On Saturday 5 February, Rob Reese (experienced improv coach and director, trained in Chicago now based in New York, Artistic Director of Amnesia Wars) ran an afternoon workshop for 16 people.
The workshop opened with exercises focused on establishing as immediately as possible the "who" and the "where". The lion's share of the workshop involved the participants performing open scenes. Rob gave insightful feedback on each of these scenes, analysing what made one scene work and caused another to struggle. He passed on invaluable tips on things that you can do to help yourself and your partner in a scene (define who and where asap, give yourself a repetitive movement you can go back to, catch the game and augment it, for example), and on traps to avoid (getting into negotiating over facts, teaching, arguing for example). Rob is a perceptive, gracious, fun, and inspiring coach. If only he lived in the original Amsterdam instead of the new.
dinsdag 24 mei 2011
maandag 23 mei 2011
De Eskimo's
De Eskimo's is een experimentele mengvorm van pure improvisatie en meer klassieke theatrale elementen. Het experiment bestaat eruit te onderzoeken hoe het drama fris blijft, maar dat de scene wel inhoudelijk wordt uitgediept.
De Eskimo's werken in ieder geval met een gerenommeerde toneelschrijver. Zo kan het zijn dat de schrijver de acteurs een week voor de voorstelling, de opdracht geeft zich te verdiepen in een personage. De te spelen situatie tussen de personages wordt dan pas vlak voor het optreden aan de spelers en het publiek door de schrijver onthuld.
Maar het kan ook zo zijn dat zowel de personages als de situatie pas tijdens het optreden uit de doeken worden gedaan. Alles is mogelijk en niets moet bij de Eskimo's!
De speler is als een Eskimo die met weinig middelen zich ten overstaan van het publiek in het diepe gooit, in de hoop op een goede vangst.
De Eskimo’s is een initiatief van Patrick Sins en Maurice van Turnhout.
Verder werken mee: Annemarie Brijder, Lotte Gerritsjans, Marc van Dijk, Bart Danon, Daan Vennix, Dieter Camps en Frank Roumen
De Eskimo’s is in elk geval te zien op:
Donderdag 2 juni op het Scagon eenakterfestival te Schagen, vanaf 11.30 uur
Scagontheater
Tel: 0224-297978/06-12988666
Entreeprijs 10 euro
Zaterdag 4 juni op het Nanook Nono eenakterfestival vanaf 20.00 uur in De Theatergarage, Borgerhout, België
Reserveren:
06 467 467 63
Entreeprijs 10 euro
29 en 30 oktober op het Cameleon eenakterfestival, De Cameleon, Amsterdam
tijden volgen nog
Mede mogelijk gemaakt door AllImprov
De Eskimo's werken in ieder geval met een gerenommeerde toneelschrijver. Zo kan het zijn dat de schrijver de acteurs een week voor de voorstelling, de opdracht geeft zich te verdiepen in een personage. De te spelen situatie tussen de personages wordt dan pas vlak voor het optreden aan de spelers en het publiek door de schrijver onthuld.Maar het kan ook zo zijn dat zowel de personages als de situatie pas tijdens het optreden uit de doeken worden gedaan. Alles is mogelijk en niets moet bij de Eskimo's!
De speler is als een Eskimo die met weinig middelen zich ten overstaan van het publiek in het diepe gooit, in de hoop op een goede vangst.
De Eskimo’s is een initiatief van Patrick Sins en Maurice van Turnhout.
Verder werken mee: Annemarie Brijder, Lotte Gerritsjans, Marc van Dijk, Bart Danon, Daan Vennix, Dieter Camps en Frank Roumen
De Eskimo’s is in elk geval te zien op:
Donderdag 2 juni op het Scagon eenakterfestival te Schagen, vanaf 11.30 uur
Scagontheater
Tel: 0224-297978/06-12988666
Entreeprijs 10 euro
Zaterdag 4 juni op het Nanook Nono eenakterfestival vanaf 20.00 uur in De Theatergarage, Borgerhout, België
Reserveren:
06 467 467 63
Entreeprijs 10 euro
29 en 30 oktober op het Cameleon eenakterfestival, De Cameleon, Amsterdam
tijden volgen nog
Mede mogelijk gemaakt door AllImprov
vrijdag 20 mei 2011
Ira Seidenstein's 5-Day Clown & Acting Workshop Report
As part of his 2011 European tour, Ira ran a 5-day intensive clown and acting workshop attended by six people of varying levels of improv experience.
It was a process of discovering one’s body, remaining aware of it, and using it fully. Each day we discovered new things about the way we engage our bodies. On day five we were aware of things that we would never have perceived on the first days.
The days were structured in generally the same way: every morning we would work through a series of physical exercises designed by Ira (in 1976) known as the core mechanics. Then we would work through another series of creative physical exercises designed to explore feelings and energy discovered when we “listened to” and moved our bodies in a certain way. We can all now practice these physical exercises ourselves on a daily basis.
In the afternoons, we performed exercises based on the work of some of the great clowns: Charlie Chaplin, Buster Keaton, Laurel & Hardy, Lucille Ball and Vivian Vance, Josephine Baker. These exercises were simple yet profound. Amidst much struggle we each caught moments of magic.
This was not like other workshops I have been to; this was like training. When we got up to do the clown exercises it was not a casual affair like “oh I will see how it feels and give it a try”. Ira worked it so that each exercise felt precious, like it was the last, and could not possibly be wasted on half-ass attempts. We were inspired to give it all every time; that was the only way to make breakthroughs, to discover more vital ways of being. Needless to say, we all slept like babies on brandy that week.
Here are comments from the other participants:
“Five days with Ira was extraordinary, challenging and inspiring. His method offers a systematic and technical approach to how an actor can begin physical work and performance immediately, through a simple daily practice.”
“I knew it would be good for me, but it was actually fantastic for making me more aware and in control of my body. I thought 5 days would be more than enough, but it was only after 4.5 that I was really starting to get the hang of it. I felt a door had been opened and I would love to explore what's in there much, much more. I would recommend this to anyone who wants to learn to be aware and control their body on stage and avoid being just another static, floppy-armed, "blah-blah-blah" sort of improviser.”
“intense and exhausting in a very good way. This was a crash course on using and being aware of how my body moves. I'm very happy I did the workshop...I would do it again.”
“Ira opened a door for a better understanding of the physical aspects in acting and clowning. Though defending and promoting his approach, it should be seen as a starting point for everybody who seeks new ways and challenges. With direct and sometimes harsh feedback he kept the tension on a high level so that everybody became aware of his or her mistakes. It was a great experience with a great group and a great teacher. In short: I love clowning.”
“The intensive clown and acting workshop was a powerful experience for me. These past 5 days have enabled me to achieve a greater comfort level in expressing myself physically and also allowing myself to move in more expressive ways. In addition to body awareness, I also learned about core mechanics that provide my body with energy, and I will continue to practice these movements. I will take what I’ve learned and experienced and continue to practice it in my improvisation, especially the act of sending my partner energy in a scene.”
Ira plans to run further workshops in Amsterdam, possibly in November 2011 and probably in March 2012. They will be advertised on www.easylaughs.nl.
It was a process of discovering one’s body, remaining aware of it, and using it fully. Each day we discovered new things about the way we engage our bodies. On day five we were aware of things that we would never have perceived on the first days.
The days were structured in generally the same way: every morning we would work through a series of physical exercises designed by Ira (in 1976) known as the core mechanics. Then we would work through another series of creative physical exercises designed to explore feelings and energy discovered when we “listened to” and moved our bodies in a certain way. We can all now practice these physical exercises ourselves on a daily basis.
In the afternoons, we performed exercises based on the work of some of the great clowns: Charlie Chaplin, Buster Keaton, Laurel & Hardy, Lucille Ball and Vivian Vance, Josephine Baker. These exercises were simple yet profound. Amidst much struggle we each caught moments of magic.
This was not like other workshops I have been to; this was like training. When we got up to do the clown exercises it was not a casual affair like “oh I will see how it feels and give it a try”. Ira worked it so that each exercise felt precious, like it was the last, and could not possibly be wasted on half-ass attempts. We were inspired to give it all every time; that was the only way to make breakthroughs, to discover more vital ways of being. Needless to say, we all slept like babies on brandy that week.
Here are comments from the other participants:
“Five days with Ira was extraordinary, challenging and inspiring. His method offers a systematic and technical approach to how an actor can begin physical work and performance immediately, through a simple daily practice.”
“I knew it would be good for me, but it was actually fantastic for making me more aware and in control of my body. I thought 5 days would be more than enough, but it was only after 4.5 that I was really starting to get the hang of it. I felt a door had been opened and I would love to explore what's in there much, much more. I would recommend this to anyone who wants to learn to be aware and control their body on stage and avoid being just another static, floppy-armed, "blah-blah-blah" sort of improviser.”
“intense and exhausting in a very good way. This was a crash course on using and being aware of how my body moves. I'm very happy I did the workshop...I would do it again.”
“Ira opened a door for a better understanding of the physical aspects in acting and clowning. Though defending and promoting his approach, it should be seen as a starting point for everybody who seeks new ways and challenges. With direct and sometimes harsh feedback he kept the tension on a high level so that everybody became aware of his or her mistakes. It was a great experience with a great group and a great teacher. In short: I love clowning.”
“The intensive clown and acting workshop was a powerful experience for me. These past 5 days have enabled me to achieve a greater comfort level in expressing myself physically and also allowing myself to move in more expressive ways. In addition to body awareness, I also learned about core mechanics that provide my body with energy, and I will continue to practice these movements. I will take what I’ve learned and experienced and continue to practice it in my improvisation, especially the act of sending my partner energy in a scene.”
Ira plans to run further workshops in Amsterdam, possibly in November 2011 and probably in March 2012. They will be advertised on www.easylaughs.nl.
maandag 16 mei 2011
Playing with your body, workshop report
William Dashwood gave a three hour workshop for eleven improvisers about techniques and insights from the mime of Decroux and Marceau that we can use in improv scenes.
We pushed invisible supermarket trollies, expressed emotions while reaching for imaginary packets and tins from a supermarket. We experienced how posture and eye contact influences our status, played psychic kung fu, opened doors super convincingly, took tram rides on a wobbly tram while hanging on to the safety bars. And two participants got to make the scariest cup of tea they have ever made in their lives.
After the workshop several people were asking "I want more! When is the next workshop?"
Thanks William Dashwood, I hope you'll give another workshop soon.
zondag 8 mei 2011
Tim Orr Workshops Report
Well, Tim has left Holland after an intensive two weeks full of workshops…
Having taken four of them, I feel fully inspired and regarding the messages on Facebook I am not the only one. By now everyone that took a class is probably suddenly LOUD and CLEAR. Or at least trying to be so. I am really looking forward to use as much of the stuff I´ve learned in my regular training and I hope so do you.
Thanks to everyone who took a workshop: for subscribing and entering so enthusiastically. For showing up on time (well, mostly) for supporting the other participants even though you didn’t know him or her. For allowing them even to hit you or kiss you (physicality workshop), pursue you or wrongly endow you, or blow you into space….
And thanks Tim for so energetically inspiring us, even though we laid out a killing schedule. We had a good time!
Good luck with all your Improv Activities!
Anke Wijnja
On behalf of FarFetched Productions
Thanks to everyone who took a workshop: for subscribing and entering so enthusiastically. For showing up on time (well, mostly) for supporting the other participants even though you didn’t know him or her. For allowing them even to hit you or kiss you (physicality workshop), pursue you or wrongly endow you, or blow you into space….
And thanks Tim for so energetically inspiring us, even though we laid out a killing schedule. We had a good time!
Good luck with all your Improv Activities!
Anke Wijnja
On behalf of FarFetched Productions
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