The Maydays are a Brighton-based improv group. They are fantastic and every year they do this improv comedy retreat.
Recently the blogs have been like a lost and found theme, or more like a found and shared post. Therefore the Christmas and New Year's gift from thecollective are these. Enjoy!!!
Thursday 29 December 2011
Saturday 24 December 2011
Message from Hoopla: Merry Hoopla Everyone! Impro highlights of the yea...
Reading this made me happy!
Hoopla: Merry Hoopla Everyone! Impro highlights of the yea...: Merry Christmas everyone! I've started compiling my impro highlights of the year. I've probably missed loads so feel free to add to them if ...
Hoopla: Merry Hoopla Everyone! Impro highlights of the yea...: Merry Christmas everyone! I've started compiling my impro highlights of the year. I've probably missed loads so feel free to add to them if ...
Wednesday 16 November 2011
Ludus Ludius' perform 20 minute improvised musical (the rehearsal songs)
In our rehearsal for the Newport Comedy Festival where we performed our 20 minute improv comedy musical, Ludus Ludius Improv do songs based on a couple of suggestions.
In this song we had just stolen a melody and reeling off that we go into this tune, "Two Pints o Guiness"
In this song we started again as we lost inspiration, but we got a song out after. Not the best song, but certainly catchy.
In this song we found and lost our feet, but I blame... "Radiation Sickness"
A big thank you goes to the improvisers that gave so much effort into this show, Charlie Hammond, Osian Llew and Nathan Keates. Each improviser showed a tremendous amount of energy in the festival too for Tin Shed Production's Launch Pad 2011, as apart of the Newport Comedy Festival. Our "Racoon's Fishy G**ch" blew them away that night and we can be glad to gain such comments as "...you've been the best in this half..." We were in the first half, just in case you were wondering.
Check out www.ludusludius.co.uk for more details of workshops and performances.
Wednesday 14 September 2011
WE ARE THE NEW THEM: David Shepherd: A Lifetime of Improvisational Thea...
WE ARE THE NEW THEM: David Shepherd: A Lifetime of Improvisational Thea...: Hey everyone, have a look at this . It's a film about the life and work of David Shepherd, the co-founder of the first modern professional i...
Tuesday 13 September 2011
Wednesday 24 August 2011
Emblem: Spontaneous Thoughts on Perception (a photo)
Two bearded men covering up their facial hair with pretend beards. Now how can we have hands to do the scene with... aha, the other players!
Stroke of luck there then, who would have thought the other improvisers had arms to use?
This was a great scene in which something marvellous happened, so much so that I do forget. Alike most of the week, so much joy and busy frantic flyering that my perception on what actually happened should be the next show. Reality versus memory.
I saw a large portion on 'In the Actor's Studio' yesterday with Liza Minneli and she metioned that she had been taught that all the bad memories can be re-told hilariously. Does this mean that the fringe was awful, as I can retell it as a magical time of splendour?
Saturday 16 July 2011
London Mewsings: David Shore's making waves!
London Mewsings: David Shore's making waves!
Read this and you would have read all or near enough all of what I have been saying everywhere. The Guradian article about David Shore got a lot of response and this as well as all the others that wrote blogs and notes (or whatever else people call articles online nowadays). Long-form improv in a national newspaper!
Read this and you would have read all or near enough all of what I have been saying everywhere. The Guradian article about David Shore got a lot of response and this as well as all the others that wrote blogs and notes (or whatever else people call articles online nowadays). Long-form improv in a national newspaper!
Sunday 19 June 2011
Thursday 9 June 2011
Edinburgh Preview (Cardiff): Emblem Spontaneous Thoughts on Perception
It was 6:45pm and we had just got into our warm-up when I, Nathan took on to see who may well be turning up. I looked outside to see a vast crowd of air. However when visiting the crowd downstairs I found our audience. The loveliest fact was that the numbers kept coming in making our cameraman become an usher. Due to this rather premature fetching of our audience we did start five or so minute too early. No one that came in at seven o’clock missed much of the opening exploration of the suggestion.
So I, Nathan opened the show like any other improvisation show. Apart from keeping them waiting in a semi-amused state beforehand with a meet and greet of who we had. Even managed to get a doorstep, sorry I was corrected doorstop. What is one little letter in a word anyway. A ship is still a ship with a little letter changed? We began with enough energy to start a wind turbine and plenty of interaction. Warming their suggestions up with the norm: names, colour, and holiday destination. Wasting no more time we started the show.
Our suggestion was ice cream, and they were amused, shocked that the next hour would be all on ice cream. To be quite honest in a normal long-form show that would be one of the best suggestions ever! Our show isn’t normal, but the stuff we got was pretty cool.
The show comprises of drawing, processworks*, scenes and alternative skills. Using the content of what we have done in the past we surpassed my expectations of the preview production ‘s possibilities by far. The cast worked well and hard and picked up on the offers and utilised alsorts of wonderful ‘adds’ to scenes that enhanced them tremendously. Recently we saw a return of a game we played once in rehearsal months ago and it turned up in the show too. These moments of agreeing and doing are wonderful to watch and definitely beautiful to be in.
Well done cast for such an amazing production to be in and great to be onstage with you all.
We have one more preview booked currently:
The Ballroom in The Bedford, Balham, South London – Saturday 30th July 2011, 1pm.
It’s a part of a mini-festival of Edinburgh Previews.
We are in Edinburgh for PBH’s Free Fringe:
Kiwi Bar @ Walkabout, Omni Centre, Leith Street – Sunday 14th August – Saturday 20th August 2011, 8.45pm (1 hour show)
~ Nathan Keates
* Processworks is based on Improbable's 2007 show where they used it as a freeing method of discussing.
So I, Nathan opened the show like any other improvisation show. Apart from keeping them waiting in a semi-amused state beforehand with a meet and greet of who we had. Even managed to get a doorstep, sorry I was corrected doorstop. What is one little letter in a word anyway. A ship is still a ship with a little letter changed? We began with enough energy to start a wind turbine and plenty of interaction. Warming their suggestions up with the norm: names, colour, and holiday destination. Wasting no more time we started the show.
Our suggestion was ice cream, and they were amused, shocked that the next hour would be all on ice cream. To be quite honest in a normal long-form show that would be one of the best suggestions ever! Our show isn’t normal, but the stuff we got was pretty cool.
The show comprises of drawing, processworks*, scenes and alternative skills. Using the content of what we have done in the past we surpassed my expectations of the preview production ‘s possibilities by far. The cast worked well and hard and picked up on the offers and utilised alsorts of wonderful ‘adds’ to scenes that enhanced them tremendously. Recently we saw a return of a game we played once in rehearsal months ago and it turned up in the show too. These moments of agreeing and doing are wonderful to watch and definitely beautiful to be in.
Well done cast for such an amazing production to be in and great to be onstage with you all.
We have one more preview booked currently:
The Ballroom in The Bedford, Balham, South London – Saturday 30th July 2011, 1pm.
It’s a part of a mini-festival of Edinburgh Previews.
We are in Edinburgh for PBH’s Free Fringe:
Kiwi Bar @ Walkabout, Omni Centre, Leith Street – Sunday 14th August – Saturday 20th August 2011, 8.45pm (1 hour show)
~ Nathan Keates
* Processworks is based on Improbable's 2007 show where they used it as a freeing method of discussing.
Emblem: Spontaneous Thoughts on Perception | Edinburgh Festival Fringe
Emblem: Spontaneous Thoughts on Perception | Edinburgh Festival Fringe
That is Us!
Kiwi Bar @ Walkabout from 14th - 20th August 2011, 8.45pm (1 hour show) in the PBH's Free Fringe.
That is Us!
Kiwi Bar @ Walkabout from 14th - 20th August 2011, 8.45pm (1 hour show) in the PBH's Free Fringe.
Monday 30 May 2011
11th Week of Rehearsals
This week it was back to Nathan, the person now typing, to be the director. With the knowledge that we are rapidly running out of foreseen time together before other projects and journeys have to happen, I had to make the exploration concise and productive.
Focusing on complicité and also concluding any issues and format queries that we were encountering. The first rehearsal of the week was okay and we had troubles with losing interest making the run all on one player to keep the whole piece together. Clearly not fair on that person nor productive on trying to ‘follow the follower’ instead of have one player leading.
Using the games we had been using with Ana, we added in some complicité games too. We couldn’t rehearse as much this week, but with one player’s confusion of times and venues we stumbled upon some wonderful energy and playfulness: Which has always been the key to Ludus Ludius. Using this, seemingly, we couldn’t play the usual rules to a warm-up game... ‘Crack’. It ended up being about delivering spontaneous objects to one player who either took it or gave it to another. We discovered 80s rap in the style of Beastie Boys and how sticking to the rules of that are difficult but crucial. We also had fun with ‘What are you doing?’ and ‘Questions Only’. Initiating with some nostalgic memories of what we have liked from the past. There was so much.
From the weariness of the first rehearsal of the week we needed to remember all the great moments we have had even in times where we were nowhere near the format itself. Now we were doing half runs, exploring the opening of the show and how that runs into the rest. We used TV Channel to get us in the mindset of exploring ‘perception’. We tried a ‘Rupert’ opening stolen from MissImp in Nottingham. We also used improvising art game that I thought I had invented, but I’ve played it from someone else’s facilitation too now. Thus it’s a common game that been around for ages.
All in all we ended on a good run. Now to slot it all together and name it cooked, ready to serve and be eaten.
Focusing on complicité and also concluding any issues and format queries that we were encountering. The first rehearsal of the week was okay and we had troubles with losing interest making the run all on one player to keep the whole piece together. Clearly not fair on that person nor productive on trying to ‘follow the follower’ instead of have one player leading.
Using the games we had been using with Ana, we added in some complicité games too. We couldn’t rehearse as much this week, but with one player’s confusion of times and venues we stumbled upon some wonderful energy and playfulness: Which has always been the key to Ludus Ludius. Using this, seemingly, we couldn’t play the usual rules to a warm-up game... ‘Crack’. It ended up being about delivering spontaneous objects to one player who either took it or gave it to another. We discovered 80s rap in the style of Beastie Boys and how sticking to the rules of that are difficult but crucial. We also had fun with ‘What are you doing?’ and ‘Questions Only’. Initiating with some nostalgic memories of what we have liked from the past. There was so much.
From the weariness of the first rehearsal of the week we needed to remember all the great moments we have had even in times where we were nowhere near the format itself. Now we were doing half runs, exploring the opening of the show and how that runs into the rest. We used TV Channel to get us in the mindset of exploring ‘perception’. We tried a ‘Rupert’ opening stolen from MissImp in Nottingham. We also used improvising art game that I thought I had invented, but I’ve played it from someone else’s facilitation too now. Thus it’s a common game that been around for ages.
All in all we ended on a good run. Now to slot it all together and name it cooked, ready to serve and be eaten.
Saturday 28 May 2011
What's happening now?
With some big projects on the go at the moment, we take the time to enjoy the beauty of sharing.
Improvisation is a shared experience. With an audience its a wider sharing too. Tales of great depth and lovely humour can be in conjunction with the trauma of being spontaneous. Spectators revel and improvisers play. All from a suggestion that may have been grabbed from the onlookers.
Instead of grabbing some form of suggestion from NTW for this blog though, I shall just type. And thus share.
A little about us: As you may know or may not, Ludus Ludius Improvisation Theatre Company was founded in 2007 by Nathan Keates and Matt Mills. We began to create theatre through improvised playfulness. Now we are a collective. Various performers, artists, actors, dancers, musicians and obviously improvisers are called upon when a project could be ideal for whom ever. Ludus Ludius are moving towards applying improvisation skill and techniques to those that may benefit personally, socially, emotionally and collaboratively. This therefore means that along with productions that we explore and workshops we share, move to applied improv.
A workshop that is coming that we are sharing the art form through is open to all. People in the theatrical world and those that aren't. This generally makes for better improvisation in any case and is always really interesting. In a weekend workshop we shall cover the basics of improvisation. Covering topics from Keith Johnstone, Viola Spolin, John Wright, Chris Johnston and some from the infamous Nathan Keates (amongst others). By the end of the weekend you should have a good understanding of the art form of improvisation and can stroll through the wonders that is your journey to the unknown.
We call the process the 'journey to the unknown' because no one can tell you how to improvise and everyone has a different 'journey' or process to finding their approach that suits them.
Next Weekend is planned for: Saturday 9th and Sunday 10th July '11, 10am - 5pm @ Rummer Tavern
(14 Duke Street - Opposite the castle)
Book via: www.ludusludius.co.uk > Workshops (tab)
Or Skiddle, Brown Paper Tickets or Eventbrite
And the ALMIGHTY Edinburgh Fringe production that we are rehearsing for too. Read about it on Ideastap or our Blog. Initially set out as aiming to explore an emblem or theme/issue spontaneously and improvisationally as a free-form long-form improvisation and now after months of processing we are nearing the stage where we can state what it is. This very day we opened the rehearsal sentimentally and reflectively. It was nice to recall what we have done in the past and use that energy to look to the future.
Subsequently we are previewing the production, 'Emblem: Spontaneous Thoughts on Perception' in ATRium Studio (CB218) on Wednesday 8th June, 7pm. Its free, but it is a fundraiser so help us out and come support a welsh-based production get to Edinburgh. (I know there are more than just this show that is going from Wales). There is some welsh in the show too, perhaps. It may not arrive on the preview - lets see.
Do not panic if you are busy as we are also previewing in London near the end of June. With a lot of other Edinburgh Fringe previews. That will take place in Balham in South London. The Bedford is the home of great shows and some massive famous names have played in the venue. Even great improv has been shown there. The likes of Hoopla have used the venue a lot in the past.
Once more if you do not make that date either, then there is always the run itself in Edinburgh to come to. It would be advised that you come anyway, whether or not you saw a preview. Mainly advisable as the previews are where we fine tune it for the fringe itself and thus not the complete finished product.
Kiwi Bar @ Walkabout (Venue #344), Leith St nr the railway. From Sunday 14th August - Saturday 20th August, 20.45pm - 21.45pm. Free entry there too, but donations welcome to make sure we survive doing the fringe.
So what's happening with Ludus Ludius? A lot, big projects.
Improvisation is a shared experience. With an audience its a wider sharing too. Tales of great depth and lovely humour can be in conjunction with the trauma of being spontaneous. Spectators revel and improvisers play. All from a suggestion that may have been grabbed from the onlookers.
Instead of grabbing some form of suggestion from NTW for this blog though, I shall just type. And thus share.
A little about us: As you may know or may not, Ludus Ludius Improvisation Theatre Company was founded in 2007 by Nathan Keates and Matt Mills. We began to create theatre through improvised playfulness. Now we are a collective. Various performers, artists, actors, dancers, musicians and obviously improvisers are called upon when a project could be ideal for whom ever. Ludus Ludius are moving towards applying improvisation skill and techniques to those that may benefit personally, socially, emotionally and collaboratively. This therefore means that along with productions that we explore and workshops we share, move to applied improv.
A workshop that is coming that we are sharing the art form through is open to all. People in the theatrical world and those that aren't. This generally makes for better improvisation in any case and is always really interesting. In a weekend workshop we shall cover the basics of improvisation. Covering topics from Keith Johnstone, Viola Spolin, John Wright, Chris Johnston and some from the infamous Nathan Keates (amongst others). By the end of the weekend you should have a good understanding of the art form of improvisation and can stroll through the wonders that is your journey to the unknown.
We call the process the 'journey to the unknown' because no one can tell you how to improvise and everyone has a different 'journey' or process to finding their approach that suits them.
Next Weekend is planned for: Saturday 9th and Sunday 10th July '11, 10am - 5pm @ Rummer Tavern
(14 Duke Street - Opposite the castle)
Book via: www.ludusludius.co.uk > Workshops (tab)
Or Skiddle, Brown Paper Tickets or Eventbrite
And the ALMIGHTY Edinburgh Fringe production that we are rehearsing for too. Read about it on Ideastap or our Blog. Initially set out as aiming to explore an emblem or theme/issue spontaneously and improvisationally as a free-form long-form improvisation and now after months of processing we are nearing the stage where we can state what it is. This very day we opened the rehearsal sentimentally and reflectively. It was nice to recall what we have done in the past and use that energy to look to the future.
Subsequently we are previewing the production, 'Emblem: Spontaneous Thoughts on Perception' in ATRium Studio (CB218) on Wednesday 8th June, 7pm. Its free, but it is a fundraiser so help us out and come support a welsh-based production get to Edinburgh. (I know there are more than just this show that is going from Wales). There is some welsh in the show too, perhaps. It may not arrive on the preview - lets see.
Do not panic if you are busy as we are also previewing in London near the end of June. With a lot of other Edinburgh Fringe previews. That will take place in Balham in South London. The Bedford is the home of great shows and some massive famous names have played in the venue. Even great improv has been shown there. The likes of Hoopla have used the venue a lot in the past.
Once more if you do not make that date either, then there is always the run itself in Edinburgh to come to. It would be advised that you come anyway, whether or not you saw a preview. Mainly advisable as the previews are where we fine tune it for the fringe itself and thus not the complete finished product.
Kiwi Bar @ Walkabout (Venue #344), Leith St nr the railway. From Sunday 14th August - Saturday 20th August, 20.45pm - 21.45pm. Free entry there too, but donations welcome to make sure we survive doing the fringe.
So what's happening with Ludus Ludius? A lot, big projects.
Monday 23 May 2011
10th Week of Rehearsals
Still with the lovely Ana Diaz directing and as with last week the focus has been ironing out (and sometimes bashing out until we get the idea) the small problems. One of the games which we all seem to have gone the hang of is to die in 30 seconds. Exactly. This has given us all a sense of time, for some being too quick but mainly a certain tendency to drag things out has been noted. Unfortunately this came into this weeks game of 5,4,3,2,1 where we used half of our time limit in the first round, but we certainly picked up the pace after that.
Some further exploration of the perception idea and the start of the show has led to the possibility of opening with a combined drawing from all of us of an ideal object (probably one suggested from the audience) such as ideal women, car, home, and then a discussion around this. Then we hope to incorporate some of our perception based questions to the audience as well to allow us plenty of material and spontaneous ideas to work with.
However, at this stage there seems to be a drop in energy levels, we seem to go from highs to lows, and there is a need to revitalise our improvisation skills by pushing into new boundaries, new situations and new risks. The known and comfortable are dull; the risky and spontaneous is compelling.
- Charlie Hammond
Some further exploration of the perception idea and the start of the show has led to the possibility of opening with a combined drawing from all of us of an ideal object (probably one suggested from the audience) such as ideal women, car, home, and then a discussion around this. Then we hope to incorporate some of our perception based questions to the audience as well to allow us plenty of material and spontaneous ideas to work with.
However, at this stage there seems to be a drop in energy levels, we seem to go from highs to lows, and there is a need to revitalise our improvisation skills by pushing into new boundaries, new situations and new risks. The known and comfortable are dull; the risky and spontaneous is compelling.
- Charlie Hammond
Thursday 19 May 2011
WE ARE THE NEW THEM: Don’t Congratulate Yourself Too Much
WE ARE THE NEW THEM: Don’t Congratulate Yourself Too Much: "I’m a very lucky (and talented) girl – in the last few weeks Katy and Rach, Music Box and The Maydays have all got fantastic reviews (see th..." This article is actually about quite the opposite! So read it and you'll enjoy. Well written and it connects.
Saturday 14 May 2011
8th Weekend of Rehearsals
We began this weekend by bringing along our individual personal offerings, some of which were singing, dancing, juggling, drawing, languages (Welsh and Spanish), puppetry, and apparently Shakesperian Philosophy. We then experimenting with them and placed the activities within scenes. Two of the more successful were singing in an improvised song, which is challenging but very rewarding, and the use of languages whether in a translation game or simply one actor speaking Welsh and the other Spanish. Both of these offerings brought a contrast to other scenes and allowed new situations and humour to develop.
With these skills and previous sessions in mind, we did a run through of the show for the first time in order for us to get used to the format and the challenges ahead. In retrospect we agreed the the start was filled with short, fast-paced scenes, and that it felt as if everyone was competing for ideas, and that there were not enough longer scenes which emerge naturally by using the environment and paying attention to the other actors onstage. All in all the reality of the show certainly hit home, and all the actors are aware of the level of skill required in order to make this show a success. With an overall group dynamic starting to emerge and an awareness of our strengths and weaknesses we seem to be stumbling towards the right direction.
Something that happened was Rolf Harris came on stage, in some way...
With these skills and previous sessions in mind, we did a run through of the show for the first time in order for us to get used to the format and the challenges ahead. In retrospect we agreed the the start was filled with short, fast-paced scenes, and that it felt as if everyone was competing for ideas, and that there were not enough longer scenes which emerge naturally by using the environment and paying attention to the other actors onstage. All in all the reality of the show certainly hit home, and all the actors are aware of the level of skill required in order to make this show a success. With an overall group dynamic starting to emerge and an awareness of our strengths and weaknesses we seem to be stumbling towards the right direction.
Something that happened was Rolf Harris came on stage, in some way...
Wednesday 11 May 2011
Hoopla: Paul, Cariad, David, Rob, Phil, Glue
Want to read about some of the great improvisers in the UK? Then here is a link for you, written by a fantastic improviser too!
Hoopla: Paul, Cariad, David, Rob, Phil, Glue: "Such a great night at The Miller last night I felt inspired to write about it. We had a first half of Cariad Lloyd and Paul Foxcroft doin..."
Hoopla: Paul, Cariad, David, Rob, Phil, Glue: "Such a great night at The Miller last night I felt inspired to write about it. We had a first half of Cariad Lloyd and Paul Foxcroft doin..."
Sunday 8 May 2011
Extra rehearsal #1: ProcessWorks
Although we didn't take any photos or videos and therefore have no media from the night for sharing here, we did get exhaustion.
Processworks in the words of Nathan is a way of discussing. Processing a discussion in a way that frees and allows everyone to engage by whatever means they need to. Processworks was explored by Improbable in their production, 'Spirit' and we shall be trying to use this too.
"Process Work methods support artists to get in deeper contact with the material and its innate structure, feel in touch with their performance, and build new levels of contact between performers. It's not about pushing across boundaries into the unknown, but more about using your awareness to meet and unfold the creative tension, found in the most difficult bits, and by playing with the most suprising and minimal cues. It's about both catching the creative spark, and giving the necessary play and work to bring it to life - whether working with a script, in a process of devising, or in moment to moment performance." - Arts Artelier
"Process Work was developed by Jungian analyst Arnold Mindell in the 1970s when Mindell began to research illness as a meaningful expression of the unconscious mind. He discovered that the unconscious manifests not only in nighttime dreams but also in physical symptoms, relationship difficulties, addictions, and social tensions." - ProcessWorks
It was a great night with a lot of natural flow and amazing discoveries within each other. From the sublimely abstract and releasing the tension with a most likely inappropriate exploration to the intense fiery discussions that upset someone as they couldn't speak. Frustration certainly ensued.
All in all, a good time.
Processworks in the words of Nathan is a way of discussing. Processing a discussion in a way that frees and allows everyone to engage by whatever means they need to. Processworks was explored by Improbable in their production, 'Spirit' and we shall be trying to use this too.
"Process Work methods support artists to get in deeper contact with the material and its innate structure, feel in touch with their performance, and build new levels of contact between performers. It's not about pushing across boundaries into the unknown, but more about using your awareness to meet and unfold the creative tension, found in the most difficult bits, and by playing with the most suprising and minimal cues. It's about both catching the creative spark, and giving the necessary play and work to bring it to life - whether working with a script, in a process of devising, or in moment to moment performance." - Arts Artelier
"Process Work was developed by Jungian analyst Arnold Mindell in the 1970s when Mindell began to research illness as a meaningful expression of the unconscious mind. He discovered that the unconscious manifests not only in nighttime dreams but also in physical symptoms, relationship difficulties, addictions, and social tensions." - ProcessWorks
It was a great night with a lot of natural flow and amazing discoveries within each other. From the sublimely abstract and releasing the tension with a most likely inappropriate exploration to the intense fiery discussions that upset someone as they couldn't speak. Frustration certainly ensued.
All in all, a good time.
Sunday 17 April 2011
WE ARE THE NEW THEM: A Long Time in the Works
WE ARE THE NEW THEM: A Long Time in the Works: "Nathan Keates is a playful character and creator of Ludus Ludius in Cardiff. Pretty much every week he will cover the full width of the coun..."
Monday 11 April 2011
Taxi Game
Some context is most probably needed here, Iain was playing the Taxi game which was initially described as: whoever is the driver has to take on the characteristics of each of the passengers that enters. One way of interpreting this would be to mimic each of the separate characters that enter, Iain instead chose to perceive this as slowly building a montage of all the characters together resulting in this comical ending. Jolly good, as our show is about perception!
This was apart of the Ludus Ludius rehearsal for their upcoming improv production going to Edinburgh Fringe.
Rehearsal 5: Emblem - EdFringe
5th Week of Rehearsals
With Anna flying back to Mexico, we were left locked out of Atrium for the time being and returned to Keith's house, which was very much appreciated. For this rehearsal we began by exploring some short form Improv, moving onto structured long form and ending the session with focus on exploring and defining our environments. Memborable moments arose from: Ian, as the Taxi driver who adopts and collates characteristics from each of his passengers; Amy beating us at our own wish to make her frustrated during the Conference game; a fiendishly long game of 'biberty bibert BOP', with underhanded tactics by all and an effective use of stomach rumblings by introducings characters who were, like us at 2 o'clock waiting for our lunch break, quite hungry.
Two instances stood out from the session as a whole: a wonderfully awkward moment between a father (Nathan) and son (Ian) when the father reveals that the reason his family has always referred to him as 'Uncle Bill' was because he was infact, Ian's uncle and not his father, resulting in Nathan fufilling the role of the dirty uncle with a disturbing attraction to his nepthew, and also the small details that engage an audience when establishing an environment. It was agreed that we would like to explore both of these areas in more detail as the more awkward and sinister situations hold more realism underneath; we were laughing because the only other alternative way to react is to accept the gruesome possibilities, as well as the awareness that the two actors may have to actually play the parts out which, in retrospect, we felt had been cut short to avoid this. The establishment and use of an environment was engaging as it allowed the audience to engage with our activities, the rinsing of a sponge as someone cleaned a window and the shuffling of a pack of cards were notably effective, as well as changing our previous pace and style. We felt this allowed more time for each character to form and for the story itself to progress from the group collective, instead of the inter-mingling of our individual ideas which seemed somewhat strained at times.
All in all a productive rehearsal with a realisation for the importance of discussing the events of the day at the end of the session in order to allow us to grow as a group. And, perhaps, the importance of being quiet and stealthy Ninjas instead of Karate Kids whilst in someone's house, due to shouts for us to 'shut up' from across the street.
With Anna flying back to Mexico, we were left locked out of Atrium for the time being and returned to Keith's house, which was very much appreciated. For this rehearsal we began by exploring some short form Improv, moving onto structured long form and ending the session with focus on exploring and defining our environments. Memborable moments arose from: Ian, as the Taxi driver who adopts and collates characteristics from each of his passengers; Amy beating us at our own wish to make her frustrated during the Conference game; a fiendishly long game of 'biberty bibert BOP', with underhanded tactics by all and an effective use of stomach rumblings by introducings characters who were, like us at 2 o'clock waiting for our lunch break, quite hungry.
Two instances stood out from the session as a whole: a wonderfully awkward moment between a father (Nathan) and son (Ian) when the father reveals that the reason his family has always referred to him as 'Uncle Bill' was because he was infact, Ian's uncle and not his father, resulting in Nathan fufilling the role of the dirty uncle with a disturbing attraction to his nepthew, and also the small details that engage an audience when establishing an environment. It was agreed that we would like to explore both of these areas in more detail as the more awkward and sinister situations hold more realism underneath; we were laughing because the only other alternative way to react is to accept the gruesome possibilities, as well as the awareness that the two actors may have to actually play the parts out which, in retrospect, we felt had been cut short to avoid this. The establishment and use of an environment was engaging as it allowed the audience to engage with our activities, the rinsing of a sponge as someone cleaned a window and the shuffling of a pack of cards were notably effective, as well as changing our previous pace and style. We felt this allowed more time for each character to form and for the story itself to progress from the group collective, instead of the inter-mingling of our individual ideas which seemed somewhat strained at times.
All in all a productive rehearsal with a realisation for the importance of discussing the events of the day at the end of the session in order to allow us to grow as a group. And, perhaps, the importance of being quiet and stealthy Ninjas instead of Karate Kids whilst in someone's house, due to shouts for us to 'shut up' from across the street.
Friday 8 April 2011
Edinburgh Fringe Photoshoot 2
This last Wednesday we had a small photoshoot. These images are going to be adapted to suit the purpose, obviously. However there was a huge amount of fun with these and some great moments can be seen in them.
And now for some more of the pictures... Thank you Matt Mills, who took these.
Last two now!
Here...
And now for some more of the pictures... Thank you Matt Mills, who took these.
Last two now!
Here...
Monday 4 April 2011
The British Improv Scene: a dedicated improv theatre
The United Kingdom having its very own improvisation theatre was not a lone thought. The voices heard at the start of these spoken thoughts about this very concept was very exciting. It probably is certain that every improviser had the idea of starting an actual building with the commitment to improvisation. I know I did and in a way still do. The excitements of hearing other people desire the same as myself meant that the likelihood that a place would appear and be totally dedicated to the common cause was more probable.
I cannot tell how many of those original voices are involved with The Miller becoming this very building, but with a multitude of resident groups performing in the venue we can be safe to say we have a step closer. I heard mentions from the likes of Jules Munn who runs many theatre projects including improvisation tasks, such as The Nursery and their festival and the Slapdash improv festival in London and no doubt a countless amount of other vast and impressive events and projects. And we all look forward to the next Slapdash that will join the history of improvisation festivals that the UK has: Assisting the growth of the variety of improv that exists in the country. With Bristol Jam entering its third year and Shifti that sadly hasn’t returned since its debut in 2007. I also heard Steve Roe talking about the possibilities. He is from Hoopla that had weekly shows in the venue (The Miller near London Bridge tube) and then joined Shotgun Impro that also then began performing in The Miller. With weekly drop-in sessions in The Bedlam in Balham and also Saturday sessions that are always something magnificent. This is along with many other names that you could have heard on the grapevine. Whispers have been around for longer than I was close enough to hear and now we cannot just hear but see! So to those people that are actually involved, I thank you and look forward to hearing more from over the border with the sheep. The sheep and I are looking at each step with glee and anticipation.
The main reason why this should excite most if not all improvisers in Britain is because we can become a tighter community of improvisers. We can easily see that many people desire this with the start of Crunchy Frog Collective that began about five or so years ago and the recent online request from Alex Fradera who has started a ning network for Community Improvisation. The load of times I have gone to other groups and played, from Wow Impro in Coventry to The Bourne ImprovAbles in Bournemouth.
Connecting up with others is more of a joy for me. Easily found when I got strangers together in last year’s show in London, ‘Catch Impro’, to perform in a duo against another pairing. A good network leads to better quality and this creates a wider audience. When my Nan is going to improv shows I know we have made a good network. A dedicated venue shall have a major impact on the network. Like the Improv Symposium in Edinburgh in August ’10, bringing people together is beautiful.
We can all aspire to have the nation-wide recognised improv theatres, events and productions. We have ‘Scenes from Communal Living’ that started in Australia and moved to us and ‘Fingers on Buzzards’ that is now being performed in Canada, so how come we cannot get shows to be national if we have international. Personally I am doing my part with beginning a youth group in Cardiff and will try and get them to compete in ‘Cagematch’ wherever possible. (So if you have a youth group, then let’s play!) There are a lot of shows that are like Theatresports or Maestro – depending on how you perceive the productions. I guess what I am trying to say is perhaps naming it one title and spread that around. Or is it important in the slightest? Is the one roof the tie of recognition? I know Fat Kitten have competed against Student Improv Nottingham and MissImp against BangorSoc from North Wales. These probably were not the same game. How about Britain Improv Games? With the likes of the fantastic David Shore we should get more and more long-form, perhaps Harolds. This may well lead to Harold competitions or even the afore mentioned Cagematch. The improvisation scene in Britain is getting highly interesting, exciting and thrilling. With new influences, new mediums being used like ‘Fast and Loose’ on telly and ‘Showstopper’ on radio. (Although this is more getting back onto those mediums) and also the best result an actual venue.
‘London Improv’ is the place to perform at the moment. They are booked up till the Edinburgh Fringe, which I have a show in and you can get more about that via searching ‘Ludus Ludius’. Further articles may well come about this too. Unfortunately we cannot bring it to the venue before the festival. However, if we want this to work then everyone needs to bombard them with requests to perform in The Miller and make sure we are seeing the true depth of what people are producing from all around the UK. Utilise what we have and let us see something magical.
Thank you,
Nathan Keates
I cannot tell how many of those original voices are involved with The Miller becoming this very building, but with a multitude of resident groups performing in the venue we can be safe to say we have a step closer. I heard mentions from the likes of Jules Munn who runs many theatre projects including improvisation tasks, such as The Nursery and their festival and the Slapdash improv festival in London and no doubt a countless amount of other vast and impressive events and projects. And we all look forward to the next Slapdash that will join the history of improvisation festivals that the UK has: Assisting the growth of the variety of improv that exists in the country. With Bristol Jam entering its third year and Shifti that sadly hasn’t returned since its debut in 2007. I also heard Steve Roe talking about the possibilities. He is from Hoopla that had weekly shows in the venue (The Miller near London Bridge tube) and then joined Shotgun Impro that also then began performing in The Miller. With weekly drop-in sessions in The Bedlam in Balham and also Saturday sessions that are always something magnificent. This is along with many other names that you could have heard on the grapevine. Whispers have been around for longer than I was close enough to hear and now we cannot just hear but see! So to those people that are actually involved, I thank you and look forward to hearing more from over the border with the sheep. The sheep and I are looking at each step with glee and anticipation.
The main reason why this should excite most if not all improvisers in Britain is because we can become a tighter community of improvisers. We can easily see that many people desire this with the start of Crunchy Frog Collective that began about five or so years ago and the recent online request from Alex Fradera who has started a ning network for Community Improvisation. The load of times I have gone to other groups and played, from Wow Impro in Coventry to The Bourne ImprovAbles in Bournemouth.
Connecting up with others is more of a joy for me. Easily found when I got strangers together in last year’s show in London, ‘Catch Impro’, to perform in a duo against another pairing. A good network leads to better quality and this creates a wider audience. When my Nan is going to improv shows I know we have made a good network. A dedicated venue shall have a major impact on the network. Like the Improv Symposium in Edinburgh in August ’10, bringing people together is beautiful.
We can all aspire to have the nation-wide recognised improv theatres, events and productions. We have ‘Scenes from Communal Living’ that started in Australia and moved to us and ‘Fingers on Buzzards’ that is now being performed in Canada, so how come we cannot get shows to be national if we have international. Personally I am doing my part with beginning a youth group in Cardiff and will try and get them to compete in ‘Cagematch’ wherever possible. (So if you have a youth group, then let’s play!) There are a lot of shows that are like Theatresports or Maestro – depending on how you perceive the productions. I guess what I am trying to say is perhaps naming it one title and spread that around. Or is it important in the slightest? Is the one roof the tie of recognition? I know Fat Kitten have competed against Student Improv Nottingham and MissImp against BangorSoc from North Wales. These probably were not the same game. How about Britain Improv Games? With the likes of the fantastic David Shore we should get more and more long-form, perhaps Harolds. This may well lead to Harold competitions or even the afore mentioned Cagematch. The improvisation scene in Britain is getting highly interesting, exciting and thrilling. With new influences, new mediums being used like ‘Fast and Loose’ on telly and ‘Showstopper’ on radio. (Although this is more getting back onto those mediums) and also the best result an actual venue.
‘London Improv’ is the place to perform at the moment. They are booked up till the Edinburgh Fringe, which I have a show in and you can get more about that via searching ‘Ludus Ludius’. Further articles may well come about this too. Unfortunately we cannot bring it to the venue before the festival. However, if we want this to work then everyone needs to bombard them with requests to perform in The Miller and make sure we are seeing the true depth of what people are producing from all around the UK. Utilise what we have and let us see something magical.
Thank you,
Nathan Keates
Tuesday 29 March 2011
Our Edinburgh Fringe Production
After three weekends of rehearsals and a photo shoot for a title image we have...
Weekend One we played with some Portuguese in Bute Park and killed off a middle aged man with a baby wolf whilst the rabbits flooded the village of South America. Also the baboon didn't get his smelly way!
Weekend Two we had a transgender politician who had to come to terms with his or her original desires of playing the piano.
Weekend Three we had more politics when we had a chair law which became rebelled against by a murmuring Scottish rapper. Also, how artist like Gainsborough are nothing to children. Nonetheless they who grow up to the same struggle and unemployment in fits of jealousy and raging pains towards the successful.
Photographer: Stefani Johnson Photography
Weekend One we played with some Portuguese in Bute Park and killed off a middle aged man with a baby wolf whilst the rabbits flooded the village of South America. Also the baboon didn't get his smelly way!
Weekend Two we had a transgender politician who had to come to terms with his or her original desires of playing the piano.
Weekend Three we had more politics when we had a chair law which became rebelled against by a murmuring Scottish rapper. Also, how artist like Gainsborough are nothing to children. Nonetheless they who grow up to the same struggle and unemployment in fits of jealousy and raging pains towards the successful.
Tuesday 15 March 2011
Aspiration, Imagination, Trepidation
Ways that the work load whirls the wily wind chimes of the brain wit. Whilst the whistle waits to wind up the winter cogs that whip the wet wombats what wanly wander to and fro. Difficult to read? Watch what happens when we add a multitude of metaphorical imagery with onomatopoeic sounds along with the ridiculous level of alliteration. I scream 'No' let alone you.
I class this as aspiration. We want so much, yet really the possibilities at one given time are not so great. Project after project may turn up and keep the insane happy, like what in general it does for myself. (Not that I am insane, but certainly can look or sound that way when I talk to people about what I do). Never enough and then I aim for the next star, recently seen a science programme on BBC2 so I shall reference for those doing exams - it might help (doubt it), like a supernova explosion. 'I see the light' but so do a shed load of others. Lined up like gnomes in a mixed metaphor all aspiring to find a joyful moment that will see them through to actually reeling in the fake fish from the pond.
Sensational streams of light shoot through the cosmos brightening up the sky, brightening up those dullen lives. Ideas. Imagination that is let loose can be a wondrous while which only needs someone, anyone to say 'I do'. Be it mixed and unclear or married into another companion of marginally suitable company. Clarity comes with time and detail and perhaps the lose of some smiles of interpretation. Playful shaping of un-intellectual language forcing more crazed ornamental words that cover the truth. Second the thought and who knows what will happen, aspire to have the time. Yell out for the detail. Panic about what may be and you'll leave the vellum of chance.
Set up for the trepidation of overloading the mirage of tropical flotation devices soon become too much. Stop. Let me think. Hang on. Stay still. Got it? Makes no sense. How can a flotation device be tropical? Quite right. Whilst we weave through the weeds of words that whiffle what we mean, then soon the answer comes. Aha, whilst I was thinking about breakfast I now see that all my aspiration that gave me uncertainty and overloading thought patterns can be less troublesome than thought. Imagine my surprise as I relax into a nice light sleep (after breakfast) and realise that risk a little gain a lot. Waffle a little and you got supper. (What is supper anyway?)
In all the stars that gnomes do see it marries together the thoughts of ancient philosophers and the yet to make sense and says why not! It can be true till otherwise proven. Theories, conspiracies, realities; all the possibilities are endless if you want them to be. Work on the smiling project and let loose the others. Many or few, whatever is for you. Sail through even if its not new.
Although this might be exploration and explanation of an extrapolation it really lacks the sense of mitigation. (Stay sane with the fact we both feel the urge for clarification, but now lets allow for interpretation).
I class this as aspiration. We want so much, yet really the possibilities at one given time are not so great. Project after project may turn up and keep the insane happy, like what in general it does for myself. (Not that I am insane, but certainly can look or sound that way when I talk to people about what I do). Never enough and then I aim for the next star, recently seen a science programme on BBC2 so I shall reference for those doing exams - it might help (doubt it), like a supernova explosion. 'I see the light' but so do a shed load of others. Lined up like gnomes in a mixed metaphor all aspiring to find a joyful moment that will see them through to actually reeling in the fake fish from the pond.
Sensational streams of light shoot through the cosmos brightening up the sky, brightening up those dullen lives. Ideas. Imagination that is let loose can be a wondrous while which only needs someone, anyone to say 'I do'. Be it mixed and unclear or married into another companion of marginally suitable company. Clarity comes with time and detail and perhaps the lose of some smiles of interpretation. Playful shaping of un-intellectual language forcing more crazed ornamental words that cover the truth. Second the thought and who knows what will happen, aspire to have the time. Yell out for the detail. Panic about what may be and you'll leave the vellum of chance.
Set up for the trepidation of overloading the mirage of tropical flotation devices soon become too much. Stop. Let me think. Hang on. Stay still. Got it? Makes no sense. How can a flotation device be tropical? Quite right. Whilst we weave through the weeds of words that whiffle what we mean, then soon the answer comes. Aha, whilst I was thinking about breakfast I now see that all my aspiration that gave me uncertainty and overloading thought patterns can be less troublesome than thought. Imagine my surprise as I relax into a nice light sleep (after breakfast) and realise that risk a little gain a lot. Waffle a little and you got supper. (What is supper anyway?)
In all the stars that gnomes do see it marries together the thoughts of ancient philosophers and the yet to make sense and says why not! It can be true till otherwise proven. Theories, conspiracies, realities; all the possibilities are endless if you want them to be. Work on the smiling project and let loose the others. Many or few, whatever is for you. Sail through even if its not new.
Although this might be exploration and explanation of an extrapolation it really lacks the sense of mitigation. (Stay sane with the fact we both feel the urge for clarification, but now lets allow for interpretation).
Monday 14 February 2011
The Show May Just Go
Certain change is in the air. Ludus Ludius has an update. What is the news to tell? Theatre funding cuts are forcing many long-time survivors to now struggle. The air is thin and so will people’s hair line. Soon enough the high rocking musical, ‘Hair’ will have to be called ‘Bald’. Still nonetheless after the cast causing audiences’ lung cancer from smoking onstage I think baldness is the least of the issues there.
Really now, change is most certainly about. We are focusing on less community or theatrical endeavours (if we can let some projects go) and more on youth and applied improvisation. However this means gathering improvisers together for a tighter network and community for performers. Ludus Ludius looks at what we can really do to overcome the depressive period of financial struggle to achieve the most. What I think is to combine minds and utilise everyone’s skill. If someone can juggle, can we improvise with it? If someone tap dances, of course we can improvise with it. If someone can milk a cow, we can definitely improvise with it. Any route into improvisation is said, a lot, to work better when you are not just a performer. I have once heard a group of scientists that started a group and there was a magnificent quality to the production that occurred. Ludus Ludius are on the search for more youngsters between the ages of eleven and eighteen years of age. In order to make this possible what the youth groups need is appropriate workshopping spaces for training young improvisers. Anyone who is able to help or wants to learn to improvise can get in touch in the usual manner, nathan@ludusludius.co.uk.
However, the show may just go. For most in the industry of culture or entertainment it has been and doubtlessly will be the show must go on. However, with cuts this is mighty troublesome and I think we should change the statement. For sure we can when it comes to the lovely art form of improvisation. We start a show and who knows what can happen. The format may alter as we go along, such as freeing the format that I have workshopped last year with some experienced players. For example, . In this clip we see the freedom of the players to improvise with whatever happens. Every poster I try to design for a new show turns out as this at the moment. (But that is the whole reason I began improvising). The show may just go also, because we may have one show, or it could take flight and we have struck the lucky bell of Tokyo and here we come. Either way after funding cuts and sad looks of vast amount of faces we turn to our youth society to seek the improvements. Get the opportunity for spontaneous workings to work and the future can look bright.
To see the bright light of the future that is on display ask your local youth centre to get Ludus Ludius Youth to perform their TV-style improvised comedy production, Shock The Geek. (We are yet to pilot it and test out the games that the humorous blighters play).
Thank you for your attention and don't forget to email anything to nathan@ludusludius.co.uk.
Really now, change is most certainly about. We are focusing on less community or theatrical endeavours (if we can let some projects go) and more on youth and applied improvisation. However this means gathering improvisers together for a tighter network and community for performers. Ludus Ludius looks at what we can really do to overcome the depressive period of financial struggle to achieve the most. What I think is to combine minds and utilise everyone’s skill. If someone can juggle, can we improvise with it? If someone tap dances, of course we can improvise with it. If someone can milk a cow, we can definitely improvise with it. Any route into improvisation is said, a lot, to work better when you are not just a performer. I have once heard a group of scientists that started a group and there was a magnificent quality to the production that occurred. Ludus Ludius are on the search for more youngsters between the ages of eleven and eighteen years of age. In order to make this possible what the youth groups need is appropriate workshopping spaces for training young improvisers. Anyone who is able to help or wants to learn to improvise can get in touch in the usual manner, nathan@ludusludius.co.uk.
However, the show may just go. For most in the industry of culture or entertainment it has been and doubtlessly will be the show must go on. However, with cuts this is mighty troublesome and I think we should change the statement. For sure we can when it comes to the lovely art form of improvisation. We start a show and who knows what can happen. The format may alter as we go along, such as freeing the format that I have workshopped last year with some experienced players. For example, . In this clip we see the freedom of the players to improvise with whatever happens. Every poster I try to design for a new show turns out as this at the moment. (But that is the whole reason I began improvising). The show may just go also, because we may have one show, or it could take flight and we have struck the lucky bell of Tokyo and here we come. Either way after funding cuts and sad looks of vast amount of faces we turn to our youth society to seek the improvements. Get the opportunity for spontaneous workings to work and the future can look bright.
To see the bright light of the future that is on display ask your local youth centre to get Ludus Ludius Youth to perform their TV-style improvised comedy production, Shock The Geek. (We are yet to pilot it and test out the games that the humorous blighters play).
Thank you for your attention and don't forget to email anything to nathan@ludusludius.co.uk.
Thursday 10 February 2011
Mouse That Soared
The article was in the Daily Mirror on Friday 12th November 2010. There I was sat in Chapter Arts looking for a interesting article. What I saw from this mouse was delightful. The article explained that the mouse was after food. This 'little fella' is just like an improvisation player, or improviser, as us little fellas are also after our food. Food being something we need and like.
Our little fella in this article was keeping his eye on the food and climbed up an axe handle and soared through the air for the delicious reward. His leap was not based on the possibility that he (or she) may fail. The little fella didn't calculate or hesitate about how he (or she) may get to the other side. Therefore, our little fella risked without pause for what he (or she) desired.
Each time us little fellas climb up our axe handle onto the stage we do so by hurling ourselves into the unknown. If its just for a grain of corn that is enough. We risk failure and we do not hesitate and certainly we cannot calculate. (There has been times were we end up in a mathematical problem and then we quickly work it out and say it, but this is not what I mean). By all means there is no hurry, the little fella didn't rush up the axe and dive dive dive. Alike us we keep our eye on the food and steadily explore and soar. The air is our ground. The heights are the wonder. The sensation is our stimulus. The snapper (photographer) for the little fella that made it all happen for the mouse, he is our watcher too. They snap us every moments we offer. Our snappers make the show.
Our audiences like to see our risk. That's what they snap up. The offer, the building something together, the unknowing and risk. The photo caught a mouse soaring, This is just as delightful as if we saw it in person. This, thus, means that no matter how rapid fire the manoeuvre is there will still be pleasure from it. Same risk, same goodness. The snapper was Scott, 33 year old. He had taken other brilliant photographs too. The main reason he is worthwhile mentioning further is because he said, "it was a challenge." Risk is a challenge, we indulge it.
Young Spontaneity
It is human nature to be spontaneous. When we are young toddlers we are intrigued by a lot. This state of being is useful. We learn we discover and we don't hold any prejudice over what we discover or see. As adults it is remarkably the opposite. However we still have no choice to be spontaneous.
What changes the inquisitive nature of the child as we grow up? Keith Johnstone blames the education system. This could well be true, but what I see is more than that. Its the social implications of being seen as a bit too risky, a bit too wild. A person that can and will do anything at any point is too much to comprehend. In a romantic relationship its a common request that, I want my partner to be more spontaneous. Why is this a request? You play too safe and we get bored. What life can be when we are more spontaneous is therefore not boring.
Even as an audience in watching an improv show, if the players keep doing the safe games in the same roles in a classic format, then it does become more tedious and too safe. (Short-form improvisational comedy shows are classically formatted by various games played which have players in certain roles in the game the scenes that are created are never the same; however the format can be).
We do not like feeling safe: What is a mid-life crisis? Is it someone who has lived their life without risk and change? If this is an agreeable statement, then perhaps our young community needs more spontaneity to allow this to continue through their lives. If its not an agreeable statement, then we can further the connection, but lets leave that to another time.
The reason that this article is written is due to Ludus Ludius Youth having been run for awhile now and the experience of the young improvisational players having sporadic imaginations or the polar opposite. We are in fact aiming for the more difficult task not because of a personal choice, but as its the more suitable option for the players. Tight, restrictive rules are seemingly always too much. Freer scene work is preferable. Personally, every time that we explore something new, be it a new group or age range then we all learn and discover something new.
Young spontaneity in these days is highly interesting. Do you want to watch? Do you want to participate? Do you think we should keep spontaneity flowing through all our life, not just the very young?
Its easy to share your thoughts and get involved with this, email nathan@ludusludius.co.uk and join our mailing list or share thoughts and ask to part-take.
What changes the inquisitive nature of the child as we grow up? Keith Johnstone blames the education system. This could well be true, but what I see is more than that. Its the social implications of being seen as a bit too risky, a bit too wild. A person that can and will do anything at any point is too much to comprehend. In a romantic relationship its a common request that, I want my partner to be more spontaneous. Why is this a request? You play too safe and we get bored. What life can be when we are more spontaneous is therefore not boring.
Even as an audience in watching an improv show, if the players keep doing the safe games in the same roles in a classic format, then it does become more tedious and too safe. (Short-form improvisational comedy shows are classically formatted by various games played which have players in certain roles in the game the scenes that are created are never the same; however the format can be).
We do not like feeling safe: What is a mid-life crisis? Is it someone who has lived their life without risk and change? If this is an agreeable statement, then perhaps our young community needs more spontaneity to allow this to continue through their lives. If its not an agreeable statement, then we can further the connection, but lets leave that to another time.
The reason that this article is written is due to Ludus Ludius Youth having been run for awhile now and the experience of the young improvisational players having sporadic imaginations or the polar opposite. We are in fact aiming for the more difficult task not because of a personal choice, but as its the more suitable option for the players. Tight, restrictive rules are seemingly always too much. Freer scene work is preferable. Personally, every time that we explore something new, be it a new group or age range then we all learn and discover something new.Young spontaneity in these days is highly interesting. Do you want to watch? Do you want to participate? Do you think we should keep spontaneity flowing through all our life, not just the very young?
Its easy to share your thoughts and get involved with this, email nathan@ludusludius.co.uk and join our mailing list or share thoughts and ask to part-take.
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