Austin Improv

This is a montage of overlapping scenes that take place in the same general location all within about 15 minutes of each other.

I'd like to see a show that's a good example of this. Any troupes out there that perform this occasionally? Thanks.

I want to say the Available Cupholders did something like this?

Mark, your most recent show reminded me a little of the "Trust Us" documentary.

what you are describing is how i was taught the form.

i was also given the guideline that all scenes should happen within 50 yards of each other, the scenes are not about the activity at the location ("hey fred, we are playing blackjack at this casino"), but the relationships between the characters, and the run at the end should bring the characters presented in the previous scenes and subsequent beats to the other spaces, concluding their own scenes with a standard heightening.

i don't know of any troupes that perform this regularly, locally.

The format is relatively new. It had a run at iO for awhile, not sure if there is even any video up, but truly a form that requires patience and not searching for buttons within a scene.

Spots wrote:Mark, your most recent show reminded me a little of the "Trust Us" documentary.

Wow, that's incredibly flattering! Thanks Jesse. The content definitely was similar, in terms of the whole weird boss / job thing. Huh, I hadn't thought of that until you said that.

I remember NSL ran Close Quarters for a while when Erika and Bob were coaching us. We definitely had shows that were across the board in terms of nailing that format and quality during that run. When it did come together it was pretty sweet, though. I remember one show in particular that was set at a New Years party and the whole time one of my characters was crossing through scenes looking for matches or a lighter. Eventually he found some and the show ended with him setting off fireworks. There was some other good stuff in that show. When it came together really well, that format felt magical/cool. But that wasn't often the case.

yeah, it's definitely a tough one to do well.

i played with a team that worked on that form for ~6 months. one show was like holy sh*t spectacular, most were in the meh to good range, and a handful were wince worthy.

i have seen a show where the creator of the form and an ensemble did it, and it was awesome. so, either it can be done well regularly, or that was their one spectacular show per run too.

i'd love to see a team doing it here - are you guys performing it at New Movement?

Erika, who created it?

Is there a variation in which the various scenes happen more or less at the same time and the same time-specific event recurs in each scene (e.g., the clock striking midnight), or am I just confusing this format with the film Mystery Train?

i believe noah gregoropoulos created close quarters.

i haven't heard of that variation of the form, but it seems like a sweet take on the idea!

ratliff wrote: Is there a variation in which the various scenes happen more or less at the same time and the same time-specific event recurs in each scene (e.g., the clock striking midnight), or am I just confusing this format with the film Mystery Train?

I feel like this is the version I was taught. The majority of the scenes overlap each-other time-wise and the anchor for telling where in the timeline you are is usually a big sound or event. Like if you were in a train yard, you'd hear the train whistle blow and hear a conductor yell "all aboard!" or something. You'd hear this in most scenes and may or may not play out a scene where you actually see the reason for the sound.

Maybe you're describing something different than this though.

Lants wrote:

ratliff wrote: Is there a variation in which the various scenes happen more or less at the same time and the same time-specific event recurs in each scene (e.g., the clock striking midnight), or am I just confusing this format with the film Mystery Train?

I feel like this is the version I was taught. The majority of the scenes overlap each-other time-wise and the anchor for telling where in the timeline you are is usually a big sound or event. Like if you were in a train yard, you'd hear the train whistle blow and hear a conductor yell "all aboard!" or something. You'd hear this in most scenes and may or may not play out a scene where you actually see the reason for the sound.

Maybe you're describing something different than this though.

Nope, that was it exactly. (Mystery Train.)

ratliff wrote:

Lants wrote:

ratliff wrote: Is there a variation in which the various scenes happen more or less at the same time and the same time-specific event recurs in each scene (e.g., the clock striking midnight), or am I just confusing this format with the film Mystery Train?

I feel like this is the version I was taught. The majority of the scenes overlap each-other time-wise and the anchor for telling where in the timeline you are is usually a big sound or event. Like if you were in a train yard, you'd hear the train whistle blow and hear a conductor yell "all aboard!" or something. You'd hear this in most scenes and may or may not play out a scene where you actually see the reason for the sound.

Maybe you're describing something different than this though.

Nope, that was it exactly. (Mystery Train.)

I remember an old Cupholders show where they did a format like this. They set it around a neighborhood, all the scenes took place in the same period of time, and either Joplin or Ace played a lost old lady who kept stumbling into scenes (at varying times that would match up and make sense) to ask for directions.

IFE did a run of almost the opposite of this - 'Strange Attractor', wherein we'd take a suggestion for an event (like a tornado hitting a small town), then show scenes from varying periods of time before and after, but usually not including, the event.

cupholders and well hung jury have done something like this. in the old days whj would just do scenes in the same general location without any other guidelines really, and there was no overlapping time. it was independent of any influence and apparently i called it Schmorgasbord: http://web.archive.org/web/200208021527 ... rmats.html

when the cupholders picked it up (round '06 maybe...) we did it where it was 15 minutes of linear time all within a smallish location, but the show of around 40 minutes attempted to replay the action from each of several spots, so if there was an explosion in one scene, it would need to happen in each scene so long as everyone in the current scene was somewhere an explosion could be heard nearby. this also meant you could do something completely random from offstage in one scene and not pay off what it was until much later in the show. lots of fun.

Matt wrote:IFE did a run of almost the opposite of this - 'Strange Attractor', wherein we'd take a suggestion for an event (like a tornado hitting a small town), then show scenes from varying periods of time before and after, but usually not including, the event.

The summer I was at iO, there was a show called Indra's Net that revolved around an event that affected an entire community. The scenework all took place beforehand and in the aftermath, but in the middle of the show the event was represented by a balletic dance piece with no dialogue performed to music. I for one am glad to have seen an improvised dance piece inspired by the suggestion "food poisoning at a picnic."