Improvisational theatre

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    When I was starting out in Chicago theater I was fortunate to work with some of the city’s more renowned and well respected actors. I remember two striking exchanges with these actors which changed my view of them, or at least how I viewed myself in relation to their amazing talent. One actor I understudied is a man who is a joy to watch in any play. He is consistently employed around town performing drama and comedies, classical works and Shakespeare, contemporary plays and musicals; he can do it all. He work has been recognized with awards and he is a sought after teacher for other actors. If I hadn’t made it clear by now I greatly admired him and hoped to be like him one day. One time I mentioned something that happened the previous evening in the Second City class I was teaching. He asked “You do improv?”. When I nodded he gave a little shudder and his voice filled with fear as he shook his head and replied “I could never do that”. I was stunned. This man has stood alone on a stage in front of 500 people and commanded their attention as he moved them to tears, and he’s afraid of a little game of Hitchhiker? Yet from his reaction I could feel how intensely improv filled him with dread. A later incident provided me with clarity to understand his reaction. In preparation to perform one of Shakespeare’s tragedies the director arranged a multi-day workshop with Stewart Pearce, whose many professional titles include Resident Master of Voice at Shakespeare’s Globe Theater…

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    Speaking Dementia

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    this article on StumbleUpon Share this article on Delicious Share this article on Digg Share this article on Reddit Share this article on Pinterest Expert Author Stan Goldberg, Ph.d. Who would think there is anything humorous about Dementia? Most people who experience it or their caregivers wouldn't. But humor and improvisation may be a key element to reducing anxiety and creating joy for both you and your loved one. In Part I of this series I discussed some of the facts and myths about…

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    The Complete Stanislavsky Toolkit The reading for the approach to the rehearsal process continues. The text discussed the importance of the director and their assistance and guidance during the rehearsal process by establishing the aesthetic. After the discussion on the “Method of Physical actions” we moved to a new discussion concerning “Active analysis.” I personally feel that a lot of the material covered from the reading was previously discussed. The text however notes a few differences in…

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    Mr. Know-It-All Narrative

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    The strongest improv rule I did was keeping everything going throughout the whole entire process, trying to build off of everyone else’s idea. Through Conducted Story to Mr. Know-It-All I did my utmost best to make every sentence make sense and if it suddenly changed, go off of someone else’s emotions, and idea of a story. In Mr. Know-It-All most of our sentences made no sentences, I attempted to make sense of them and roll off of their ideas, when Mark would say the weirdest word that did not…

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    Mere weeks before the onset of the 1960’s, a group made of mostly University of Chicago alums embarked on a new comedic venture as they opened the doors to Second City Theatre. Little did the audience and players know that the establishment would soon become a pioneering institution in the domain of improvisational theatre and comedy. Charging only one dollar for entry, this counter-culture, new theatre allowed the audience a truly unique experience as they used intelligent humor and audience…

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    The Venetian Masks are an old traditional mask of the city Venice in Italy. These types of masks were usually worn during carnivals and other times they were used to hide someone’s identity or social status. They let people be free and interact with people out of their normal social world. Some other purposes they were used for were for criminal purposes and others used them for a romantic encounter but sometimes the reasons were unknown. These masks have a unique design that contains ornate…

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    Moliére Essay

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    apprenticeship. Early examples of farce can be found in the comedies of Aristophanes, Plautus, and Terence. During the fifteenth century, farce became its own genre, originating in France, with such plays as La farce de Maitre Pierre Pathelin dating all the way back to 1470 (www.bartleby.com). Instances of farcical elements, such as broad, ribald humor, physical gesture, and absurd situations will later be the heart of commedia dell’arte, and the core of Molière’s plays. In 1653 Molière’s…

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    This essay combines critical reflection with dramaturgical analysis to uncover some of the ethical questions that arose when working in applied ethnographic theatre with veterans of the US Armed Forces. In the aftermath of 9/11, theatre in the United States has grappled with the ongoing armed conflicts through a number of recent projects and initiatives performed throughout the country, including Basetrack Live (2014), Holding it Down: The Veterans’ Dreams Project (2013), and The Telling Project…

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    "What the film, the comic strip, the TV situation comedy, and burlesque (in the American sense) have been to the twentieth century, the Commedia dell'Arte was to the Renaissance" (Oreglia). Commedia dell'arte which translates to "comedy of arts," was the first professional form of theatrical art. This distinctive form of art first begun in Italy during the early fifteenth century, and thrived with popularity throughout Europe, during the seventeenth century. Commedia dell'arte was termed the…

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    The Italian Renaissance Theatre was from 1400 to 1620. It housed many operas and plays. The most popular performance was the Commedia. This was Farce, or low comedy. It was also known as slapstick for in some of the plays and actor would beat up another with a stick. The stage was designed to be disassembled easily, and was decorated with paintings. In many of the plays mask would be used such as ones you would find in a masquerade ball. Famous characters are categorized as The servants of…

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