Austin School Styles

[Mike Reed]

Hi all!

I'm in 401 at the Institution and thinking about what to do when it's done. Obviously one answer is more schoolin'! So, to help me pick the next fine institution of learning, can anyone describe the type of teaching philosophy/style of each of the other schools in town? What I'd really like is a concentration on comedy. Theatrical improv really isn't my bag. I love the laughs!

Also, to help this poor newbie out, please avoid answering in the form of "This one teaches in the style of <famous improviser> at <famous improv school> in <Chicago, NY, LA or any other hotbed of improv activity>", because, honestly, I'm not going to know what you're talking about!

Thanks for the help!

Mike

[Roy Janik]

Hideout: Theatrical Improv.

[valetoile]

Coldtowne or New Movement would be your best options for "comedy." But really, you should go see some shows at the different theaters, and then ask the performers where they studied.

[Spots]

If comedy becomes a dirty word here I won't know what to do with myself.

[Alex B]

Just see some shows at (and take the free class at) the theaters you're interested in, then chat up the performers (teacher) afterwards. That's the best way. ColdTowne and TNM esp, given what you wrote.

[thedward]

If your goal is laughs, I'm not clear on why you'd shy away from "theatrical" improv? Can you clarify your thinking on that?

[Mike Reed]

Thedward - It's not that I shy away from theatrical improv, it's just that it's not what I like the most. A good performance is always the primary goal, laughs or not, but comedy for the sake of comedy is more fulfilling to me. I like scenes that are obviously farcical over those that are dramatic, even if they have some humorous moments. A local troupe that I'd love to emulate is "Knuckleball Now", though I don't think I'd ever be able to maintain that level of controlled choas. I'd also love to be part of Flying Theater Machine someday. Children audiences love laughing, as my two goofy daughters (and their goofy daddy) can testify to!

[tannerkalina]

Hey! I have been thinking the same thing because I'm at the Institution studying right now as well. But they don't even teach strictly comedy. They teach the comedy is in the relationship and discovery of something, which is true for all improv in my opinion. And what better way to learn to make relationships than getting a little drama thrown in there? That's why I'm starting up at the Hideout this week (super pumped!) That's not to say the other theaters are wrong though...I want to study at them too! I must say, though, I haven't met a bad improviser that finished the Hideout program. I know I'm still new to this community but every person I've met that has studied at the HIdeout has been hilarious and phenomenal.

[happywaffle]

Thedward - It's not that I shy away from theatrical improv, it's just that it's not what I like the most. A good performance is always the primary goal, laughs or not, but comedy for the sake of comedy is more fulfilling to me. I like scenes that are obviously farcical over those that are dramatic, even if they have some humorous moments. A local troupe that I'd love to emulate is "Knuckleball Now", though I don't think I'd ever be able to maintain that level of controlled choas. I'd also love to be part of Flying Theater Machine someday. Children audiences love laughing, as my two goofy daughters (and their goofy daddy) can testify to!

Knuckleball Now is a bunch of Hideout guys.

Really, as an improv student, you can't go wrong at any of the schools. It's all very conceptual at this level, emphasizing fun and play. The previous advice was correct: go take some free classes and see what fits with you. Don't worry too much about your "end goal" as a performer. Hell, after 12 years, I'm just now taking Level 3 at ColdTowne, just to get a different experience.

[Spots]

So let's discuss another misnomer.

"theatrical"

Because we all know at least ONE audience member or performer who doesn't dig on the "theatrical" elements of shows. For instance when I took theater classes at UT, I had to drag Zach Anner to plays because he had watched 3 plays in a row that were too theatrical or something. Whatever that sensation is we all kinda feel at times. We can all relate because we have a friend who talks about whatever this is? This thing that gets tossed around-- frequently used excuses to avoid theater?


Is it theatricality? Is it theatricality in a timeless sense? I don't think it is.


I propose we are using the term "theatrical" innappropriately. Because you and I certainly are not seeing theater the way the Greeks saw it, or the Japanese at the turn of the century. Let's not simply volunteer away the term "theater" to a single series of conventions that take a firm grasp today. Let's be open.

I think what we mean to say is that we want to avoid current theatrical conventions. There is absolutely no law written anywhere that says theater has to be showy, that actors MUST project their voices and gestures to the balcony, that plots will follow idealistic or sentimental scenarios, or that props and costumes must follow expectations set in the Victorian era.

That's just the current trend we are all used to. Convention is the culprit. Not theater.



It's merely a reflection of our people and culture. But our people and culture are always changing & adapting.


Start saying, "Such and such show was too conventional for my tastes." Because that is only a slightly more accurate phrasing of what you mean. Maybe go into specifics of which conventions you disliked or resented and then you'll have a case. (even though we all sense what you mean because the current conventions have been in place since before our grandparents were born)

There have been other periods in the history of theater, and like a few other theater folks who cannot identify with much theater, I am dying for a new era of theater that favors new trends. My favorite would be naturalism. Something more like what I see in my favorite performances elsewhere-- films & television for instance. I know that LARGER venues could not deliver naturalism very easily. But that is still a convention of theater and nothing more.

Convention favors practicality. Agreed?

Look up the writings of Emile Zola who proposed a new era of naturalism in the theater for further reference. It's pretty fantastic and it was written in the 1800s. Sadly, the same conventions are winning today but it is a wonderful call to action.

[Jon Bolden]

I would say the teachers you end up having might be more important than the actual theater you study at. I had four different teachers at ColdTowne and they were all completely different. Not that they were teaching different "end results" or formats, per se, but that their collective knowledge transcended any simple label that I could give the theater in general. I would not say that John Ratliff was trying to teach me "comedy" but I may have learned more about it from him than anyone (especially when he brought out the cream pies and seltzer bottles, jk jk).

I know, personally, at The Hideout I am (currently) really into pushing positivity and how to have fun with anyone more than learn a particular style or form. I also give them candy (not true).

[smerlin]

A little about Merlin Works:

The style of improv that we teach is
Improv 101 - 301 Short Form Game Play
Improv 401 - 601 Scenework and Narrative Longform
Improv Singing 101 - 301 Improvised Songs and Musicals

The style of teaching we have:
Organized lesson plans with a 30-60 page curriculum for each course, each class and course being cumulative.
Psychological approach to teaching: deal with the fear first, and the good improv will come. Aka we are often known as the warmfuzzy place to begin learning improv .
Practical: lots of classes build skills for your improv toolbelt, include handouts with list, and use whiteboarding in instruction.

My hope is that Austin becomes like other bigger improv towns and people make the circuit through multiple schools. Being present and in the moment is the journey of a lifetime, not of a few months. And I think all the schools really complement each other and each one you will come out better than you went in.

[Jastroch]

Yes to the advice, re: watch a whole bunch of shows from different theaters and take their free classes.

ColdTowne's syllabus pulls from all the bits we find most useful from a variety of different theaters, including the UCB, iO and the Annoyance. We have a heavy focus on character work, organic work, unconditional fearless support and game, filtered through the Harold. We have a heavy focus on relationship that stems from most of our instructors coming from iO.

We've debated our "outlook" forever, and have come to rest in pragmatism. What's going to make you the strongest, most fearless, most dynamic comedy performer? We lose something in easy stylistic sound-bytes, but make up for it with giving you a deep utility belt.

[Ruby W.]

I took Hideout Classes and Institution Classes and the combination of the two was fantastic. Super opposite approaches to improv and scene-work, and my improv exploded.

And I'm in a troupe I would say is more "funny" than "serious". But that's not due to my schooling - it's due to the choices me and my troupe-mates made in creating our troupe. So I wouldn't get too bogged down in that.

[valetoile]

I put "comedy" in quotes because I don't think you can really teach anyone to be funny. You can only teach people to get out of their own way. And I think all the schools will do that, in different ways.