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Examples of possible Improv workshops

Enjoy the ride (torna su)

Basic tools in improv
<2 years experience

Trust it: when we improvise, we often try too hard to be interesting, and spend too little in relaxing and exploring the many possibilities that are already there. We will try to reverse this pattern.
Follow your impulse: improv is more about discovering than it is about inventing, and soon enough we'll find out that to be interesting, we just need to be interested. There are no good or bad ideas, just ones that inspire the group and others that don’t. 
Master the obvious: sometimes we think the best things are the strangest ones, because they are “original”. But the opposite is true: more obvious usually means more truthful.
Objectwork: exploring the scene means also exploring the environment. We’re going to address the quite typical “two-people-standing-and-taking” cliché scene, in order to be inspired by what’s around us.
Goals and conflicts: even the simplest story is made of two aspects: the goal (what makes the story) and the conflicts (what make the story interesting). We will start looking into these two aspects, and try to use them as we need.


Connection (torna su)

Truth in emotions - first level
<2 years experience

Two levels of connection: always be connected with what’s going on. At a first level, within yourself (“how do I feel right now?”) and then between you and your scene partner (“how do I feel towards what my scene partners do?”).
Creating together: our scene partners are there to help and inspire us, and ultimately they’re our biggest resource as much as we are a resource to them.
The body: theatre is first of all body, the first channel to convey connection is through it.
The emotions: we will get our emotions in tune and find ways to connect at a deeper level.
The mind: last but not least, mental connection. We’ll work on it to create fulfilling and magical scenework based on this basic non-spoken relationship between the players.


Red and white (torna su)

>2 years experience
Approach the differences between “red” clown and “white” clown roles, which apply both in comedy and in drama. In improv, this tool can be used to make any scene perform its maximum potential.


Status: the cornerstone in many improv scenes is the status of its characters. A good status harmony and variations can make many scenes more interesting. 
Take responsibility: sometimes a character is defined by his decisions, sometimes by his reactions. Both of these aspects involve taking responsibility in the scene.
Make your partner look good: your scene partner is the best actor you could ever wish to perform with. And you hang around with him! That makes you cool, too!
No small parts: Stanislavskij once said: “there are no small parts, only small actors”. The key is to recognize what role you are playing in the scene and making it work.


>1 year experience
Fast, comedy, short form improv


Setup: who are we, where are we, what are we doing. We want to understand this as soon as possible, so we can start having some real fun.
Support the weird: whatever you do, your partner will support you, because you will do the same thing for him. Every weirdest idea can be the best idea in the world, if everyone is playing along.
The wrong thing: when you’re in a jam session, the last thing you want is to do the right thing. We’ll try to let loose our imagination to come up with all the possible “wrong” things to do.
Game of the scene: some games are codified, most of them are not. We will see how the scene can be funny just finding the game and playing it together.
Gasoline over fire: as Micheal Gellman once put it, “when you see a fire on stage, don’t pour water on it. Pour gasoline”. Pretty self-explanatory suggestion.


 >3 years experience
Storytelling for improvisers

Here and now: everything you need for the scene is already there. Inside yourself, in your partners, in the environment. You don’t have to invent anything, just explore and find.
Rhythm variations: in any story, it’s very important to have a variety of up and downs: the speed of the scene, the emotion going on, in order to keep the show interesting and rich of possibilities.
Transitions and tools: there are many ways to transition from one scene to another. Here we will see some of the most common (and uncommon) ones. We will also work in detail on useful tools to play inside a scene; the goal of this work is to make our show funny, or poetic, or close to the genre (if present) we’re playing.
Hero’s journey: narrative writing and improvised theatre are two different arts, but they share one common trait: storytelling. We will see how goals drive the story more consistently than conflicts do; the idea is to explore the story horizontally.
Character’s world: exploring their feelings, their past, their reactions, in order to make them as 3-dimensional as possible.


Odi et amo (torna su)

>3 years experience
Truth in emotions - advanced level

Reality vs truth: the goal is to be true, not to be real; we will try to find our truth inside fictional stories.
Gift to your partners: some of the best gifts you can make to your scene partner is working around “I feel – I am” statements, and helping them do so, heightening their emotions and being changed by them. We will try to give our partner many of these gifts.
Hidden blocks: saying “no” is just one of the possible ways you can block the scene. There are other hidden ways, and we will try to identify (and avoid) them.
What and how in emotions: dealing with the extremes of the emotional pendulum, we’ll see that what makes the difference in emotional scenes is almost never the what, it’s always the how. The goal of this workshop is to explore the story vertically, helping the actor being comfortable in situations where the character is not.


Your group - specific (torna su)

Does your group need to work on some specific area? Maybe you would benefit from an external eye on how you perform? You could use suggestions on how to improve what you already do?
I would be happy to help with your specific needs.