Saturday, April 18th. Maestro.

TexasImprovMassacre · April 13th, 2009, 11:55 pm

Count me...out.

sorry, marc

Shawn · Post by **Shawn** » April 15th, 2009, 8:44 pm

I'd like to play!

acrouch · Post by **acrouch** » April 16th, 2009, 10:59 am

Hey gang, everyone and their dog is out of town this week, so if you have any ability to come out and play Maestro, we could use you.

Post by **Jon Bolden** » April 16th, 2009, 12:16 pm

I can play to support the cause. My dog will be there too.

And I might just bring my guitar down. I should probably practice.

EmilyBee · Post by **EmilyBee** » April 16th, 2009, 12:52 pm

My dog would love to play. Unfortunately, he would likely not play in a manner that would benefit the show.

http://www.flickr.com/photos/michelann/ ... 885659856/

Pdyx · Post by **Pdyx** » April 16th, 2009, 12:53 pm

He might stick his face in Jon Bolden's dog's ass.

Matt · Post by **Matt** » April 16th, 2009, 1:01 pm

I have a kazoo.

Marc Majcher · Post by **Marc Majcher** » April 16th, 2009, 1:02 pm

Sweet. Your Maestro cast for this week:

Belinda
Brad
Ceej
Chelsea
Not Cody
Emily
James
Jeff
Jon
Justin
Matt
Noah
Topping

Troy will be my co-director, with David Z in the booth and Madeline in the box. Call is at 9pm - Troy will shepherd the warmups until I get out of the GGG show. Thanks, guys!

EmilyBee · Post by **EmilyBee** » April 16th, 2009, 1:48 pm

Hooray!

SarahMarie · Post by **SarahMarie** » April 16th, 2009, 2:01 pm

Have an awesome Maestro ya'll! You are the most fun people EVER.

EVER EVER.

TexasImprovMassacre · April 16th, 2009, 11:08 pm

awww, i'm just happy to be included!

<3 u marc

hujhax · Post by **hujhax** » April 18th, 2009, 1:26 pm

I assume I can drop by & scorekeep again?

--
peter rogers @ home | http://hujhax.livejournal.com

From the second you turn on a tv, it starts projecting light and warmth into your room. The only way you're going to get light and warmth out of a book is if you set it on fire.
-- 'Graves' on James Poniewozik's blog

Marc Majcher · Post by **Marc Majcher** » April 18th, 2009, 5:47 pm

hujhax wrote:I assume I can drop by & scorekeep again?

I like to go without a scorekeeper - those few seconds of interaction and business when the players score themselves are really important, I think. I will ramble a little more about this during the "Maestro Is A Long-Form" portion of the warmup jabbering.

But please do come! Your photos have been awesome, and your insights are sharp. The more the merrier.

hujhax · Post by **hujhax** » April 18th, 2009, 7:21 pm

majcher wrote:
hujhax wrote:I assume I can drop by & scorekeep again?
I like to go without a scorekeeper [...] But please do come!

~ cool ~

--
peter rogers @ home | http://hujhax.livejournal.com

Comfortingly, the Wisconsin quarter has just enough cowbell.
-- Bob Apthorpe

troy · Post by **troy** » April 19th, 2009, 1:40 pm

Well, I missed Marc's spiel the other night, and I don't mean to intend to start a thread, but I do believe most improv folks would accept the fundamental notion expressed below (from wikkipedia):

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Modern improvisational comedy, as it is practiced in the West, falls generally into two categories: shortform and longform.

Shortform improv consists of short scenes usually constructed from a predetermined game, structure, or idea and driven by an audience suggestion. Many shortform games were first created by Viola Spolin based on her training from Neva Boyd[1]. The shortform improv comedy television series Whose Line Is It Anyway? has familiarized American and British viewers with shortform.

Longform improv performers create shows in which scenes are often interrelated by story, characters, or themes. Longform shows may take the form of an existing type of theatre, for example a full-length play or Broadway-style musical such as Spontaneous Broadway . Longform improvisation is especially performed in Chicago and New York City. Perhaps the best-known, and considered the first, longform structure is the Harold, developed by ImprovOlympic cofounder Del Close. Many such longform structures now exist.
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Remember that Johnstone developed his formats not only to entertain audiences much like sports do, but to provide "training" for improvisors (see the Tao of Micetro http://forum.austinimprov.com/viewtopic.php?t=4320). Which is why I encourage everyone who plays to really take heart of notes, because you will improve over time as you play Micetro. We all will, regardless of experience.