Improv Workshop with IOs Ed Illades on November 1st

[erikamay]

Hey improvisers. My friend Ed is coming to town and teaching a workshop. He's a great improviser and coach. There are 5 slots left, so let me know soon if you'd like to attend.

I highly recommend Ed and am bummed that I am going to miss this workshop on account of honeymooning.

IMPROV WORKSHOP
With Ed Illades
Performer & Coach at Chicago’s Improv Olympic

Do you find yourself inventing, lost in a scene or unsure of the relationship between you and your scene partner?

Topic - Scenic Game Play: Find it.
In this workshop, you will work toward finding the direction of the scene in the first few moments, and building on that foundation throughout—expanding the characters and relationships from that starting point..

When n’ Where
November 1st: 7pm-10pm
The Hideout— Upstairs Classroom

Instructor bio
Ed is a founding member of the improv longform team, Johnny Roast Beef, and coach of the Cougars at IO Chicago, and also performs with the two-person Crackerjack. Ed has written and performed with a variety of shows, including Chartreuse at IO Chicago, and as an assistant writer and bit player for Schadenfreude, a sketch comedy show on Chicago Public Radio. He recently directed the two man sketch show Sandy Takes a Break, which was performed at the Fringe Festival in New York City. Ed loves improv and hopes that you do too.

Cost is $30, payable by personal checks or cash.
Class size is limited to 15 to ensure individual attention.

To reserve your spot, call Erika May at 773.551.0124 or email elektra_may@yahoo.com

[mcnichol]

Just wanted to bump this thread/note by saying that Ed is such a great teacher and performer of improv because he is such a great student of it. He takes as many opportunities to coach, direct, and teach as he does to learn from others. He's got that rare mix of both truly loving something and being really good at it.

Plus, he's a really great guy.

I believe there's a spot or two left -- if you are interested, contact Erika.

--Bob.

[Roy Janik]

You were right. The workshop was great, and I got a lot out of it.

[illades]

Thanks to everyone who took the workshop. It was a pleasure to work with you all and get a taste of the Austin improv scene.

[Roy Janik]

You know what?

This workshop really was great. So great, in fact, that I just went searching for it. It turns out I took it in November of 2005. Jesus.

This was the first time I was introduced to the concept of really building a scene out of the initial moments, and it's stuck with me.

And lately, that idea has been coloring everything I do and think about improv.

[mcnichol]

This was the first time I was introduced to the concept of really building a scene out of the initial moments, and it's stuck with me.

This was one of the first and most consistent things beat into me throughout classes and being coached in Chicago, and it's often the thing that i have to remember when my scenework's feelin' shitty. It's all there in the first few lines/looks/reactions/etc at the top. It also takes so much pressure off of feeling like I need to make anything up -- just go back to what you (your character) did at the top and come back to it again. ('it' loosely referring to the game, p.o.v., focus, stance, etc.)

Also, Ed may come down here again sometime this fall.

[illades]

Thanks for the kind words, Roy.

It's great to know that it helped.

I hope to come back sometime in the near future and teach another workshop.

Thanks again,

Ed

[York99]

This was the first time I was introduced to the concept of really building a scene out of the initial moments, and it's stuck with me.

This was one of the first and most consistent things beat into me throughout classes and being coached in Chicago, and it's often the thing that i have to remember when my scenework's feelin' shitty. It's all there in the first few lines/looks/reactions/etc at the top. It also takes so much pressure off of feeling like I need to make anything up -- just go back to what you (your character) did at the top and come back to it again. ('it' loosely referring to the game, p.o.v., focus, stance, etc.)

Also, Ed may come down here again sometime this fall.

Funny, I was just reviewing some notes from the Annoyance intensive I took last year and it said that the first few lines don't mean anything. I think the point there was, however, that it was more about the how than the what. But I'm not positive. Either way, funny you mention that.

[mcnichol]

[quote=Justin]Funny, I was just reviewing some notes from the Annoyance intensive I took last year and it said that the first few lines don't mean anything. I think the point there was, however, that it was more about the how than the what. But I'm not positive. Either way, funny you mention that.[/quote]

That sounds right. Annoyance is more of "just get out there and do something doesn' matter what, and get that scene going. And I agree with that -- it doesn't really matter what it is. But what that is that you are doing should inform your character and is important in that sense. Where this is important to me is in those scenes where you see someone threatening a pick-ax at another character at the top of a scene, and then, by the end of the scene, they're hatching a plan to finally open those chicken restaurants together. What the shit? I thought you were pissed at this guy? That's the stuff that (I think) you can't just drop and forget about, though so many scenes do. There's a lot more nuance to it than that but i'm on painkillers right now so I don't care.

I think we can all just agree that the beginnings of the scene are either very imporant or not at all important.

NOW, far more importantly, who can share what hilarious and slightly racist accents they've mastered?

[kbadr]

NOW, far more importantly, who can share what hilarious and slightly racist accents they've mastered?

I have always done a decent Indian (dot) accent, thanks to 5 years of having Indian TAs in Computer Science Classes.

I haven't mastered a native american accent, but PGraph heard me do it in rehearsal and unanimously decided that I should use it for a run of shows (we were exploring the idea of doing a run where we play the same character for the entire run)

I can do a decent Scottish accent, but I don't think that counts as racist because I'm 1/4 Scot.


You probably didn't want anyone to actually answer that question...

[illades]

I agree with Bob.

What you're going to say is not important. What you have already said is vital. The first few moments hold the key to your scene, but it doesn't matter what they are. No matter what they are they are good enough to build a scene on.

Also, don't confuse the first few moments with the first few lines. It's a common mistake. You can go minutes without a single line and those first few moments will still contain enough info to build a scene on.

Also also: Every moment of the scene is important. Otherwise why watch the scene. There is not a bit of information that is unimportant to the scene, whether it be verbal, stylistic or emotional.

Also also also, where do you people post sketch comedy videos that you have done and want other people to see? Off the topic, sure, but I'm a stranger here so please point me in a direction.

Thanks y'all.

e

[mcnichol]

Also also also, where do you people post sketch comedy videos that you have done and want other people to see? Off the topic, sure, but I'm a stranger here so please point me in a direction.

My friend, I think you can put it here: Major Havoc.

[Mike]

NOW, far more importantly, who can share what hilarious and slightly racist accents they've mastered?

I'm pretty good at German, French, Italian, and a generic Spanish accent. I can do a half decent Indian (dot) accent and my Austrailian accent is being tweaked. Thanks to working at various Ren faires the first accents I picked up were English (High and low brow) and Scottish. Can also do a fair Japanese one too.

[improvstitute]

NOW, far more importantly, who can share what hilarious and slightly racist accents they've mastered?

I'm pretty good at German, French, Italian, and a generic Spanish accent. I can do a half decent Indian (dot) accent and my Austrailian accent is being tweaked. Thanks to working at various Ren faires the first accents I picked up were English (High and low brow) and Scottish. Can also do a fair Japanese one too.

I believe the real master of accents in the AIC is Andy Crouch. He can switch in and out of them seamlessly...even in the same character. One second he is a French waiter thenthe next he is Italian. It is amazing to watch. He is on par with how well Frank Caliendo switches characters.

Andy - you should consider teaching a level 5 class just on accents! I'd be in!!!

[Miggy]

Man - I wish I could have taken this class. I sooo need help on this.

I also need help on accents. I can do several - but I always drop them somewhere, and with it my character.