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Discuss the festival, ask questions, and get the word out.
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- Rev. Jordan T. Maxwell Offline
- Posts: 4215
- Joined: March 17th, 2006, 5:50 pm
- Location: Austin, TX
- Contact:
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- Rev. Jordan T. Maxwell Offline
- Posts: 4215
- Joined: March 17th, 2006, 5:50 pm
- Location: Austin, TX
- Contact:
so while we were awaiting the decision, both Jeff and Jessica were chatting with me and kind of discussing what our ideas were. we didn't get into TOO many specifics at the time...but now that it's all settled and decided, i was curious if any of the other felled combatants in this arena would like to share their ideas. or should we all just hold on to them so we can resubmit them next year? 
Sweetness Prevails.
-the Reverend
-the Reverend
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- beardedlamb Offline
- Posts: 2676
- Joined: October 14th, 2005, 1:36 pm
- Location: austin
- Contact:
Bad Sleep - A Multimedia Improv Dreamscape
by Luis Salinas
The Inspiration
The audience is asked to select one member of the troupe (the Dreamer) who is then removed from the stage. In his absence they are asked to suggest a recurring dream/nightmare or something that keeps them up at night or what they do when they can't sleep. The suggestions are acknowledged and become a resource for the troupe to draw upon throughout the performance.
The Ensemble
In addition to the improvising actors on stage, the performance includes live musicians and videographers as well as a multimedia artist who is able to sample from the improvised musical score and the dialogue on stage. A projection screen or several video monitors allow him to add video from the roving cameras to the mix. Dialogue, musical motifs, video snippets are looped and morphed and added to the performance as it unfolds.
Act I
The first act begins with the Dreamer and the rest of the troupe establishing some real life relationships, conflicts, and objectives. We see the Dreamer in his normal world, among his friends, co-workers, lover, family. We learn his motivations, his desires, his challenges. In this first act, video and audio are collected for later use.
Act II
In the second act the Dreamer sleeps and all of these elements combine to form a dreamscape wherein the Dreamer interacts with the other actors, with the soundscape, and with the video projections to navigate and resolve the conflicts and objectives established in act 1 through his dreaming. Video and audio clips from Act I recur and form motifs. Live video mirrors and amplifies the action as it unfolds. The actors from Act I may reappear either in video, audio, or live. They may play the same characters, other characters, or be altered, yet familiar. In the course of the dreaming, the conflicts, objectives, and relationships from Act I are confronted and explored.
Act III
The third act shows us how the dreamer, newly informed by his dreaming, now interacts with the "real" world, his waking life, whether it is to confidently confront his antagonists or to hide himself in fear and defeat. Elements from the dreamscape may appear in video or audio form and be rationalized or justified. Informed by his dreamed experience, the Dreamer is changed and we see that change as it plays out with regard to his relationships, conflicts, objectives.
by Luis Salinas
The Inspiration
The audience is asked to select one member of the troupe (the Dreamer) who is then removed from the stage. In his absence they are asked to suggest a recurring dream/nightmare or something that keeps them up at night or what they do when they can't sleep. The suggestions are acknowledged and become a resource for the troupe to draw upon throughout the performance.
The Ensemble
In addition to the improvising actors on stage, the performance includes live musicians and videographers as well as a multimedia artist who is able to sample from the improvised musical score and the dialogue on stage. A projection screen or several video monitors allow him to add video from the roving cameras to the mix. Dialogue, musical motifs, video snippets are looped and morphed and added to the performance as it unfolds.
Act I
The first act begins with the Dreamer and the rest of the troupe establishing some real life relationships, conflicts, and objectives. We see the Dreamer in his normal world, among his friends, co-workers, lover, family. We learn his motivations, his desires, his challenges. In this first act, video and audio are collected for later use.
Act II
In the second act the Dreamer sleeps and all of these elements combine to form a dreamscape wherein the Dreamer interacts with the other actors, with the soundscape, and with the video projections to navigate and resolve the conflicts and objectives established in act 1 through his dreaming. Video and audio clips from Act I recur and form motifs. Live video mirrors and amplifies the action as it unfolds. The actors from Act I may reappear either in video, audio, or live. They may play the same characters, other characters, or be altered, yet familiar. In the course of the dreaming, the conflicts, objectives, and relationships from Act I are confronted and explored.
Act III
The third act shows us how the dreamer, newly informed by his dreaming, now interacts with the "real" world, his waking life, whether it is to confidently confront his antagonists or to hide himself in fear and defeat. Elements from the dreamscape may appear in video or audio form and be rationalized or justified. Informed by his dreamed experience, the Dreamer is changed and we see that change as it plays out with regard to his relationships, conflicts, objectives.
Here is my idea...
Improvised "Labyrinth"
labyrinth = maze, knot, puzzle, complexity, complication, intricacy, tangle, web
Title ideas:
"A-MAZE, the Musical"
"KNOT, Another Improvised Puppet Musical"
SETUP:
A guest singing improviser ("The Goblin King" -- aka David Bowie from the movie) takes a suggestion from the audience for a problem you might currently (or in the past) have had in your life.
SHOW BEATS:
Act 1 - The Problem
- Ensemble starts the show in the HUMAN WORLD recreating this PROBLEM.
- A human HERO (aka Jennifer Connelly from the movie) emerges and makes A WISH (in a song) for the THING that personify's the problem to disappear.
- GOBLIN KING grants the HERO's wish and takes the THING.
- The hero chases after it into the PUPPET GOBLIN WORLD.
- GOBLIN KING tells the HERO he/she has created a maze (of PUPPET creatures challenges, hazards) and if the HERO can make it through in the allotted time, he/she will give back the THING
- GOBLIN KING then sets up a TIMER for the HERO to get through the MAZE
the timer allows for a real world count down until the end of the show
Act 2 - Untangling the Maze
- Challenges and hazards -- reminiscent of the problem he/she faces in the HUMAN world -- are presented to the HERO in song
- HERO meets the challenges -- through song - & makes friends along the way
Act 3 - The Solution
- HERO finally reaches the GOBLIN KING to claim the THING
- GOBLIN KING captures the HERO & his/her friends
- HERO's recently discovered skills enable him/her to DEFEAT the GOBLIN KING's powers JUST IN TIME
- HERO returns to the real world with the SOLUTION to the initial problem, and the show ends
NOTES:
- The hero agrees with whatEVER the ensemble deems to be the final SOLUTION -- even if A) it might not work in reality, B) it is immoral, or C) it may have repercussions.
CAST:
1 - guest improviser who plays the GOBLIN KING
1 - ensemble improviser who plays the HERO
8 - ensemble PUPPET improvisers who play the puppet hazards, creatures, friends and foes
1 - Improvising Muscian (guitar, keyboard, flute, violin, etc)
PUPPETS and SET PIECES:
- Use current puppet arsenal, but add more "goblins" and "creatures" as well as some abstract puppets
- Fabric & hats that can come together on the spot to create a abstract and stylized puppets (a la Lunatique Fantastique)
- Sheets of fabric (shiny blue, green, red for water, slime, lava; billowy white & red fabric for smoke & mist, fire; leafy camo webbing for vegetation, etc) that can be tossed, flagged, or stretched across the stage to represent different element effects (water, fire, mist)
- Balinese-style effect
- large-format puppet (or two)
- 16+ carved foam-blocks for stones (2 per puppet imp)
GOALS:
- Work with puppet improv ensemble cast to use several puppeteers to quickly create a puppet out of generic elements
- And to use several people to make it move
Improvised "Labyrinth"
labyrinth = maze, knot, puzzle, complexity, complication, intricacy, tangle, web
Title ideas:
"A-MAZE, the Musical"
"KNOT, Another Improvised Puppet Musical"
SETUP:
A guest singing improviser ("The Goblin King" -- aka David Bowie from the movie) takes a suggestion from the audience for a problem you might currently (or in the past) have had in your life.
SHOW BEATS:
Act 1 - The Problem
- Ensemble starts the show in the HUMAN WORLD recreating this PROBLEM.
- A human HERO (aka Jennifer Connelly from the movie) emerges and makes A WISH (in a song) for the THING that personify's the problem to disappear.
- GOBLIN KING grants the HERO's wish and takes the THING.
- The hero chases after it into the PUPPET GOBLIN WORLD.
- GOBLIN KING tells the HERO he/she has created a maze (of PUPPET creatures challenges, hazards) and if the HERO can make it through in the allotted time, he/she will give back the THING
- GOBLIN KING then sets up a TIMER for the HERO to get through the MAZE
the timer allows for a real world count down until the end of the show
Act 2 - Untangling the Maze
- Challenges and hazards -- reminiscent of the problem he/she faces in the HUMAN world -- are presented to the HERO in song
- HERO meets the challenges -- through song - & makes friends along the way
Act 3 - The Solution
- HERO finally reaches the GOBLIN KING to claim the THING
- GOBLIN KING captures the HERO & his/her friends
- HERO's recently discovered skills enable him/her to DEFEAT the GOBLIN KING's powers JUST IN TIME
- HERO returns to the real world with the SOLUTION to the initial problem, and the show ends
NOTES:
- The hero agrees with whatEVER the ensemble deems to be the final SOLUTION -- even if A) it might not work in reality, B) it is immoral, or C) it may have repercussions.
CAST:
1 - guest improviser who plays the GOBLIN KING
1 - ensemble improviser who plays the HERO
8 - ensemble PUPPET improvisers who play the puppet hazards, creatures, friends and foes
1 - Improvising Muscian (guitar, keyboard, flute, violin, etc)
PUPPETS and SET PIECES:
- Use current puppet arsenal, but add more "goblins" and "creatures" as well as some abstract puppets
- Fabric & hats that can come together on the spot to create a abstract and stylized puppets (a la Lunatique Fantastique)
- Sheets of fabric (shiny blue, green, red for water, slime, lava; billowy white & red fabric for smoke & mist, fire; leafy camo webbing for vegetation, etc) that can be tossed, flagged, or stretched across the stage to represent different element effects (water, fire, mist)
- Balinese-style effect
- large-format puppet (or two)
- 16+ carved foam-blocks for stones (2 per puppet imp)
GOALS:
- Work with puppet improv ensemble cast to use several puppeteers to quickly create a puppet out of generic elements
- And to use several people to make it move
-
- Rev. Jordan T. Maxwell Offline
- Posts: 4215
- Joined: March 17th, 2006, 5:50 pm
- Location: Austin, TX
- Contact:
my first (and to my mind best) idea:
The Bizarre Bazaar
"Music was playing, a dozen different kinds played a dozen different ways on a score of different instruments, most of them improvised, improved, improbable."
The Bizarre Bazaar is based loosely on the Floating Market in Neil Gaiman's novel Neverwhere (from which the above quote is taken). The central idea is to create an utterly unique theatrical, storytelling and social experience by building a collaborative world that has never been seen...and may never be seen again.
Imagine a world in the shadows, populated by forgotten people and pockets of lost time. Imagine an event where they congregate to buy, sell, trade...food, clothing, weapons, information, people...to eat, to drink, to sing, to be entertained. Part Faerie market, part steampunk Renaissance fair, part traveling circus.
We begin with a space. A theatre, most likely, but any space will do so long as there's adequate space and minimal noise. If it's a nice evening, the weather is agreeable and the traffic is light (or distant), an outdoor venue could prove spectacular!
Next, the performers. Divided, as they are, into three groups:
1. The Warden Equal parts emcee and sheriff, he hosts the event. He greets the audience, arbitrates any disputes, steps in to help maintain order. He takes the suggestion, offers occasional helpful narration, helps the story along if it needs moving or sets it aright if it goes too far astray.
2. The Players Our core group of improvisers, probably 5-7, costumed as they please. It is their journey at the Bazaar that drives the narrative along. They have come together or separately, or any combination of groupings. Inspired by the suggestion, they come with something to find, something to give, goods, services, secrets. Their journeys have brought them here. What they discover will set them on a new path. This is merely our window on this particular chapter.
3. The Company Any improviser in town is invited to come and set up shop, to fill in the world. To create a character, dressed as they please, come to sell their wares or show their skills. Food carts, lemonade, ice cream, armories, musicians, jugglers, bodyguards, sleight of hand artists...any item or service under the sun is available for a price. They color the background, but may interact with the main story as well, providing some crucial item, some needed muscle, some wisdom on how to proceed.
And then, the audience...for whom else would we perform before? Once they are seated, the show...begins!
In a flurry of activity, the Company files in, setting up their shops and booths, jockeying for position and settling old arguments and disputes. In the midst of this, the Warden steps forward to greet the audience, to explain the spectacular events they are about to witness (and to set things in order if any disputes get too rowdy!). But before anything can begin, the Ceremony of Exchange must occur. An idea of some kind (Warden's choice on the topic), plucked from an audience member in exchange for whatever trinket the Warden may have in his pocket. The suggestion is given, the prize provided in recompense and the Warden declares the Bazaar officially open!
From here, the Players enter and the improv begins. Alternating with each Player scene, a member (or members) of the Company steps forward to hock their wares, show their skills, tell their stories. A Player who thinks what they offer may be of some use can step in and strike a bargain. Music should be played incidentally throughout (multiple musicians may choose to jam, or perform their own conflicting compositions so long as it doesn't overpower what is happening onstage. The Warden, of course, has the authority to silence them if he chooses), but may take more focus in these scenes, perhaps performing a song that comments on the action or provides a Player the chance to sing their heart's desire or true intent.
Since the Bazaar is open for business to all who attend, at any point the audience wishes, they may enter the market proper and purchase food, drink or whatever bob or doo-dad strikes their eye. It is a barter system where currency is not accepted, so it may cost them whatever is in their pockets, a song, a secret, a lock of hair, a jig...whatever price is agreed upon!
Once the story is told and the Bazaar is ended, the Warden declares the close of business, the markets and booths are collapsed and cleared away as quickly as they were set up. The audience is thanked and promised safe passage home. And this pocket of the world returns again to the shadows...
Notes:
The aesthetic of the costumes, booths, etc. should be a very "found object", homemade feel. Beyond that, the entirety of any time that was, could have been or combination thereof is open game. Players and Company can also create any grouping, guild or caste they choose and dress to match ahead of time, or make it up and incorporate whatever's available during the show. The world should feel very much like it has been scavenged from the garbage heap of history, both real and imagined. Not everyone here is strictly human...
It's up to each performance to decide whether they want to charge money or extend the barter system even to admission.
A couple of ideas from the book that aren't necessary but might be fun: one is that many of the names of people are taken from local London landmarks and tube stations (Old Bailey, the Angel Islington). To provide a sense of local color, and that this is actually happening "here and now," the names of local landmarks, street names, prominent restaurants and bars, etc. of the city it's being performed in could be incorporated as well. "Lord Antone! Join me in a fifth of Lavaca, will you?" "The South Congress will now convene, to decide the fate of the Oltorf clan!" In Austin, obviously...
Another that is more difficult to implement, but could be interesting for the daring amongst us, is the notion that knowledge of the location of the Floating Market is spread by word of mouth with no one really sure where the information originated from. This idea would work better if the show isn't held in one static location, but rotates venues and locations. You would need a crack guerrila marketing team or an impressive grapevine (possibly utilizing Facebook and Twitter?) to get the word out effectively in lieu of actual advertising. But it would offer the sense of "secret knowledge" and "being in the know" that the young people today seem to find so fascinating.
The Bizarre Bazaar
"Music was playing, a dozen different kinds played a dozen different ways on a score of different instruments, most of them improvised, improved, improbable."
The Bizarre Bazaar is based loosely on the Floating Market in Neil Gaiman's novel Neverwhere (from which the above quote is taken). The central idea is to create an utterly unique theatrical, storytelling and social experience by building a collaborative world that has never been seen...and may never be seen again.
Imagine a world in the shadows, populated by forgotten people and pockets of lost time. Imagine an event where they congregate to buy, sell, trade...food, clothing, weapons, information, people...to eat, to drink, to sing, to be entertained. Part Faerie market, part steampunk Renaissance fair, part traveling circus.
We begin with a space. A theatre, most likely, but any space will do so long as there's adequate space and minimal noise. If it's a nice evening, the weather is agreeable and the traffic is light (or distant), an outdoor venue could prove spectacular!
Next, the performers. Divided, as they are, into three groups:
1. The Warden Equal parts emcee and sheriff, he hosts the event. He greets the audience, arbitrates any disputes, steps in to help maintain order. He takes the suggestion, offers occasional helpful narration, helps the story along if it needs moving or sets it aright if it goes too far astray.
2. The Players Our core group of improvisers, probably 5-7, costumed as they please. It is their journey at the Bazaar that drives the narrative along. They have come together or separately, or any combination of groupings. Inspired by the suggestion, they come with something to find, something to give, goods, services, secrets. Their journeys have brought them here. What they discover will set them on a new path. This is merely our window on this particular chapter.
3. The Company Any improviser in town is invited to come and set up shop, to fill in the world. To create a character, dressed as they please, come to sell their wares or show their skills. Food carts, lemonade, ice cream, armories, musicians, jugglers, bodyguards, sleight of hand artists...any item or service under the sun is available for a price. They color the background, but may interact with the main story as well, providing some crucial item, some needed muscle, some wisdom on how to proceed.
And then, the audience...for whom else would we perform before? Once they are seated, the show...begins!
In a flurry of activity, the Company files in, setting up their shops and booths, jockeying for position and settling old arguments and disputes. In the midst of this, the Warden steps forward to greet the audience, to explain the spectacular events they are about to witness (and to set things in order if any disputes get too rowdy!). But before anything can begin, the Ceremony of Exchange must occur. An idea of some kind (Warden's choice on the topic), plucked from an audience member in exchange for whatever trinket the Warden may have in his pocket. The suggestion is given, the prize provided in recompense and the Warden declares the Bazaar officially open!
From here, the Players enter and the improv begins. Alternating with each Player scene, a member (or members) of the Company steps forward to hock their wares, show their skills, tell their stories. A Player who thinks what they offer may be of some use can step in and strike a bargain. Music should be played incidentally throughout (multiple musicians may choose to jam, or perform their own conflicting compositions so long as it doesn't overpower what is happening onstage. The Warden, of course, has the authority to silence them if he chooses), but may take more focus in these scenes, perhaps performing a song that comments on the action or provides a Player the chance to sing their heart's desire or true intent.
Since the Bazaar is open for business to all who attend, at any point the audience wishes, they may enter the market proper and purchase food, drink or whatever bob or doo-dad strikes their eye. It is a barter system where currency is not accepted, so it may cost them whatever is in their pockets, a song, a secret, a lock of hair, a jig...whatever price is agreed upon!
Once the story is told and the Bazaar is ended, the Warden declares the close of business, the markets and booths are collapsed and cleared away as quickly as they were set up. The audience is thanked and promised safe passage home. And this pocket of the world returns again to the shadows...
Notes:
The aesthetic of the costumes, booths, etc. should be a very "found object", homemade feel. Beyond that, the entirety of any time that was, could have been or combination thereof is open game. Players and Company can also create any grouping, guild or caste they choose and dress to match ahead of time, or make it up and incorporate whatever's available during the show. The world should feel very much like it has been scavenged from the garbage heap of history, both real and imagined. Not everyone here is strictly human...
It's up to each performance to decide whether they want to charge money or extend the barter system even to admission.
A couple of ideas from the book that aren't necessary but might be fun: one is that many of the names of people are taken from local London landmarks and tube stations (Old Bailey, the Angel Islington). To provide a sense of local color, and that this is actually happening "here and now," the names of local landmarks, street names, prominent restaurants and bars, etc. of the city it's being performed in could be incorporated as well. "Lord Antone! Join me in a fifth of Lavaca, will you?" "The South Congress will now convene, to decide the fate of the Oltorf clan!" In Austin, obviously...
Another that is more difficult to implement, but could be interesting for the daring amongst us, is the notion that knowledge of the location of the Floating Market is spread by word of mouth with no one really sure where the information originated from. This idea would work better if the show isn't held in one static location, but rotates venues and locations. You would need a crack guerrila marketing team or an impressive grapevine (possibly utilizing Facebook and Twitter?) to get the word out effectively in lieu of actual advertising. But it would offer the sense of "secret knowledge" and "being in the know" that the young people today seem to find so fascinating.
Sweetness Prevails.
-the Reverend
-the Reverend
Pantheon:
In the beginning there were the Gods – and the Gods begin this show as well. Three gods arrive and ask the audiences what they are gods of. The gods state what their desires are for the humans that they watch over. Maybe it is to be prayed to, maybe it is fine works done in their name, or simply chocolate, whatever it is they know it, but the actors playing humans do not. The gods will sit to the back and/or off to the sides as the (3-6)humans enter. The humans will begin as they usually do, asking the audience for a suggestion to direct their lowly lives. As the story unfolds the gods in the pantheon may at any time interject some present or tribulation to the humans that are struggling on stage. If a god is prayed to, then the human may receive help or an answered prayer. Or another god may get jealous and curse them. Gods are mercurial and unpredictable. The humans must simply deal with the lot they are given and try to eek out a story for themselves. There may even come a time in the story when a god appears to one of the humans on stage – disguised of course, as a peasant or a golden shower or whatnot. Conversations among the gods will illuminate their own ambitions and arguments. In the end, it may be a comedy or it may be a tragedy, but whatever happens will undoubtedly please the gods.
In the beginning there were the Gods – and the Gods begin this show as well. Three gods arrive and ask the audiences what they are gods of. The gods state what their desires are for the humans that they watch over. Maybe it is to be prayed to, maybe it is fine works done in their name, or simply chocolate, whatever it is they know it, but the actors playing humans do not. The gods will sit to the back and/or off to the sides as the (3-6)humans enter. The humans will begin as they usually do, asking the audience for a suggestion to direct their lowly lives. As the story unfolds the gods in the pantheon may at any time interject some present or tribulation to the humans that are struggling on stage. If a god is prayed to, then the human may receive help or an answered prayer. Or another god may get jealous and curse them. Gods are mercurial and unpredictable. The humans must simply deal with the lot they are given and try to eek out a story for themselves. There may even come a time in the story when a god appears to one of the humans on stage – disguised of course, as a peasant or a golden shower or whatnot. Conversations among the gods will illuminate their own ambitions and arguments. In the end, it may be a comedy or it may be a tragedy, but whatever happens will undoubtedly please the gods.