Over the past few years, I’ve been a co-owner and the Artistic Director of Under The Gun Theater in Chicago. During that time, I’ve had the pleasure of producing many shows at our space in Wrigleyville, and being a part of an incredible ensemble of performers. On the whole, it has been a wonderful experience. I’ve learned much about producing and marketing shows. And I’ve sharpened my vision of the kinds of shows I’d like to direct and perform in.
However, after discussions with my business partner, we agreed to part ways. Our projections for the company were different. And week by week, our visions for the theater and our strategies for getting there were diverging more and more. In the end, she offered to buy me out and I agreed. As of about a month ago, I resigned as the Artistic Director of Under The Gun Theater and notified our ensemble and staff shortly after.
I also formally started a new company, one that I founded nearly 20 years ago, the Improv Resource Center. For the first time, the IRC will have a physical place in the real world to call home. From there I will be offering classes in improvisation and sketch comedy. And I will produce a number of shows in the next year, but at a much more reasonable pace. Instead of directing and producing a dozen new shows a year, I look forward to working on 2-4 shows instead.
Continue reading “A new start for me and the Improv Resource Center”
Over the last few years, I have thought a lot about how we approach improv training, and I think we can do much better than we do. To develop mastery in any art form takes practice, not just reps. What is the difference?
Deliberate practice means focused, challenging exercises with specific goals, led by a coach or teacher who knows how to encourage you to be better. It means nudging students to get to that sweet spot of learning where they are reaching just beyond their current capabilities. Truly effective training is hard, it should leave you mentally tired. But when you practice like this, you get better.
Summer intensive programs shouldn’t just be about filling a notebook with ideas that you might practice later. They should be about getting better now. You should be able to walk away on the last day knowing that you acquired skills that you can put into practice the next time you improvise.
If this kind of training sounds intriguing to you, think about taking my Improv Bootcamp at Under The Gun Theater. It’s 5 days of intensive training in Chicago, July 11th-July 15th. It’s the same workshop I’m teaching in New York in June and in Washington DC in August. Those bootcamps are sold out, the improv bootcamp in Chicago still has room for you.
Amey Goerlich talks to Kevin Mullaney about improv exercises and concepts. Amey is the host of the Indie Cagematch in at UCB East and an independent improv teacher in New York. We talk about Krompf, pummeling, improvising with your eyes closed, bad rap warmups, half ideas, button lines, teaching film to 5 year olds, e-Improv, and bonsai tree houses.
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Karen Graci is a coach and performer at iO West. She is also a writer for Girlboss, a new Netflix show in production. We talk about about coaching Harold teams, openings, group games, short form, and Vertical Harolds.
Karen Graci is a coach and performer at iO West. We talk about about coaching Harold teams, openings, group games, short form, and Vertical Harolds. She can be seen performing with King Ten at iO West. Special thanks to Camp Improv Utopia East where this podcast was recorded.
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I love the concept, it’s extremely useful, but I hate the term. Every time I hear it, it sounds more and more tone deaf.
I’d like to propose a simple change in terminology for analyzing comedy and improv scenes. Often two person comedy scenes will have one character who is inappropriate, absurd, irrational, illogical or weird, and another character who’s role is to react to this strange character as we think an average person might. This other character is usually more reasonable, skeptical, logical, or rational than the strange one.
The term that most people use for this is “straight man.” I love the concept, it’s extremely useful, but I hate the term. Every time I hear it, it sounds more and more tone deaf. Instead, I think we should use the term “voice of reason” instead:
the voice of reason (definition): Often when one character in a scene is odd, weird or strange, we need another character who is the voice of reason. This character’s job is to react as an ordinary person might to the absurd character. They might be skeptical of the other character’s point of view. They might react by being annoyed, or amazed, or shocked, or nonplussed.
The voice of reason does not have to act straight, or like a man, they have to react as a person, a person usually very similar to the real life performer behind the character.
If you don’t like this idea, feel free to keep using the tone deaf term. But if you are open to it, start using “voice of reason” instead. I think you will see it’s much more accurate and leaves out all the cultural baggage that normal and ordinary equals straight and male.
Improv Bootcamp is different. Instead learning a plethora of different concepts, we focus on a few specific ones and use a variety of exercises to practice each skill.
For the past two years, I have offered Improv Bootcamps in Chicago. It’s a type of intensive improv training focused on developing specific skills, through concentrated practice. It’s targeted toward students who have at least a year of improv experience, and are looking for a program that will challenge them and improve the way they play right away.
In a typical improv intensive you are introduced to many different concepts and exercises, often in classes of 20 people or more. It’s not uncommon to get only one try at a particular exercise before the class moves on.
Improv Bootcamp is different. Instead learning a plethora of different concepts, we focus on a few specific ones and use a variety of exercises to practice each skill. Typically students are given multiple opportunities to practice a skill over several days. And if the class is big enough (16 or more students), we will have a second instructor, reserve multiple rooms and break the class into working groups to ensure multiple reps for exercises.
I’m hoping to add week long boot camps for New York and LA this summer as well. Check back soon for more info.
I had a strong response to Beyoncé’s half time Super Bowl performance. I couldn’t believe what I was seeing on my television set.
As a middle aged white male, I had a strong response to Beyoncé’s half time Super Bowl performance. I couldn’t believe what I was seeing on my television set, a black woman on my TV singing those lyrics and with all those dancers backing her up. More than a few words came to mind.
Continue reading “A White Guy Responds to Beyoncé’s Super Bowl Performance”
The kinds of stories that have been swirling around the improv community these days can inspire outrage at the people who are victimizing others, and it should. But when seeking better outcomes, we must address more than just the bad apples in our community. We must do more than put in place policies that address harassment.
Let’s say that you were put in charge of a large comedy theater that has recently had significant issues with sexual harassment. What might you do? Well you might take a look at your policies. You probably would open up channels so that people could have a way to confidentially share their experiences. You might arrange some training for your staff. And you might have to fire some people–get rid of the “bad apples” as they say. But if you don’t address the power structure of your organization, it will never really get fixed.
Even before the recent public accusations of rape, unwanted sexual advances, and hostile environments, it should have been obvious that there was a problem. The gender imbalance at certain theaters is obvious and persistent. In a way, harassment is the ugly symptom of a disease that goes much deeper.
Continue reading “Sexual Harassment Policies Are Not Enough”
Someone on reddit asked about status exercises. Here is my response.
It’s important to stress that status is much more useful in improv if you look at status as behavior, as opposed to social rank. Status is how you carry yourself, or how you treat the other characters in the scene. You can be a low status president or a high status janitor. And in fact, flipping status from what you might expect because of social rank is a lot of fun.
I have used cards when teaching status for a long time. I don’t have people put them on their foreheads. Instead, I have people pick a card and then instruct them that the card rank corresponds to how they carry themselves and expect to be treated. Or I tell them that the card corresponds to how they should treat the other person. In some cases I give people two cards, one for how they see themselves and one for how they see the other person. This combination can be enlightening. Someone who sees themselves as a 3 and their scene partner as a Jack, is very different than someone who sees themself as a King or Queen and someone else as a Jack.
Continue reading “Status Exercises in Improv”
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