curveballer, I've definitely been one of those. But, they aren't suppose to be the only ones surprising. You want everyone to come to a conclusion at the beginning that we are all having fun, we are all surprising ourselves, and we all had a part in this fun start to the show.</div>
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There are older teams on Megawatt (magnet theatre) that have kind of figured out a way around this. They do a group monoscene. They do some sort of active scene painting. They push for walk ons in early scenes. They do 4 scenes then group as opposed to three. They deconstruct a group game from the get go. The Wrath recently did 4 long scenes a group game THEN just straight to third beats. Everyone knew they were going to get in and everyone knew that they was a high pressure at the end to get a LOT out. </div>
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Occasionally, a team will get walk on crazy with those first beats. First off, this isn't a bad thing. A want to play with your team is great. Most walk ons could be done as 2nd beats. But, environmental walk ons that just YES AND what's going on now are GOLD! Sometimes a team will get that note, "No one walks on in the first beats". This is a combination of someone who is eager and possibly not getting good responses and someone who is a little sensitive about their scene and unable to react to walk ons. </div>
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In Conclusion, you have 2 choices with a team. Figure some group start and allow your team to surprise itself and start the show on a ride that everyone made up. Keep that group game late and rely on the power of 2 person group mind in three increments to get something interesting started.</div>
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Here's a quick equation. 1 person is one point of view, 2 people is two points of view. We live in 2 people pov in 99 percent of our daily life. For something weird to happen there will be because we caused it. 3-8 points of view, rarely happens and ends up being much simpler simply due to the fact that people are trying to understand each other. Do your team a favor, get everyone out there. </div>
Justin D. Torreshttp://www.blogger.com/profile/00377703412915155334noreply@blogger.com0tag:blogger.com,1999:blog-2581936994427640559.post-46288368610324973902016-04-11T07:55:00.002-07:002016-04-11T07:55:49.700-07:00Making the Location a CharacterHey Everyone,<br />
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Occasionally, Goats, my musical improv team at the Magnet Theatre, does regular improv rehearsals rather than musical because of cost combined with a need to rehearse. This week we had Morgan Phillips. My memory of Morgan was in Made Up Musical, one of the first veteran musical improv shows at the Magnet. I specifically remember Morgan doing so little with such efficiency. He didn't talk much but what he did say was amazing. Last week, Morgan introduced Goats to the concept of making the Location a Character. "Playing the Location"<br />
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Now, this may seem heady, but for some reason after a couple of reps, even the ADD weirdos on my team ended up doing some very interesting scenework.<br />
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One person will initiate a scene in a specific location. Let's say, stocking an aisle of a grocery store. So, the person may start doing physical activity and then talking about something else. "Ugh, I really hate Mondays."<br />
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Morgan would give us the exercise of, "The second person, TAKING INTO CONSIDERATION WHAT THE PERSON SAID OR IS DOING, notices something weird about the location."<br />
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"When did we get so much oatmeal?"<br />
"I know, yoga pants Monday is so degrading."<br />
"I'm not hugging you, you hug for an uncomfortably long amount of time."<br />
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Admittedly, just writing these things TOOK FOREVER. But, if you look at just that response, it takes into consideration either what is happening with the location, what used to happen in a location, and to some extent it's weirdness.<br />
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You could easily find a game. The chorus could be the return to, "I really hate mondays." there could be a tangent of small talk, then "I hate Mondays" then either a reference to oatmeal types, explanation of yoga pants monday's absurdity, or an attempt at hugging.<br />
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If we want to go barebones with it, look at what the person is looking at. Some people have a tendency to look out and make a grand statement. "The pathogen is spreading", you might say something like, "We need to clean this fish tank."or "When did we get such a big monitor?" "Hey, you're burning the eggs!".<br />
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Now, Goats had to do this for quite a while to get it settled in and even now, I have trouble using it. However, there is something to it. When you go into a scene, (probably 2nd person), notice something weird about the scene and use the foundation of what was said.<br />
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You may surprise yourself.<br />
<br />Thanks Morgan. Check him out on Harold night at UCB!!Justin D. Torreshttp://www.blogger.com/profile/00377703412915155334noreply@blogger.com0tag:blogger.com,1999:blog-2581936994427640559.post-25392074834983568212016-02-29T13:24:00.000-08:002016-02-29T13:24:06.161-08:00STOP TRYING TO DO SOMETHING RIGHTI'm assuming that if you're reading this, that you're a seasoned improviser or at least a seasoned student of improv. <div>
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I am of the belief that you can't truly figure out the potential of your team until you're structure provides at least 80% formlessness.</div>
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The typical harold is 3 first beats, 1 group game, 3 second beats, 1 group game, and 3rd beats. Most teams don't do an entire harold not because they don't want to adhere or they don't care. Even coaches don't scold teams when they don't get to third beats or maybe don't hit a second group game. Think about it, if we REALLY wanted to adhere to the harold form, we all COULD do it. It's just three beats. But, most don't, most get sidetracked, most get praised for deviation. </div>
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<br />What is the reasoning? Do teachers and coaches feel that no one is able to complete a full harold. I don't think so.</div>
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I believe that at some point during a harold and at any harold, you start running on pure inspiration and feeling. At that point, you throw away the form for the sake of fun or game or whatever. The form gets tossed out. You may find a coach loving the deviation. You may feel a team loving the deviation.You may find the opposite where people get frustrated with the deviation. </div>
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<br />I'm going to say something that may go against a grand belief in improv. If you deviate from form or pull from the norm and it is INSPIRED by someone else, then any hesitancy from other team members has no basis on the improv itself. Any hesitancy to build off the inspiration is coming from either confusion of the person itself, fear of the move itself, dislike of the move itself, or an unfortunate need to do something right or from a fear of not being funny.</div>
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Rick Andrews, amazing Magnet Instructor, said "I usually see performers not having fun in shows, when they either are trying to hard to improvise the RIGHT way or they are trying to be funny."</div>
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It's weird how trying to do something RIGHT can be in such the same core as trying to be funny. </div>
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We all hate it when we're trying to be funny, but do we have the same disdain for ourselves when we try to do something right. </div>
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Here is my challenge to improvisers. STOP TRYING TO DO SOMETHING RIGHT. THERE IS NO RIGHT OR WRONG. If there is no right or wrong, PUSH the limits. A team that falls behind the biggest mistake which is pulling from FORM, is a true team. </div>
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I watched a show with The Wrath, where someone walked out signed something and walked off. Now, the wrath could have been doing a new form that week, but it didn't feel like that. It felt like a move that happened and people MISTAKENLY -didn't come out to support, and it told the team, "Do Something" and they did. </div>
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If anyone has seen me improvise, occasionally I make weird and crazy moves that can be pushy. My belief isn't to PUSH everyone around but to maybe get someone else to do it too. I NEVER do a move that I wouldn't be 100 percent fine with having it done to myself. </div>
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You ARE right. Always. Stop trying to do something right. If you get a coach that says YOU'RE WRONG, FIRE THEM!!!! Chances are the ONLY reason why people say things are WRONG is because they 1) felt too out of nowhere and maybe were uninspired 2) it just wasn't funny. But, those two things are inconsequential if you think about it. It's up to the team to YES AND a move. And WHO cares if it isn't funny. But, I'll tell you one fucking thing, if it WAS funny, you don't get notes you get praised. </div>
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Be INSPIRED, break the RULES, GET IN THERE. Screw the FORM. If you're in your head, they you aren't out there having FUN!! Have FUN! Play!! PLAY!! Don't think. NOTHING IS SACRED!</div>
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You wonder why teams who deconstruct a group game have a FUN time. You wonder why teams who have a GROUP dynamic built in have a FUN time. You wonder why Monoscenes that start with like 8 people end up being FUN. BECAUSE THOSE THINGS ARE SCARY AS SHIT!!! You have to play!! You can't think!! You relax and go for the ride. Everyone's already in so you don't have to worry about people not getting their share. Now, it's just FIGURE IT OUT.</div>
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HAVE FUN!!!!!!!!</div>
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Justin D. Torreshttp://www.blogger.com/profile/00377703412915155334noreply@blogger.com0tag:blogger.com,1999:blog-2581936994427640559.post-45617838424994735902016-01-13T12:21:00.000-08:002016-01-13T12:21:14.230-08:00Leaving CluesSometimes in improv, it feels like you're lost in the scene, just exploring and discovering new things. That can feel amazing because it provides organic interactions and discoveries while feeling somewhat grounded.<br />
<br />First off, I would never say not to do that. But, as improvisers grow more seasoned, there is a split in how you view things. The getting lost in a characters fades and people start making moves, whether it be to play a game, move a plot, or get a reaction out of people.<br />
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If you have a teams thats been together a while, you'll know what they jump on. You'll know what prompts a walk on, tag out, or just a deviation from the scene itself to explore something else.<br />
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TAKE FULL ADVANTAGE OF THAT.<br />
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Instead of throwing huge curveballs that people HAVE to deal with. Toss out little crumbs of ideas and see what happens. If they don't jump, no biggie, if they do then everything is coming from a sense of curiosity or fun.<br />
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Here are some examples:<br />
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The Call Out and the Jump On guy. He always calls out the weird thing.<br />
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Start out the scene grounded, nothing out of the ordinary. Notice small seemingly insignificant weird things, "My sister called, apparently she's gluten intolerant", "I just can't seem to paint since my surgery" "I picked cashews for breakfast"<br />
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The call out guy will yes and and give back story to all those things. The jump on guy with just AND it or emotionally lock on to that.<br />
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The Oscar Winner and the Straight man.<br />
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Throwing small pieces of information to an Oscar winner is like feeding a shark blood. The more insignificant and detailed the gift, the more fun it will be to lock on to. The Oscar Winner might react with tears to a gluten free sister or insane anger.<br />
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The straight man will take everything to grounding. So, you're giving bits and bits of weirdness, they will logically conclude why it is happening and that in itself will grow into something fun. "I gotta tend to the cashew fields before winter comes."<br />
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A lot of people have a tendency to pick and choose what they want to play with. If you dish something small and it doesn't get hooked, throw something else. If detail after detail falls on def ears, then you now have a game with yourself. Either way, it's found organically.<br />
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Most importantly, you'll have fun and your team will have fun!<br />
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<br />Justin D. Torreshttp://www.blogger.com/profile/00377703412915155334noreply@blogger.com0tag:blogger.com,1999:blog-2581936994427640559.post-32849285988475275212015-12-29T13:24:00.001-08:002015-12-29T13:24:28.068-08:00The Importance of Getting Through The HolidaysHey Everyone,<br />
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This is going to be mostly for people on house teams but it also works for people on indie teams as well.<br />
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December to January are the two months out of the year that can kill teams. It's true. Here are the reasons.<br />
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1) Less Rehearsals<br />
2) Worse Shows (due to less rehearsals)<br />
3) Stressful times outside of improv<br />
4) Unable to Schedule anything.<br />
5) People are on vacation<br />
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Think of any of those 5 things happening at any time of year. I've had teams that have imploded due to ONE of those items. The only reason why it kills teams is because team members assume that the reasons any of these items are happening is because "They aren't committed to the team".<br />
<br />When, in actuality, there are really good reasons. Now, if you have a person on a team that consistently doesn't come to rehearsals or leaves early or get's in late and has a schedule that forces everyone to resent them, then eventually you should probably just get rid of that person. However, in these months, EVERYONE is doing these things.<br />
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Here's the key to keeping things together.<br />
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1) Realize that it will happen.<br />
2) Don't punish people for their schedules.<br />
3) Have as much fun in shows as possible.<br />
4) NEVER EVER assume something about your team due to a bad show during this time.<br />
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Bad shows happen all the time. They may happen multiple times in a row. If you're doing a perfect show, then you are NOT learning. Learn from bad shows, don't beat yourself up.<br />
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Trying things that are new, fun and different during this time is great! You can always blame the oddness on attempts to better yourself.<br />
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Celebrate the times you have with these people. Use the time that they're away to miss them. The reunion of a team in the new year should be an exciting time.<br />
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Best of luck everyone. Love your team and never judge yourself!<br />
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<br />Justin D. Torreshttp://www.blogger.com/profile/00377703412915155334noreply@blogger.com0tag:blogger.com,1999:blog-2581936994427640559.post-2890323344126376202015-12-01T22:04:00.000-08:002015-12-01T22:07:37.634-08:00Long Form Improv: The Unsung Hero that will Never Be MainstreamThere are two types of improv, Long Form and Short Form. You could say that Musical is another form, but you could do short form musical and long form musical as well.<br />
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Short form consists of informing the audience of the game, taking the suggestion and then playing the game on stage. Who's line it is anyway or Puppet Up are firm examples of short form. If you go on a cruise ship, you're likely to see short form improv.<br />
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But, why not long form?</div>
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Long form improv is probably the unsung hero of improv. If you're an improviser in New York, LA, or Chicago then Long Form may be your thing. You probably live and breathe it. You love TJ and Dave and you have favorite forms and a specific play style. But, outside of those three delightful cities, there's nothing. Very little long form.</div>
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I once took a 3 month break from improv and went back to the Bay Area in California. I knew there was improv there so I figured I'd be able to at least feed the dragon. Boy was I wrong! Very little classes. Maybe once or twice a week there would be an improv show. Short form, however, had a presence. Comedy sports and BATs improv were mainstays and nearby.</div>
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First off, I'm not saying long form is better than short form. Wait! I am saying long form is better than short form. However, Short form is more profitable, more suitable for an audience, more likely to get improvisers paid for improvising, and have produced equally amazing improvisers. So, though I love the payoff of a third beat, I've laughed the hardest within long form shows, I've fallen in love with entire shows, and I've been hooked to the heroin of class after class of Long Form, I'm still ridiculously scared to do short form and I say with Bias, I like long form better.<br />
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The fact is, long form will never be famous. There may be long form improvisers using their skills to improvise in film. There may be sketch teams that are steeped in long form training. There may be comedian and tv writers using the harold as a form of writing. But, the act of a few people jumping on a stage and improvising slowly and building up an inside joke will never be mainstream.</div>
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I'm kind of okay with that. It's the perfect underground band. You may like the slower, indie progressive sound of Magnet. The perfected, honed, studio sound of UCB. The metallic, clunking, primal sound of Annoyance. Or the experimental, raucous yet textured sound of the PIT. These institutions will always be longform at heart. They will never leave us for greener pastures, they will live and die in our arms. </div>
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You can think of it as sad. You can get angry at a world that doesn't get it. Or you can be thankful that this still exists, solely on the basis that the STUDENT, the Classtaker, The Performer, The Teacher hold this art form up. One piece of that puzzle is removed, the whole foundation falls. Why do we do it? Because it's fucking fun. I've never had this much fun in my entire life.<br />
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Justin D. Torreshttp://www.blogger.com/profile/00377703412915155334noreply@blogger.com0tag:blogger.com,1999:blog-2581936994427640559.post-74545684107858561022015-11-30T13:51:00.001-08:002015-11-30T13:51:49.689-08:00Improv Makes Better People : Part 01 Stereotypes<br />
Improv for the non-improviser or "normal" person is a daunting task. To a lot of people, Improv is scarier than stand up. At least in standup, you get to write it beforehand. However, once you get into improv, you figure out, it's not that bad. It has all the aspects of live theatre, the same adrenaline rush from a good standup show, and a supportive team to back you.<br />
<br />
I have a theory. Improv makes you a better person. I'll try and blog about it over the next month or two. We'll see. I get distracted very easily.<br />
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Part 01: Stereotypes<br />
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At some point an improviser will improvise with every age, race, sex, religion, ability, whatever. Every stereotype you have gets challenged for a few reasons.<br />
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1) You're in a pressure situation in which possible EMBARRASSMENT is multiplied.<br />
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When you're onstage and in a class, you are performing in front of others. The pressure is on. Even people with tendencies to go into otherwise shady territory, they have to know that for the first time everyone's opinion counts. However, it's a supportive environment and a forgiving environment, so you can run the tightrope of taboo. This type of situation breeds more thoughtfulness to what you do and hopefully you come to a realization that you can do anything with anyone no matter who or what they are as long as its from a place of thoughtfulness, fun, or curiosity.<br />
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2) People have to ability to play anything or anyone.<br />
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You may find yourself playing reprehensible characters or people you have pre-conceived notions about. A good improviser finds the humanity in every questionable character or questionable character choice. A good support improviser may give reasons for conduct and choices that can explain and help the situation. You may find humor or joy in things and people you never thought possible. You also have to be open to everything your brain allows. Close mindedness hinders you.<br />
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3) The more you improvise, the more you play with everyone.<br />
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The joy of improv overtakes any and all misconception. This is a personal opinion of mine, but I've never found more joy than the joy of having a great funny show with people I love. Everything else in the world pales in comparison. And the people I love grows every day, they get younger, older, and vary infinitely.<br />
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4) Seasoned improvisers are more forgiving of younger improvisers.<br />
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This is a big one. I've been improvising for a few years now and whenever I see a new improviser try out insanely questionable stuff, I know it's an attempt to fit in. Whenever someone blurts out something racist (which I have done quite a few times), it's out of fear or confusion. Whenever I see people make those moves, I think, they're just a little scared or going a little too far. But, they did it. And it's scary up there. I'm sure they didn't mean it, it just happened.<br />
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Personally, I've been labeled "Jose" or "Ricardo" or told to go clean something. The reaction of everyone's face and audible sigh makes it fine. I have no ill will towards anyone who brain farts their way into a corner. Hopefully, they dig themselves out or give a reason why. Or even dig themselves in further til absurdity. There's no room for hatred on the improv stage or resentment, there is room for understanding and there is room for standing up for oneself. Usually that gets a huge laugh.<br />
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Either way, improv improves people. Whether it's putting a mirror up to who they are, or realizing how to accept or forgive<br />
, or just plain DESTROYING any pre-concieved notions you have about age,race, creed, religion, or ability.Justin D. Torreshttp://www.blogger.com/profile/00377703412915155334noreply@blogger.com0tag:blogger.com,1999:blog-2581936994427640559.post-49296033621408038432015-11-22T14:39:00.000-08:002015-11-22T14:39:11.712-08:00Justin D. Torres on the Magnet PodcastHey Everyone,<br />
<br />
I was just interviewed by Louis Kornfeld on the Magnet Podcast. This is kind of huge for me, because Magnet has become a real improv home for me. Louis Kornfeld was the long time artistic director of the Theater and I've loved all of his classes.<br />
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A quick story about Louis. I apologize if I've told this on another blog.<br />
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For some reason, we had a class scheduled for the day before Thanksgiving, only 5 out of the 15 people were there and our instructor couldn't make it either. We ended up having Louis as a sub. Before he started class, he said (I'm paraphrasing), "I want to thank all of you for coming tonight. This is why I do this. I could care less about holidays, this is where the real happiness is for me. I couldn't think of a place I'd rather be than here with you all. "<br />
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That's what I remember about Louis. Sitting in a class, the day before a holiday and thinking that this is what I love. There may be no money in improv, we're all paying to do it. But, there is something beautiful about it. I'd rather do improv than 99 percent of other things.<br />
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This interview meant a lot to me. Feel free to listen to it. click <a href="http://www.magnettheater.com/blog/64-justin-d-torres/" target="_blank">here</a>.Justin D. Torreshttp://www.blogger.com/profile/00377703412915155334noreply@blogger.com0tag:blogger.com,1999:blog-2581936994427640559.post-36719232083805434542015-10-20T11:05:00.000-07:002015-10-20T11:05:58.560-07:00Magnet Vs PIT Vs UCB (updated 2 years Later)Hey Everyone,<br />
<br />This is the one post on my blog that gets the most replies so I figured I'd do an update on it.<br />
Here is where I'm at with all three institutions<br />
<br />
1) Magnet Theatre: Currently on a Magnet House Team (Heartbeat), a Magnet Musical House Team (Goats). So, I've finished both Musical and Regular improv programs. I've been on a regular house team going on 2 years and a Musical house team on and off for 3 years, roughly. I also started performing with Premiere, the friday night musical slot.<br />
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2) PIT: I was on a musical PIT team for around a year, a long time ago. They since closed off auditions for musical teams. I think every musical team is going on 2 years with no auditions. I was also on a regular PIT team for one season earlier this year.<br />
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3) UCB: I have finished the UCB improv program, through ASH. I've auditioned for the teams twice.<br />
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This is coming from a performer at Magnet, so I am biased towards them.<br />
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<b>UCB</b><br />
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<b>NOTE: You have to finish all improv classes at UCB to audition for a house team. The prereq's for UCB sketch and acting are less stringent, check out their site for info.</b><br />
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Difficulty: Tough!! Though they are letting more and more people through to advanced, they are still teaching game and it's tough. UCB teaches improv as if there is a right way and a wrong way. For more heady people or standups or writers, this is a good way to go. If you want to organically grow improv skills and play more and more, then this might not be a good fit, at least not yet.<br />
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Size: I have always been in a class that was sold out. Sometimes this works for people who just want to watch. If that's you, this is where to go. I like to play ALOT and if I'm sitting down for 1 hour of a 3 hour class on improv, I get depressed. <br />
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Type of People: For the most part, I've found that actors, writers, and comedians takes UCB. It's a pre-req for agents. There are lots of comedy writers that come out of UCB. If you're looking to make a career out of sketch, writing or comedy, then UCB is the way to go, but Improv should only be a part of your UCB curriculum, you want to take lots of sketch, lots of improv, and everything you can get your hands on. Even then, there is no guarantee of anything and you'll find more stories of people who have networked, interned, took tens of classes and never got anywhere. You'll also find yourself in classes with very gung-ho people which could be annoying. Sometimes in classes, students seem to be vying for attention, whether it be through as many scenes as possible, provoking a conversation with the teacher mid class, or even outright flirtation whether it be on the teachers end or the students end. Networking is networking, the most successful people know how to do it. I'm not that person, I just want to get better at improv.<br />
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Teachers: HIT or MISS. This is a constant thing about UCB, you either got good ones or bad ones. Of the few teachers I have taken, I had a 50% success rate, maybe a little less. Chelsea clarke is amazing and I'd love to work with gavin speiller, I had him for a sub for one day, he was great. The rest were okay, bordering on bad. Won't name names but sufficed to say, I was not enjoying improv. Sometimes the teacher teaches a class better than other classes. You might hear, "Oh they're better if they teach _____, they don't like teaching that class." <br />
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Recommendation: Don't expect UCB to give you anything. You have to work with as many people, network, love every moment. There are people on house teams who are amazing, there are people who have been there forever, there are people who are just beautiful, there are personalities that scream star. There is no way to tell if you're that person, but the best of the best usually make it. The only thing is, the UCB best of the best is out of THOUSANDS. Easier than the lotto.<br />
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Personally: I would still recommend people take UCB last. Specifically, improvisers who solely want to improvise. Writers, go for the gold, hit it up first. If you are even REMOTELY sensitive to early criticism, or if you get inspired enough to recognize people making incorrect moves, it can seriously stunt your play. I am of the belief you can make a scene with anyone about anything, inside or out. I can see in UCB players eyes when they think you're wrong and it's sad and disheartening. Improv is supposed to be fun and bring people together, right?<br />
<br />Quick Example: During a class which was a Del Close Workshop, I tagged into a scene and mislabeled the gender of the person I spoke with. My partner literally froze, desperately searched her mind for an answer and went completely silent. The teacher said, "Okay, so you've been labeled a woman now, take a deep breath and just let it happen." I got news for you all, this made me feel like an idiot. But, I got bigger news, this is a PROBLEM EVERYONE GETS INTO. Especially in a talky scene. If you have two chairs set up and nobody talked about gender and god forbid someone is the switched gender, people could be confused. If you have to tell advanced performers not to give up on a scene based on a mistake, then you are creating performers who give up or blow up at a mistake. This, I don't like. UCB for me is that hot girl in school. She'll get you all the popular stuff you kind of want, but you know you'll have to do a heck of a lot of negotiation to get it.<br />
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REWARDS: Comedy writer/actor/star<br />
RISKS: Lots of Money, Lots of Time, Lots of Teams<br />
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<b>PIT</b><br />
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<b>NOTE: Currently, PIT does cast people who have not gone through the PIT program, however, the performers I've met have been through other programs. This includes Musical and Regular. PIT house teams audition 2 times a year. PIT musical has not auditioned for 2 years so far. Check their site for details. </b><br />
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Difficulty: Easy and Fun. They have a real follow the fun atmosphere. Follow the fear. There are 5 classes you have to take to be eligible for a team. There is an interesting philosophy conflict happening at pit. The classes tend to go FREE Form at the end where you can do whatever you want, making it a bit chaotic, but there are higher ups that are looking for a more realistic, non-game, but almost two-prov type slow prov. It's weird because you don't really know what people are looking for.<br />
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Size: Sometimes full, sometimes not. It's never been that much of a problem in my opinion.<br />
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Teachers: Pretty good. If we are talking Musical Improv, they used to have amazing teachers in Ashley ward and Desiree Nash. They were to die for. As for Regular Improv, it just depends. I can't make a judgement because the teachers I worked with aren't there any more. I have heard great things about the teachers that are there.<br />
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Recommendation: To the PERFORMERS, we're talking musicals, actors and writers. PIT is the place for people with IDEAS and a love of stage time! The recent unauthorized musicals have been an amazing mainstay at the pit. Constant comedic writing. I know performers who have done multiple musicals at the pit, they LOVE IT. PIT is for people who have ideas and want to do them. PIT is for people who want to work with people who put stuff up. Do you get paid? Not so much, will you perform? If you're good, you will. If you're good at networking, you can do so many shows at the pit. But, if you're looking just for improv, not musicals or one man shows or experimental improv genres, then PIT isn't quite what you'd want.<br />
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Personally: Pit rounded out my improv. It helped me work with more aggressive improvisers, more funny witty improvisers, and a different type of improviser. I would recommend it if you are going to go the gauntlet. Unfortunately, the fact that a PIT audition doesn't require PIT classes almost puts a damper on the classes themselves. If they are just looking for great improvisers, there are better classes you can take. If you had the choice between all classes in all NYC, you could make a mish mash of amazing teachers and learn improv that way. I enjoyed the few classes I took there. I also enjoyed the small stint as a performer, but there were some aspects once I was on a house team that I didn't like but that was probably because I had already been on house teams elsewhere to compare.<br />
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<b>MAGNET</b><br />
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<b>NOTE: Magnet requires a 6 class curriculum to graduate and you can only audition for house teams at that point. Magnet musical requires a 3 class curriculum to graduate and you can only audition after finishing.</b><br />
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Difficulty: Extremely easy. The earlier classes kind of get you into just having fun with improv, then they slightly hone it in to push in form. The later classes which are amazing, will try and hone the performer you are and you'll be with very experienced improvisers. The latter classes can be hard to get into but if you're taking a level 5 class, you're with people who solely want to perform on Megawatt. There's really no reason to do it otherwise. You're working with advanced players who just want to improvise.<br />
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Size: Not always full. Classes sizes stay medium size. I've never had a real talky professor, so even if it was a large class, everyone got up and did a lot of scenes.<br />
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Teachers: Amazing. I can personally recommend just about every professor. Favorites are Louis Kornfeld, Peter McNerney, Nick Kanellis, Hannah Chase, Rick Andrews, and Michael Lutton.<br />
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Recommendation: To the IMPROVISERS, if you just want to improvise or if you want to do musical improv go here. I think for MUSICAL IMPROV, it's only the Magnet at this point. They have cornered the market for teachers, classes, and shows. They even have an musical improv festival every year. If you want to get on a team and perform, just statistically your chances are much better here than UCB. With PIT, it may be similar when it comes to regular improv. As for diversity, there is more diversity on teams at Magnet. This may sound weird, but I think there are lots of people who are given the chance at Magnet to be on teams that wouldn't have been on teams elsewhere. Slower, weirder players or just interesting people end up being on house teams at the magnet. There is also a real sense of community here, the reason for that on house teams is probably because of a rotating schedule where you'll see different teams at different hours. <br />
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The BIG SIB program is just amazing. If you finished regular or musical level 3, then you can big sib the earlier classes for free. You apply for it and if you get chosen you get a free class. Great right? So, you just got to do more improv for nothing. Love it.<br />
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Personally: HUGE FAN of Magnet. I have auditioned and not got in. I've got into teams then the team got cut. I've gotten on teams that got renewed then cut. I've been on teams that just keep getting renewed. I'm also on what would be considered a weekend team for musical improv. So, I've had to fight a bit for what I've got, but i've worked for it. There is a real love for improv itself there. There are a lot of opportunities to perform with improv and sketch. In my opinion, it's small enough to feel like a family and large enough to have some healthy competition.<br />
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<b>WHAT DO YOU DO?</b><br />
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If you're gung ho and got the money, do them ALL at once. You don't want to restart programs. That includes annoyance. You'll finish with a group of people from all institutions and you'll probably get on one of those teams.<br />
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If you're dipping your feet in, Magnet. You'll feel like you can do anything. Plus, there are people who come to magnet to get better at talking to people and come out of their shell. They love it, so it's a great starter.<br />
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If you've got stars in your eyes, UCB. I don't hear as many success stories or see as many writers come from elsewhere. But, it's gonna take time and money, and you need to be doing sketch as well.<br />
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If you've got an entrepreneurial creative spirit, PIT, if you've got stuff you want to do, then pitch it to pit. Does that mean you have to take classes, probably not, but PIT is great for getting people's ideas UP!<br />
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If you're an improviser who's drank the koolaid and wants to do it more and more, then Magnet is the way to go. Do PIT as a side bar and Annoyance as well. Have three auditions a year. Magnet has made me a happy person but I just want to do improv.<br />
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<br />Justin D. Torreshttp://www.blogger.com/profile/00377703412915155334noreply@blogger.com1tag:blogger.com,1999:blog-2581936994427640559.post-20720387467321472722015-07-15T12:18:00.002-07:002015-07-15T12:18:50.859-07:00Surprise Yourself!<br />
Hey all,<br />
<br />
I've been offline for a bit, I've been performing with Goats! and Ladyhawk at the Magnet and Jean Pool just finished their run at the PIT.<br />
<br />
If you have been doing improv for awhile and you maybe are doing the same characters over and over again, try this. Surprise yourself!!<br />
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A lot of those classes where a teacher gives you tools to use in scenes, they are all just forms to surprise yourself. If they say, focus on a body part, push a chair in a different direction, or just do something physical, chances are they are just trying to get you out of your head and surprise yourself.<br />
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If you're in your head, you know what your doing, kind of. You're clarifying, you're cataloging, your'e deducing, when chances are the ONE THING that got you in your head was the one thing you should have tried NOT to figure out.<br />
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That sounds really weird but think about it. You only go into your brain when you don't know something. Embrace it.<br />
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Here are some AWESOME tools that you can use right now that go one step BEYOND the tools you know. The option A will be the first thing you can do, the option B will be the thing that will SURPRISE YOU!<br />
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How do you surprise yourself in scenes?<br />
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A) Get Close to Your Scene partner<br />
B) Get UNCOMFORTABLY UNEXPLAINABLY CLOSE TO YOUR SCENE PARTNER. Don't call it out until it becomes an issue.<br />
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A) Set the Chairs up in a weird spot.<br />
B) Set the Chairs up in an UNEXPLAINABLY WEIRD SET UP. That means not just two, or maybe one, and DON'T MAKE IT AN ISSUE until it becomes one.<br />
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A) Do something you never see in scenes<br />
B) Do something you never see in scenes TO YOUR SCENE PARTNER. I often find the never SEEN things done to the audience. That's great but it's still kind of security blankety, because it's just you, do it to your partner, right in their eyes. Sing, DANCE, make noises. Let their surprise or matching fuel it.<br />
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A) Be Silent<br />
B) Be KNOWINGLY silent. Be still Be INTENSE.<br />
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A) Repeat what you Start with.<br />
B) Repeat what you start with UNTIL the repetition has MEANING and use it. 3 Versions of "I had a good day" become funny when you have to say something like, "Maybe I'm just trying to convince myself I had a good day"<br />
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Surprise is what makes improv IMPROV. And here's the great part. You only need to do it for the initial part, maybe 10-20 seconds, then use that improv brain to chug it along.<br />
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<br />Justin D. Torreshttp://www.blogger.com/profile/00377703412915155334noreply@blogger.com0tag:blogger.com,1999:blog-2581936994427640559.post-55291912324598539792015-05-11T13:50:00.004-07:002015-05-11T13:50:48.822-07:00Joe Bill Workshop: Efficient but a little Confusing (I'll explain)For those who don't know, Joe Bill was one of the original Annoyance guys along with Napier. He's trained everywhere with everyone, he even talked about Del close. So, in the guru section, Joe bill is one. I even heard a person in the class say that he works miracles. No pressure, right?<br />
<br />
Anyway, my initial interest in Joe Bill as a coach has been longstanding. I only have seen him perform once. It was at a Chica Go Go at the Pit. It was just an impromptu buy. There were TOP NOTCH improvisers from everywhere there but Joe stood out as one of the best. I still remember a particular scene where someone came out with like a sword and Joe just kept saying, "Hey kid, where you going with that stick" he just kept slightly adding onto that sentence for what must have been 2 minutes. I was laughing in hysterics. That's the type of odd amazing fun I'd love to do.<br />
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There were two main points in this class that I thought were mind blowing. Emotional listening and The concept of Getting out of your head.<br />
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<b>Emotional listening</b>. He had us think of an emotion, embody it and look in our partners eyes, TAKE IN THAT emotion and allow it to morph with the foundation of that initial emotion.<br />
<br />
This was kind of amazing for me, personally, because coming in with an emotion seems a little forced. A sad guy gets a happy birthday, he's probably sad about the presents. But, imagine if you're a sad character, someone reacts with a happy "Happy Birthday", you're sadness CHANGES and it could be any direction. You could get happier and say, "You know, my girlfriend just broke up with me, but thank you so much, I really need this.", you could get sadder, "I feel so selfish, you took a day off for my birthday, who's taking care of the orphans.". You could get angry, "You think just because you bought me a cake it's gonna make it better. I really needed that job."<br />
<br />
I tested this with my team Ladyhawk in rehearsal. I was initiated to with "That dog is way too big for our apartment.", and I came in with anger and like smarty-ness, but that line affected me and made me feel a little hurt and more angry.<br />
<br />
"You think I can't take care of a dog. I'm just gonna let it shit everywhere",<br />
"It's just too big for this apartment and I can't walk anywhere",<br />
"We need to get a bigger apartment. We can't have a family in this apartment."<br />
"Is this some way of getting me to get us to start a family?"<br />
"Maybe? We keep talking about hearing the taps of little feet and dreaming about kids in a big yard playing with a great dane. And you insist on using a condom. "<br />
"We can't afford it"<br />
<br />
Scene. It was so simple to do, in retrospect. If I was just pissy, I might be standoffish and just shrug off the line but I allowed that first hit to affect as hard as possible. The why just came out in my brain after it was told that it was a small apartment. Kind of crazy awesome right.<br />
<br />
<b>The Concept of Getting Out Of Your Head</b><br />
<b><br /></b>
This is a title I gave the exercise because it kind of came out of the woodworks. The exercise was two people would take a suggestion and just go off on it, talk talk talk. But, they wouldn't talk to each other they would just monologue, they would walk a few steps, pick up an object while talking and then turn to each other and continue monologing, no stopping.<br />
<br />
Everyone was doing their thing, then when they would turn to each other, most of the time it wouldn't make sense but occasionally there would be a tie in and it would be awesome. The monologues would kind of connect in bits and pieces, later in the exercises people were connecting more and more and talking faster and faster.<br />
<br />
At the end, Joe kind of explained it, but here's my take. When you are just monologing with no end in sight, just speaking, you aren't thinking. You can't be thinking. There is no wondering if this works or not. When you turn to the person, you aren't thinking and oddly enough the occasional tie in requires a very miniscule amount of thought.<br />
<br />
The scenes were very good. I think the point is that you don't need to think at all to make a good scene. Try to just go from the inside. React how you would. Psycho analyze what's happening. Invent less. Speak, you can spew gibberish and it will be interesting as long as it doesn't give your brain a chance to judge it.<br />
<br />
In short, get out of your head. You'll be fine. Try and get that line out quick over the other person and see how good it is.<br />
<br />
Imagine thoughtless responses.<br />
<br />
Dave can I see you in my office?<br />
Fuck no, you're gonna try and fire me.<br />
<br />
Awww you ran over my dog.<br />
Is this gonna take long? I gotta get to work .<br />
<br />
You owe me rent.<br />
Checks on the table. Bitch!<br />
<br />
Imagine Thoughtful (meaning nice) responses.<br />
Dave can I see you in my office?<br />
You sure as shit can, I finished work early and was looking for chat!<br />
<br />
Awww you ran over my dog.<br />
I am so sorry, I love dogs, this was not on purpose. Lemme get the shovel.<br />
<br />
You owe me rent.<br />
I do. Thank you for reminding me. Were you thinking about this all week? This is late.<br />
<br />
Take the mans class.Justin D. Torreshttp://www.blogger.com/profile/00377703412915155334noreply@blogger.com0tag:blogger.com,1999:blog-2581936994427640559.post-70366344759562668332015-05-11T13:24:00.000-07:002015-05-11T13:24:21.423-07:00Ground and Pound : Strategies for Better SceneworkHey All,<br />
<br />
I've recently been taking a Master class with Ed Herbstman at the Magnet Theater. From his teachings, I was able to glean a strategy that may work for you, because I've tested it to work for myself.<br />
<br />
The first step is to be on GROUND CONTROL. Pull down the initiation of your partner into the ground. Or start very grounded with some unimportant line. It is important though that if you are initiating, that the line have some kind of everyday premise. The key is that they all hint at something small.<br />
<br />
Here's are examples:<br />
<br />
"Your references check out, you're hired"<br />
PARTNER HINT: You got a job<br />
<br />
"It's good to have you back in the office, Tom"<br />
PARTNER HINT: I'm Tom and I was out of the office for some reason"<br />
<br />
"I've been feeling a pain in my lower back"<br />
PARTNER HINT: I'm someone who should care about the health of this person.<br />
<br />
"We're out of eggs, I'll put some pancakes on"<br />
PARTNER HINT: Probably mother or father, someone who usually cooks for you.<br />
<br />
"I'll just take the bus to work today."<br />
PARTNER HINT: Something is wrong with my car. Probably a person who has a vested interest in my working. Family possibly.<br />
<br />
"I miss you, buddy"<br />
PARTNER HINT: We're friends or were friends. I've been gone for some reason"<br />
<br />
"Dad, thanks for coming to my recital"<br />
PARTNER HINT: Father Son. Recital.<br />
<br />
Just realistic examples of stuff. They give some info but aren't completely nothing. They have some kind of feel to them. Hints of stuff. Also notice that there is a lot of discovery possibilities for the reaction, a lot of holes that could be discovered by the partner organically.<br />
<br />
What about GROUND CONTROL in response to initiation. First off, you HAVE TO YES AND HARD!! That is what Ed Herbstman always says. Yes AND IT.<br />
<br />
***************Here is a masterful note that ed taught us******************************<br />
YES AND doesn't have to mean everything they say is right. It just acknowledges it. YES AND could make someone wrong. Try it like this. You can either A) YES straight up or B)Examine what the line says about THAT PERSON and acknowledge it straight away.<br />
<br />
Examples of weird initiations:<br />
<br />
"Johnny is dead!"<br />
A) Yes. He fought hard.<br />
B) *** what does this say about that person. 1) They knew Johnny, 2)They can assess death 3)They are surprised maybe (depending on delivery)"<br />
Possible B Routes<br />
B1) You knew Johnny? What was he like?<br />
B2) Thanks doctor. I'll inform the patients family, great job, keep up the good work.<br />
B3) It was just one jump too many.<br />
<br />
"I like Maroon 5"<br />
A) Yes. We can contact their manager for your bar-mitzvah.<br />
B) *** what does this say about that person 1) They assume you want to know about their likes 2)They know about pop music 3) They are responding.<br />
B1) I like them too. Would you say you're more Madonna or Gaga?<br />
B2) Ahh yes. Pop culture in this future time goes by color and number. Efficient.<br />
B3) Here are all the color swatches for Maroon 5. It would work well for a summer wedding.<br />
<br />
<br />
<br />
<br />Justin D. Torreshttp://www.blogger.com/profile/00377703412915155334noreply@blogger.com0tag:blogger.com,1999:blog-2581936994427640559.post-55565950658114283172015-01-07T08:22:00.002-08:002015-01-07T08:22:43.471-08:00The Audition Process (RELAX!)Hey Everyone,<br />
<br />
PIT auditions are coming up, and after that Magnet, and after that UCB. And we're all chomping at the bit and wondering how to be funny.<br />
<br />
I'm no genius at auditioning, I've only done it a handful of times. I'm also no genius at getting on teams, I've only gotten through a handful of times.<br />
<br />
Here's the one advice I have for everyone:<br />
<br />
TAKE IT EASY!<br />
<br />
There are five theatre that have house teams. We're talking FIVE. One of which, doesn't even require graduation from a school! When you filter in musical improv, add in 2 extra programs.<br />
<br />
1) Putting your eggs in one basket, if you have a house team as a goal, is probably a bad idea. Get into those other schools. Have FUN! I love classes.<br />
<br />
2) Don't worry about the outcome. If you get in, great. If you don't, just wait all of six months. Seriously, it's less than a hockey season. You could do that in jail time.<br />
<br />
3) Allow yourself 24 hours of grieving. If this is your first audition and you've been going to all the shows and jams, chatting up AD's and getting all networked up, then you've probably built it up a lot and if you don't get it, it's gonna hurt. That's NOT a bad thing, it just means you really care about it. If you need a month or two to get over it, take that time. Get out of the scene. Some people don't get in and you NEVER see them again. It's the people that come back who succeed eventually.<br />
<br />
4) Don't think about it. Don't come in ready to be funny. Come in with simplicity. If this happens, so what, I'll deal with it. If we're dinosaurs and we get put in a church, make it happen. HAVE FUN!!<br />
<br />
5) HAVE FUN, HAVE FUN, HAVE FUN!!!! Literally think in your mind, I love you to every person on that stage. Be the ballsy guy to come up to each person give them a hug. Say, "I'm gonna hug you, is that okay?". If they're like NO, then try someone of the same sex. Come to think of it, do it with the same sex first, so they feel obligated to hug.<br />
<br />
6) Let go of perfection. This is serious. If you could redo and audition, how many times would it take to make you feel it was perfect by your standards. Chances are, lots. So, percentage wise, you're setting yourself up for failure every time. You're mantra should be this. "I'll do my best and my best is good enough"<br />
<br />
Get out there auditioners. Once you get on a team, that's when the shit starts flying. SCHEDULES, MONEY, DRAMA, BAD SHOWS, PRESSURE, I've got a whole new set of advice that you need to know about after. The audition is the easy part.Justin D. Torreshttp://www.blogger.com/profile/00377703412915155334noreply@blogger.com0tag:blogger.com,1999:blog-2581936994427640559.post-48538377152553388582014-09-21T21:55:00.000-07:002014-09-21T21:55:14.539-07:00The Importance of Constantly Taking ClassesI found myself in a bit of a rut lately. It was probably started when I didn't get onto a PIT Musical Team, then didn't get onto a PIT improv team, then UCB was a shot in the dark.<br />
<br />
I always tell people that I did all the classes at once because I wanted to be able to not have to start over at 101 and have to relearn everything multiple times. But, after finishing off all three, I have no more classes I have to take.<br />
<br />
I am a part of The Battery which is a spectacular house team at the Magnet, I created Humphrey, a krompf team full of people I think are amazing and love playing with, and I ended up doing Supernova with the team War which is good fun.<br />
<br />
You'd think 3 practice groups would be great, which is awesome, but after a while, I missed the class atmosphere. I felt like I was falling into similar moves or worse starting to question the moves I was doing. I started to be more hesitant on stage because I don't perform as much as I used to.<br />
<br />
Ed Herbstman said that it took him about 8 years to get good at improv. The first two years he thought he was amazing, the 3rd year til 8th was just trying to figure out if he was shitty or not.<br />
<br />
So, this weekend, I got back into taking classes. I was able to get back into the musical scene and take Musical Level 3 with Michael Lutton. He is a spectacular performer and teacher and I would recommend his classes to EVERYONE. He really lays down the simple rules for musical form and when the class understands those rules, they shine.<br />
<br />
I also am taking a "Work On You" improv hub class with Nick Feitel. Nick created supernova and he's also been in the improv scene and trained with lots of people. The price combined with curiousity made me want to take it. I unwittingly took it at the same time as my supernova team practices, which is my problem because impulse buys are always at 1am in the morning, but I'm working it out.<br />
<br />
I already feel more exhilirated. I'm working harder on VO and I'm starting to get better at improv. I feel the fun coming back. I feel that exhausting feeling of doing a lot of improv. It feels amazing.<br />
<br />
So, here's my advice. Take Magnet Classes in improv and even Musical improv. You can retake the classes for 1/2 off, levels 1-3 and if you're on a house team or just a good student some teachers will let you take the class for free or big sib. That is phenomenal. I was on a musical house team at pit for about 2 years and I only remember being offered a free class in a big sib style once. With magnet, every month there is 5-6 big sibbing opportunities.<br />
<br />
Magnet is the best, by far, for people who just want to improv more and more. I've emailed pit about discounted second rounds of classes and they've said a resounding no. It's unfortunate. I was this close to retaking level 4 or 5 there but the price tag is just too high.<br />
<br />
I've come to a bit of a revelation. I've only really made it onto teams when I was doing lots of classes. The moment I stopped or just held back, suddenly the auditions weren't that good. Maybe there's a correlation. Who Knows!Justin D. Torreshttp://www.blogger.com/profile/00377703412915155334noreply@blogger.com0tag:blogger.com,1999:blog-2581936994427640559.post-54618223796827727822014-07-01T23:45:00.001-07:002014-07-01T23:45:53.995-07:00Camp Magnet: Ed HerbstmanEd Herbstman is one of the owners of the Magnet. He is half of the Mantzoukas Brothers, which I have never seen. Also, I've seen him sub in for Trike once. He seems to be widely respected as one of the best improvisers in the community. I wish I could have seen him perform more, but I hadn't. I just heard about him and was excited to work with him. <div><br></div><div>I remember a few aspects of the class that really stuck with me. The basic aspects of what he taught was something along the lines of, "We all are working too hard on stage"</div><div><br></div><div>He called up various people to do scenes and began to say stuff like, "That would be a great mixer scene", but Ed seemed to want truly organic scenes. Rather than inventing bricks and foundations to scenes and building them up, he wants us to just sink into the scene, notice what we have already.</div><div><br></div><div>This is a very Magnet notion. I've always thought that Magnet tries to make everyone feel that no matter what they do on stage, they'll be fine and right and good. It creates slower improvisers that are more fearless with silence or more character based improvisers that commit very hard. </div><div><br></div><div>In my first scene, my scene partner was stressed and I was calming him down, we didn't specify the who the what or the where, we kind of held it back. It was consistent with previous Magnet workshops because those should be discovered not invented. As he calmed, then I stressed and then I called out that it was just a rollercoaster. Scene ended. Ed had given the note to us that instead of just staying in the dynamic of one person affecting the other, the moment I called out what it was, this was the moment where I let fear force an invention. </div><div><br></div><div>Later in the class, he spoke about scenework as someone walking to the edge and then inventing something to help the fear, when at that point they need to just slow down, take stock of what they have and hold on to it. </div><div><br></div><div>Ed spoke about how improvisers see that first piece of game and they jump on it so hard they give up the scene itself. He said that piece is a trap. Going after that is the obvious, to stay in the scene and discover it is to organically create a scene with a partner.</div><div><br></div><div>I know this seems crazy, but here's an example of my second scene.</div><div><br></div><div>My scene partner seemed angry at me.</div><div><br></div><div>I say, "I wish you would just be honest with me."</div><div><br></div><div>She says, "I don't like you."</div><div><br></div><div>In my mind, oddly enough, I think I saw a pattern. My improviser brain would probably name it as, Mom, I'm sorry I ditched school, or I'm sorry I came onto your friend, son. WHatever. Just yes anding the situation and giving the who and why. However I just stuck with what I had.</div><div><br></div><div>I say, "Would it kill you just to tell me how you feel."</div><div><br></div><div>She says, "I despise you and wish you were dead."</div><div><br></div><div>(Notice the pattern, it is heightening and basically nothing has happened. I will just redo my line of not understanding but in an honest way, not a dumb way)</div><div><br></div><div>I say, "I don't know why you can't just tell it to me straight."</div><div><br></div><div>She says, "I want to cut your throat, drink your blood and fuck the holes of your dead body.</div><div><br></div><div>(At this point, Ed says after hitting a pattern for a bit, one person will try to make the other person laugh. It has to be somewhat consistent but it is a curveball. According to Ed, it should be instantly powerful. It could be a WHo, a Where, a Why or just a non sequiter)</div><div><br></div><div>I say (Joke), And that will make you cum? (the why) OR And then you'll stop making movies Mr. Bay? (who) OR Well, I've gotta go play Barney, talk to me later (kind of where)</div><div><br></div><div>It's oddly genius. Think about it.</div><div>Happy Birthday-I Hate you - I Got you A Present - YOu are such a dick - You ready to blow out your candles? - You insensitive fuck - (joke) I'm sorry I raped u. or All your family is here- (joke) Fuck you Spiderman</div><div><br></div><div><br></div><div>What about a transaction scene?</div><div>I'll take a pack of cigs. - That'll be 5 dollars - I'll take a pack of those - Thatll be 20 quarters - I'll take about 12 cigarettes comparmentalized in that pack over yonder - That'll be 500 pennies. - (J) Ya know what, I'll just go someplace else) or I'll take that pack there - (J) Sometimes while I sleep, I dream about being a fart. </div><div><br></div><div>The concept of repeating words is not foreign to improv teachings. I've heard it many times before. But, with Ed it's seems to not just be about the words. It's about the how. How you say it, how you feel as you say it. Sometimes it doesn't even need words, it could be just the how. You could be mad, frustrated, happy, whatever. As your partner repeats, you repeat and heighten the emotion.</div><div><br></div><div>How does this work into scenes? Simple, repeat what you say, heighten how you say it. At the very least you will understand your game. </div><div><br></div><div>According to Ed, improv isn't someone coming into another person's scene and playing a part. It is something you all grow together. The scenes seem better that way and oddly simpler. Throughout Camp Magnet, I felt this kind of theme. Organically making scenes with very little thinking, just recognizing. </div><div><br></div><div>Ed Herbstman is an amazing teacher. I hope to put his teachings into effect, asap. </div>Justin D. Torreshttp://www.blogger.com/profile/00377703412915155334noreply@blogger.com0tag:blogger.com,1999:blog-2581936994427640559.post-53797824440547579362014-07-01T22:08:00.001-07:002014-07-01T22:08:32.729-07:00The Best Two Weeks for an ImproviserToday, I sit on a stool eating trying to put into words what a great three weeks I've had. As an improviser, it was probably the most intense week ever. But, as a person, I gained so many friends and was able to for a few hours get insight into the minds of the best improvisers in NYC and probably the country. Here's what happened. Over the next few weeks, I'll post individual notes from every class I took and try to wrap my mind around the theories and the exercises and maybe in the process be able to put into words the amazing three weeks.<div><br></div><div>Week 1:</div><div>Camp Magnet: A camp that Magnet Theatre does once every year in the Catskills where you get to learn from great teachers and make tons of new friends, swim, play, chat and have a great time.</div><div><br></div><div>Teachers at Camp Magnet that I took classes with: Rachel Hamilton, David Razowsky, Louis Kornfeld, Alex Marino, Ed Herbstman, and Megan Gray.</div><div><br></div><div>Week 2: </div><div>Rick Andrews Intensive Level One: I was able to Big Sib for Rick Andrews Level one intensive. It took place from 10-4pm Monday Through Friday</div><div><br></div><div>DCM Workshop with Neil Casey: The Invocation</div><div>DCM Workshop wtih Chris Gethard: Make Your Scenework Easier</div><div>DCM Workshop with BIlly Merritt: Pirate Robot Ninja</div><div><br></div><div>Workshop with Betsy Stover</div><div>Workshop with Ari Voukydis</div><div><br></div><div>All throughout those weeks, I performed with The Washingtons for DCM, rehearsed with The Battery, rehearsed with my Krompf team, "Humphrey", took level 3's Annoyance classes, and did Blackout shows (class and form taught by Louis Kornfeld)</div><div><br></div><div>I'm not sure how to start writing about this amazing time but when I calculated it out, around 70-100 hours of improv classes and shows (watched or did). </div><div><br></div><div>The cool this is that this can be done by just about everyone. Most of the DCM workshops require some UCB experience so it's worth taking for that. Anyone can do Camp Magnet which is awesome. Also, I believe if you finish level 3 or 4 at Magnet, you qualify to big sib. </div>Justin D. Torreshttp://www.blogger.com/profile/00377703412915155334noreply@blogger.com0tag:blogger.com,1999:blog-2581936994427640559.post-83344025295345720082014-05-28T23:33:00.001-07:002014-05-28T23:33:38.770-07:00Louis Kornfeld : 30 minutes with The Man and the Battery Show A few days ago, Louis put out an email that said, "All Megawatt performers if you want to speak with me about anything, I will have office hours open". I thought about this. I'm starting to take a more proactive form with improv. Too long have I skated by, just doing what I wanted. It's time to figure out how to get really better.<br />
Louis Kornfeld is the artistic director of the Magnet Theatre. But, here's a few things about Louis.<br />
<br />
1) He's on Boss. Which is one of the best improv teams I have ever seen. If you want to see improv look easy and feel real with a fearlessness to not have to be funny, they are one of the only games in town. I am biased but they are my favorite. Louis is a HUGE part of why that team is amazing.<br />
<br />
2) He teaches. His class "Let it Be" is constantly sold out because people want to train with him over and over.<br />
<br />
3) He used to coach 2-prov for 2 hours for $25. His reasoning, "I think people shouldn't be penalized for wanting to do 2-prov". He doesn't do that price anymore because he's too busy.<br />
<br />
4) The day before Thanksgiving, I had a level 4 class. Our regular teacher was off for the holiday along with half the class, Louis subbed. He said, "You're the reason why I do this. You could be anywhere tonight but you wanted to be here. I don't care about holidays, this is where I want to be. Thank you for being here. "<br />
<br />
5) He WATCHES every MEGAWATT show and probably most Level 6 shows.<br />
<br />
The first 2 shows who he is. The last three are moment where I personally found his commitment to improv and his love of it UNWAVERING. Artist director is hard enough! He has a hands on approach and you can tell he LOVES it. That is FUCKING BEAUTIFUL!!<br />
<br />
Anyways, I came into the meeting with a few things in mind.<br />
<br />
1) Having a style that's all you.<br />
2) Experienced vs Unexperienced Improvisers<br />
3)That moment pre-scene where maybe the stage is empty and you walk out with little or nothing.<br />
4) That moment where two people scurry out with nothing and the fear overtakes.<br />
<br />
1) Regarding style, he spoke about knowing what you like to do and what you think you're good at. He claimed to be not that great at premise based scenes and he liked to start the scene with a seed and have it grown by both players so it feels like improv. He does use it with Kiss Punch Poem but there is a poem to inspire from and the audience almost expects specific scenes. But, with a one word suggestion, he likes to find the scene. Regarding who YOU are as an improviser, he never makes "Louis" moves because to do so would feel like an imitation. Instead, he makes moves that feel comfortable and fun to him.<br />
<br />
2) I asked about playing with experienced and unexperienced improvisers. With unexperienced, I feel good and fun and with some experienced, I feel hesitant and weak. Louis said that he feels a sense of graciousness and supportiveness when working with perceived newer improvisers as well. But, with the experienced deal, he said it was a combination of a need to be accepted or respected or even earn your right to be on stage. Sometimes it comes with time, some times some people will always improv a certain way and you'll never feel like you're strong. It just depends.<br />
<br />
3 and 4) Here was the big thing that I took from him. The pre-scene madness when nobody comes out or two people with nothing come out. Louis says get out there and plant yourself with something. The act of moving with meaning and focus will automatically make it an initiation and a strong one. I thought to myself and added, "There are certain spots on stage that just are unexplored country. So going there would be an initiation in itself on top of it.".<br />
Louis gave an example of just walking and listening and playing with a radio with a focused "looking for something" look on his face.<br />
"If nobody comes out, just yes and yourself."<br />
Louis walked away from the radio and turn a light switch on or off with the same look.<br />
*** The key thing he said was that. The first person who comes out, if they have nothing or nothing strong and they look back at the person who came out to support, the supporter hesitates as well almost thinking that they are burdened with a scene to fix. However, if a person walks to a place, looks or touches something in a specific way, the second person will feel like the scene is there, nothing to fix, just need to add to it a little. "They will call out what it is and you'll have a scene that was created by two people."**<br />
I'd never thought of an initiation as a way of telling that person coming out second. "Don't worry" we're all good. Just call it out if you want, we're fine. Nothing you say will be wrong. You could do something else, I'll do this. We are GOLDEN. Initiating has always been for me, "Okay, here's what we are doing, get it?!", with Louis it's more like, "Here's a little of me.. Welcome. Let's play". So much more fun!<br />
Also, when you SPEAK during that moment, it's so much less strong. Speaking is more for premise based initiation. How many of those scenes start with, "Well? or "Sorry!". If you're a little freaked out or have nothing, if you find a point in the space and play with something with meaning then it's much stronger and it pulls the audience in.<br />
<br />
I took it to heart because I had Megawatt that night. I wanted to TRY IT!<br />
<br />
2nd scene. I feel that millisecond of hesitancy. I walk out and go straight to a part of the stage I've never been to before. I start looking at my shelf at my house, I'm looking at my cereal bag. I'm looking a little confused, I'm thinking, "Did a mouse get in here" or "Who ate my cereal", but I don't Say anything. I just mull through it. Christina comes from behind me. I can feel her almost thinking, "Is he gonna say something?", I say nothing. That millisecond is just respect on her part, just in case, but I know she'll call it, she's smart and snappy and good.<br />
She says, "I got you chocolates for Valentines Day!!" or something close to it.<br />
I think, how have I been doing this. Confused, "Has a mouse been eating my cereal, has a roommate been eating my cereal", so in that reflection I say, "I'm allergic to chocolate." it gets a bit of a chuckle.<br />
Oddly enough at that moment, I think I got it. It's Valentine's day and she doesn't know anything about me. I say, "I guess, I should give you your present. Close your eyes." though maybe Christina said close your eyes. I get out a ring with the thought, "This girl doesn't even know me." I get down on one knee. Huge LAUGH! I get back up and try and test her a bit about what she knows about me. Christina is freaking smart she intentionally gets every question terribly wrong.<br />
Game. Set. Match. The second beat could have been better but I knew I did right by myself.<br />
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In my improviser life, I have thought of initations and deals before coming on stage. Sometimes they pay off, sometimes not. With those aspects, there is this small fear and almost an idiotproofing of information hoping that the scene goes your way, which is even scarier. With this little strategy, you're smooth and comfortable and ready to roll. Inside it's calm, outside could be insane but INSIDE RELAXED. That is an awesome feeling. Louis is a jedi master.<br />
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<br />Justin D. Torreshttp://www.blogger.com/profile/00377703412915155334noreply@blogger.com0tag:blogger.com,1999:blog-2581936994427640559.post-36051752056158383102014-04-15T21:04:00.000-07:002014-04-15T21:04:06.697-07:00The Mirroring Concept and the KEY in Heightening OrganicsThis is straight from a Level 5 PIT class that kind of blew my mind. This is Nate Starkey's thing and I had to write it down somewhere.<br />
<br />There are 3 types of Mirroring, Exact, Near, and Complimentary.<br />
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The ONE underlying similarity of ALL THREE is that it is based on what the other person initiates. It's not 2 initiations. If you choose to Mirror you are basing your first move on them.<br />
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EXACT MIRRORING: This refers to exactly mirroring what the other person is doing. It's physical, it's emotional. In an organic mirroring, you heighten on each others mirroring, similar to a pass the face exercise. This is what we all are used to.<br />
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NEAR MIRRORING: This is where you almost mirror it with a slight differentiation. If someone is curiously looking in a box, you can look in another box angrily. The match is the physicality but the emotion is different. If someone is curiously looking in a box, you could be curiously looking in a closet. The match and mirror is there, you chose to open something else. Another great thing I saw in class is someone turned around like a sprinkler and the other person got under the water and was affected by it happily.<br />
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** So many times we mirror exact and feel almost unfulfilled. Near mirroring may be the key to finding the fun of mirroring again**<br />
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COMPLIMENTARY MIRRORING: Similar to the sprinkler, but a little more active. This is where you're object work directly connects to the other persons object work. Or the emotion directly connects to the other one. If someone is aiming a gun angrily, you could be pointing at the thing he's shooting at OR helping him pull the trigger. You complement the other person. If someone is happily opening a present, you could happily be watching them like a parent.<br />
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Here's another key concept Nate threw down. When you are doing organic initiations or organic transitions, the KEY is to heighten quickly. You figure out the mirror situation and you HEIGHTEN. It should be EMOTIONAL, PHYSICAL and you yes and yourself out of this. The problem I've found is that I've done organic transitions where you don't heighten you just transform until it feels familiar. It's almost saying, this doesn't work, that doesn't work, this feels good. With heightening, it works right away.<br />
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Thanks Nate!!!Justin D. Torreshttp://www.blogger.com/profile/00377703412915155334noreply@blogger.com0tag:blogger.com,1999:blog-2581936994427640559.post-77830921829262898632014-04-15T08:31:00.002-07:002014-04-15T08:31:31.158-07:00Realistic Scenework I came from a base of acting. In college, I studied acting and directing for film. Later, I did a lot of musical theatre training along with a tour here and there. Though musical has a tendency to be bigger acting, I know a little about realistic scenes and when it comes to improv, I feel like "realistic" scenework is the consistent improv mystery.<br />
We all go to shows where there is almost never a slice of life scene. You are more likely to find those scenes in two-prov where efficiency doesn't necessarily have to happen. The best improvisers in the city do the same things we all do, pull themselves out of scenes, make big character choices that normal people wouldn't, and call out things that no one realistically would call out. For example, the concept of yes and ing isn't realistic, it's a tool.<br />
So, the big question is, how do we start behaving more realistically in scenes without just having it be a boring scene. Here are the notes that I've heard from teachers when it comes to grounding work.<br />
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1) React honestly.<br />
2) Know how you feel about people and ideas.<br />
3) Do object work to feel the space.<br />
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Here are the notes that contradict those notes.<br />
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1) Find the game.<br />
2) Follow the fun.<br />
3) Yes And.<br />
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I think of it as two different ideas. The ACTOR and the IMPROVISER, the actor immerses and feels and figures the situation out. The improviser is a point of view above yourself. An actor doesn't have rules, an actor will do a transaction scene, conflict scene, or nothing at all. An improviser is a little harder, the improviser has to figure out the scene through the rules and guidelines put forth.<br />
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Alright here is my take on realistic scenework. You are two improvisers in a scene. Whoever starts the scene, lays a single road, you have your road which exists and is parallel but it is a little behind the road that is put out there. You're job is to get on the same page quickly. A good support improviser will take the little he has and manipulate it to run parallel with the initiator, a good initiator will slow down a little bit to let the support catch up.<br />
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The moment we have a feel for the scene and who we are to each other, which doesn't have to have ANY words, we are on the same page. If someone initiates with a voice or a mannerism or something weird, you ground it by acknowledging that this person is FAMILIAR and FRIENDLY. Here is why it is cut and dried, if you are unfamiliar, anything they do is going to elicit a WHY, which means they are crazy. The more matter of fact you take it the better. By Friendly, you don't want to make the scene about getting a person to stop or be different than they are. Often times, people think that reacting honestly is calling out the weird thing. If someone walks with a limp, an unfamiliar person may want to call it a doctor visit or a person getting out of bed when they shouldn't. These EXPLAIN the situation but they STALL the scene because it is not about the relationship it is requiring a WHY.<br />
Now what if a problem is initiated, a WHY. Why did you take my stapler? Well, first off that's an improv guideline that you are bending. But, this happens a lot. The more weight you give that initiation, the harder it will be. You are familiar and friendly so you'll probably apologize and give them back the stapler and possibly yes-and the reason why he has accused you, and that's not, "What's wrong" because that's worse. You have to say SOMETHING, "Here ya go. Sorry. Listen, I know you're stressed lately because of all the lay offs. You've totally got the job man."<br />
What about a crazy idea? A person comes out and starts doing something crazy with their hands. If this doesn't become a group game, then you go back to Familiar and Friendly. Familiar may imply matching. The more you don't call out or make the action weird, the more interesting it'll be and the more grounded it will feel.<br />
Familiar and Friendly. Imagine taking any weird initiation, and I say weird as in just not normal not judging as bad, and making it wrong or weird or have to be explained. That is the WORST. You are stopping the road, telling your partner to come back and explain why you paved it this way.<br />
Here's an interesting example that I did recently. My partner initiates by bringing in a body or something. I have this feel that it is almost wrong and I'm in a position of authority so I call it as I'm a father and my son just brought in a deer the day before we went hunting. I am familiar and I am friendly, but the BASE is you did something wrong. In turn, it was a funny scene but it LAGGED because I had to be a father who was okay but not okay with it. The moment I was okay with it and said, "Well, lets skin it and learn something", the scene blasted off. Try this, SMILE. There is NOTHING wrong.<br />
If someone says, "I just killed someone,dad!", then you can go crazy honest and think about how do I solve this or SMILE and give him a hug. "You're gonna learn so much about yourself after this moment. My son is going to grow up."<br />
In conclusion, try not to stall the scene and think that something is wrong. Know who the person is and LIKE them. Even if they are complete dicks to you in the initiation, you have to like them a little because you are going to have a scene with them and not leave. I believe the grounding comes from the fact that you like the other person and that this is an everyday thing and that NOTHING is crazy. Even if it is crazy, it's not. I'll test it in class and see if it works out.<br />
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<br />Justin D. Torreshttp://www.blogger.com/profile/00377703412915155334noreply@blogger.com0tag:blogger.com,1999:blog-2581936994427640559.post-86493970136828243032014-04-13T23:33:00.002-07:002014-04-13T23:33:37.079-07:00My Motto as an ImproviserI thought about what I believed I do as an improviser. Here is my motto:<br />
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"There is no mistakes. As an improviser, I make sure that all my teammates feel that everything they do is supported and not judged. I promise to have as MUCH FUN as possible. I promise to try and make myself laugh and the people around me laugh. I promise to stay true to characters and stay true to the promises we as improvisers we make. I promise to love everyone I am with on stage. I promise to listen and act. I promise to keep my walk-ons to a minimum. I promise to find games in tag outs so that games may form. I promise to form as many patterns as I can. I promise to improvise. That's it"Justin D. Torreshttp://www.blogger.com/profile/00377703412915155334noreply@blogger.com0