Dangerous actors - second appeal
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- ChrisTrew.Com Offline
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I hate to damage the tone of this thread, but I still don't get it.
What is a dangerous improviser or dangerous improv? All you mention is playing with people you don't like to play with. I do that every Saturday night at 10. (lower case zing)
Seriously, though, I don't get it.
What is a dangerous improviser or dangerous improv? All you mention is playing with people you don't like to play with. I do that every Saturday night at 10. (lower case zing)
Seriously, though, I don't get it.
"Every cat dies 9 times, but every cat does not truly live 9 lives."
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- TexasImprovMassacre Offline
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Ironic, disappointing answer: http://www.i-am-bored.com/bored_link.cfm?link_id=24154York99 wrote:What is a dangerous improviser or dangerous improv?
- TexasImprovMassacre Offline
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Feedback
Well, thanks for the responses.
I think what I've been trying to say is that I find it interesting, as an actor and a human being, how we use comedy. And, more interestingly, why we use comedy. I mean, improv is traditionally comedic in form, and it's hugely entertaining when it's funny and done well. But there are certain limits to what comes out of short form comedy improv. And it's what's beyond those limits that interests me. So don't think I'm knocking short form comedy improv. I'm just interested in exploring something outside the common boundaries.
Having done several deeply intensive therapy workshops I really got to understand that comedy is often -or possibly always - a mask for deeper issues. It wasn't till I realised that my constant clowning around throughout my whole life was a defence mechanism that I was able to explore some far more interesting aspects not just of myself but of everyone. Seeing behind the mask is what drama is all about, after all...it's the subtext of so much, and the flip side of comedy. All comedians want to play Hamlet, they say. And why? Because they want to be seen for something more than the clown.
It's been said that drama is unresolved comedy.I think what I'm looking to do is explore the stuff that's unresolved.
Call it "auto voyeurism"? I dunno. Maybe it's just narcissism taken to a new level. But it is interesting to explore. That's all I can say.
Anyway...I'll post a little video of my ideas in a bit.
And hey! This doesn't necessarily mean going into the really dark places. But it does mean there's a possibility that may occur.
Jack
I think what I've been trying to say is that I find it interesting, as an actor and a human being, how we use comedy. And, more interestingly, why we use comedy. I mean, improv is traditionally comedic in form, and it's hugely entertaining when it's funny and done well. But there are certain limits to what comes out of short form comedy improv. And it's what's beyond those limits that interests me. So don't think I'm knocking short form comedy improv. I'm just interested in exploring something outside the common boundaries.
Having done several deeply intensive therapy workshops I really got to understand that comedy is often -or possibly always - a mask for deeper issues. It wasn't till I realised that my constant clowning around throughout my whole life was a defence mechanism that I was able to explore some far more interesting aspects not just of myself but of everyone. Seeing behind the mask is what drama is all about, after all...it's the subtext of so much, and the flip side of comedy. All comedians want to play Hamlet, they say. And why? Because they want to be seen for something more than the clown.
It's been said that drama is unresolved comedy.I think what I'm looking to do is explore the stuff that's unresolved.
Call it "auto voyeurism"? I dunno. Maybe it's just narcissism taken to a new level. But it is interesting to explore. That's all I can say.
Anyway...I'll post a little video of my ideas in a bit.
And hey! This doesn't necessarily mean going into the really dark places. But it does mean there's a possibility that may occur.
Jack
Re: Feedback
That's kinda what I suspected you meant, so I think we've been on the same page. My biggest clue about your meaning was your mentioning of Mike Leigh films. Most improv that I see is the kind that can conceivably lead to a film akin to Waiting for Guffman, but I don't think I've yet seen live improv that might result in a film like Naked.Jack wrote:It's been said that drama is unresolved comedy.I think what I'm looking to do is explore the stuff that's unresolved.
I think that's interesting and possibly scary and possibly really good.
I know I use comedy all the time to protect myself. Plus, I've never been perceived as the dark moody brooding type physically so when I get dark, moody, and brooding people are all like....wha? Be funny!
So I'm funny. I like being funny, but it does tend to feel burdensome at times, like you just wish you could let that mask down.
But then, of course, you'd get hurt! Masks UP!
I'm going to go and listen to Cheryl Lynn's song regarding being real. Perhaps I'll grasp a nuance never yet discovered.
I know I use comedy all the time to protect myself. Plus, I've never been perceived as the dark moody brooding type physically so when I get dark, moody, and brooding people are all like....wha? Be funny!
So I'm funny. I like being funny, but it does tend to feel burdensome at times, like you just wish you could let that mask down.
But then, of course, you'd get hurt! Masks UP!
I'm going to go and listen to Cheryl Lynn's song regarding being real. Perhaps I'll grasp a nuance never yet discovered.
"Love is the ultimate outlaw. It just won't adhere to any rules. The most any of us can do is to sign on as its accomplice. Instead of vowing to honor and obey, maybe we should swear to aid and abet." Tom Robbins
HI Jules
Now you hit on one interesting point. You claim that when you drop the mask you "get hurt". I've come to think otherwise. What happens, I believe, is that you become aware of the hurt, which is a different thing entirely.
My focus in this work, just as it would be in a therapy situation, is to understand that you aren't your behaviours, your beliefs, or even, perhaps, your personality.
To use a computer analogy - not ideal, but to some degree effective - if we think of "you" as the hardware, your beliefs, "subpersonalities", conditioning and much of your psychological makeup is the software.
Understanding that your software (conditioning, beliefs, etc) are only programming, you can be more objective about who you are.
And so understanding those principles, I believe we can feel far less self-conscious about exposing "ourselves", and allow some really interesting stuff to emerge.
It can also, from my experience, lead to some profound epiphanies with regard to one's own "life story", and from that, opportunities to understand oneself and grow. But that's the therapy side of it, and I'm intending more - for art's sake at least here in these intended workshops and session - to focus on the dramatic, and, if it emerges and it's damned good - the comedic
I hope that makes sense.
Now you hit on one interesting point. You claim that when you drop the mask you "get hurt". I've come to think otherwise. What happens, I believe, is that you become aware of the hurt, which is a different thing entirely.
My focus in this work, just as it would be in a therapy situation, is to understand that you aren't your behaviours, your beliefs, or even, perhaps, your personality.
To use a computer analogy - not ideal, but to some degree effective - if we think of "you" as the hardware, your beliefs, "subpersonalities", conditioning and much of your psychological makeup is the software.
Understanding that your software (conditioning, beliefs, etc) are only programming, you can be more objective about who you are.
And so understanding those principles, I believe we can feel far less self-conscious about exposing "ourselves", and allow some really interesting stuff to emerge.
It can also, from my experience, lead to some profound epiphanies with regard to one's own "life story", and from that, opportunities to understand oneself and grow. But that's the therapy side of it, and I'm intending more - for art's sake at least here in these intended workshops and session - to focus on the dramatic, and, if it emerges and it's damned good - the comedic
I hope that makes sense.
Jack, very interesting point. That might be true, that being aware of the hurt is what happens when we lower the defensive posture (comedy, sarcasm, bullying what have you).
I think you and I could have some very interesting conversations about this stuff.
You can answer off line if you want, but what is your strategy for dealing with potential moments of real pain/aftermath etc as I think that anyone experiencing or practicing work like this should expect a sense of care from the facilitator.
Working on the real without traveling into psychodramatic therapeutic technique would be the line I'd be most concerned about.
I think you and I could have some very interesting conversations about this stuff.
You can answer off line if you want, but what is your strategy for dealing with potential moments of real pain/aftermath etc as I think that anyone experiencing or practicing work like this should expect a sense of care from the facilitator.
Working on the real without traveling into psychodramatic therapeutic technique would be the line I'd be most concerned about.
"Love is the ultimate outlaw. It just won't adhere to any rules. The most any of us can do is to sign on as its accomplice. Instead of vowing to honor and obey, maybe we should swear to aid and abet." Tom Robbins
Hi Jules
Well, I've worked in workshop situations with people who have processed very deep emotional issues, ranging from abuse, rape, murder, suicide of loved ones, their own attempted suicides, etc. Plus I've worked in therapeutic situations (on "both sides") dealing with similar issues.
I've also done workshops along these lines in Britain.
It's my intent to do some kind of grounding work before any workshop starts; also to be clear that it's not a therapy session, and any issues that come up for the participants would be their own responsibility to deal with, should the case arise. After all, there are plenty of therapists out there...
But having said that, I think I can provide a degree of emotional support, and set clear boundaries and guidelines during any workshop. For example, there would be a clear signal any participant could give to end any improv, if they felt so inclined. Also, if it was in the interest of the group that any particular person wasn't consistently respectful of boundaries (certainly outside the actual piece) then they'd be asked to leave.
Essentially, it would mean establishing a "safe zone" in the workshop, and a clear set of rules.
Other than that, of course, it should be realised that people don't need to attend. Just as there's the off button on the TV, so there's the ability to either leave, or not come along in the first place.
And that's why it's an appeal to the risk takers and the adventurous, rather than the timid. Hence, "dangerous actors"...
There is no risk, after all, without the possibility of failure, and things going wrong. There won't be any quarantees. But I think I can facilitate rather well. I think it has the chance of being rather rewarding, all round.
Well, I've worked in workshop situations with people who have processed very deep emotional issues, ranging from abuse, rape, murder, suicide of loved ones, their own attempted suicides, etc. Plus I've worked in therapeutic situations (on "both sides") dealing with similar issues.
I've also done workshops along these lines in Britain.
It's my intent to do some kind of grounding work before any workshop starts; also to be clear that it's not a therapy session, and any issues that come up for the participants would be their own responsibility to deal with, should the case arise. After all, there are plenty of therapists out there...
But having said that, I think I can provide a degree of emotional support, and set clear boundaries and guidelines during any workshop. For example, there would be a clear signal any participant could give to end any improv, if they felt so inclined. Also, if it was in the interest of the group that any particular person wasn't consistently respectful of boundaries (certainly outside the actual piece) then they'd be asked to leave.
Essentially, it would mean establishing a "safe zone" in the workshop, and a clear set of rules.
Other than that, of course, it should be realised that people don't need to attend. Just as there's the off button on the TV, so there's the ability to either leave, or not come along in the first place.
And that's why it's an appeal to the risk takers and the adventurous, rather than the timid. Hence, "dangerous actors"...
There is no risk, after all, without the possibility of failure, and things going wrong. There won't be any quarantees. But I think I can facilitate rather well. I think it has the chance of being rather rewarding, all round.
so i don't get to check the forums as often as i would like, so i am not sure of the total history behind this thread. however, it sounds like you are hitting on the one thing i have ALWAYS wanted to do with improv, but have never come across those who want to do this as well. it sort of burns me up a little that the perception of improv is that it MUST be funny. i don't feel that i am all that funny, but i do think that i am interesting and entertaining to watch on stage. due to pressure (whether intrinsic or extrinsic), i have found myself at somewhat of a plateau. i am starting to feel stagnant in my growth as a performer and a person.
i need to be involved with a project that not only accepts ALL range of thought and emotion, but ENCOURAGES this. i want the freedom to be as racist, mysogenistic, rude, tender, caring, heartfelt, and "real" as i can be on stage. i love exploring the full gamut of human thought and behavior, and in particular, the things that normally make people feel very uncomfortable or uneasy. all humans hold the potential for any and all thoughts and behaviors. why can't we feel free to express these things? bluntly. honestly. totally.
i need to be involved with a project that not only accepts ALL range of thought and emotion, but ENCOURAGES this. i want the freedom to be as racist, mysogenistic, rude, tender, caring, heartfelt, and "real" as i can be on stage. i love exploring the full gamut of human thought and behavior, and in particular, the things that normally make people feel very uncomfortable or uneasy. all humans hold the potential for any and all thoughts and behaviors. why can't we feel free to express these things? bluntly. honestly. totally.
Jack, I'd say that sounds good to me. I"m interested in seeing what happens, though aspects of my life outside the theater are asking me for my full attention at the moment.
"Love is the ultimate outlaw. It just won't adhere to any rules. The most any of us can do is to sign on as its accomplice. Instead of vowing to honor and obey, maybe we should swear to aid and abet." Tom Robbins