Brother John Ratliff Explains It All for You

[ratliff]

On Wednesday Dec. 4th I'll be teaching a Hideout elective on non-narrative longform improv from 7 to 9. It's ten bucks.* You should come.

I have apparently decided that trying to get people to play scenes more realistically is too easy and instead will be trying to explain a half-century's worth of improv philosophy in two hours. While this class is (still being) designed for newcomers to non-narrative longform, those of you already working with it are actively encouraged to come, both because your questions will probably help clarify things and because I think you'll enjoy watching me flail around in conceptual flypaper of my own making.

Topics that may come up:

• Creating from "nothing"
• Expanding a created world omnidirectionally instead of linearly
• Pattern recognition and the human tendency to create meaning
• Why sex and music are the best metaphors for improv
• The left brain vs. the right brain
• The 19th-century novel vs. the 20th-century short story
• Inspiration vs. obligation
• Zen and the art of being-not-doing
• The most important part of speech
• Why the first thing is always the best thing
• Radical yes-anding, or Why it's impossible for you to fuck this up

There's more, but I'm still figuring it out. Join us, won't you?

Register here.

*I think maybe current HIdeout students get a discount? Try classes@hideouttheatre.com to see if that's true.

[kbadr]

Current Hideout students get half-off, yep.

Is this a lecture or an on-your-feet type workshop? I can't tell from the description.

(begin joke)

Also, sex is a terrible metaphor for improv. I do improv at least 3 times a week...

(end of joke)

[Spots]

To back this up

Improv brings out patterns in the human brain, and I do think most people would be surprised to see how relentlessly the narrative pattern will surface when specifically trying "not to do narrative."


It's difficult to condition your brain to break free of that pattern, especially in a group.


It's not about "not doing narrative." It's about strengthening all patterns, bringing your unconscious desire for narrative to the surface so you as a performer can choose ANY pattern-- even narrative-- and make the best sequence as an artist with agency.


I think context & giving the background is a fantastic idea.