Keep out of your comfort zone, surprises are the best things you can throw at one another - This workshop will focus on going toward the scary possibilities, how "having someone's back" can also mean "sneaking up on them" and the fun that can can be found when you stop trying to be nice to your partners and get to what really makes you nervous.
Too often improv feels like a chore, filled with right decisions and good and bad choices. In this session with Jill Bernard, participants will learn the joy and success that follows doing exactly what tickles them. Please wear closed toe shoes to this workshop.
Discovering and managing a POINT OF VIEW/CHARACTER on stage in improvisation is a crucial skill that often remains underdeveloped. This class will teach performers how to quickly grab a POV (the choice that guides all choices) and how to develop and nurture those choices through a scene or show using environment, gifts and relationships with other characters. Learn to create and develop the filter through which only your character looks. Join Rich Talarico, a 25+ year improv vet and alumnus of The Second City and Improv Olympic, as he leads this informative character/pov workshop.
This workshop will concentrate on the foundation of scene work and how it applies to more complex relationship-based scenes. Focus will be on sustaining, balancing and making strong choices for the sake of the scene regardless of how many people are on stage. Using exercises that isolate certain aspects of scene work, we’ll break down the elements to generate specific character information, define our environment and create interesting relationships.
In this workshop, we will highlight what happens to us as performers when a scene becomes scary, offensive or insensitive and we freeze or lose ourselves. We explore some approaches to get agency back when we find ourselves somewhere uncomfortable, tools for improvising mindfully and finding a proactive voice for you and your show. TRIGGER AND CONTENT WARNING: this class is based on scenes when you find yourself dealing with topics of race or socially and politically charged situations - which means it will include discussions and scenes dealing with race, gender* and other very personally sensitive areas and how to move forward thoughtfully, respectfully and meaningfully when you find yourself there.
Do you find yourself playing the same four stock characters in scenes? Do most of your characters look, sound, and act just like you? Wouldn’t it be nice to confidently create new and interesting characters in every show? You can! This workshop will teach you the techniques and give you the confidence to create dynamic, fresh characters with distinct points of view almost instantaneously.
Is that negative monster inside your head inhibiting you from freely expressing your awesomeness?! Do you find yourself judging your ideas before, during, or after improvisation? Develop a mindful awareness of the inner critic, and learn strategies and tools to decrease its power over you. Through the use of improvisation exercises, mindfulness based practices, and psychodramatic techniques, we will support each of our classmates unique path towards playing freely and confidently… ultimately, developing compassion for ourselves and others. *Please note, this class will likely bring up vulnerable and challenging personal material. Students will be asked to share their truth and likely confront personal challenges. Jill is a licensed psychotherapist and drama therapist and will be utilizing drama therapy techniques with the goal of supporting actors’ psychological freedom with their spontaneous choices. However, the contract for the workshop is NOT therapy.
We all know "That Person” on our team or in our class. Ya know, the one that people try to avoid playing with. The one that denies the reality of a scene, the one that only seems to throw curveballs, and makes improv feel impossible. In this workshop you'll learn how to handle anyone and anything that's thrown at you. It's time to become "That Person...Who Can Play With Anybody".
Sure, your scenework's pretty good. But can you do a 10-minute scene? A 20-minute scene? An hourlong scene? Craig Cackowski shares some of the techniques he's learned about long. slow, patient scenework from his years working with such groups as Dasariski and Quartet. AT LEAST ONE YEAR'S IMPROV EXPERIENCE REQUIRED.
This workshop is a survey of methods to turn the corner on a scene that has stalled out and is struggling to progress.
Scott Adsit is offering an advanced workshop concentrating on relationship scenes, character motivations and the often elusive Purpose Of The Scene. What is keeping you from advancing the scene? Why aren't your characters connecting? Why don't your scenes have structure? Why did you spend years getting a Liberal Arts degree when this is all you ever wanted to do? All will be answered.