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Introduction to #IO #Stream Session 1 | #CoreJava #Tutorial | Mr. HariKrishna - #Nareshit
Let’s do some math. There are 5 weeks in the summer intensive and you get one teacher per week. Which means you get to learn from and pick the brain of 5 different veteran improvisers. There are 9 sections in the intensive, so, there are 9 teachers working simultaneously with each section. This also means that you miss out on a lot of really good improvisers while you’re there. Luckily, there’s a way to kind of surpass that and get involved with other teachers than those that were assigned to your section: workshops.
And I know what you’re thinking: aren’t 4 days of improv per week from 11am to 5pm and 2 to 6 shows every single night enough improv? Do you really need more training and take on additional workshops?! Nope, it’s not enough and yes, you do!
I was able to register for 3 workshops (actually there were four, but I’ll explain that in another occasion). Finding and Playing the Game with Bill Arnett (I actually had Bill on week 4, but I’d already registered for this workshop before flying to Chicago); Scenework with Craig Uhlir; and Short Form in Long Form with Tara DeFrancisco.
On all of these the focus was put on specific tools and principles, setting aside the bigger picture of the Harold or the teamwork we were developing within our sections, which was a good thing. This was also an opportunity to get to know and improvise with other students from different sections and expand our collective bonding. But make no mistake, this is also iO’s way to cash in a few extra dollars. But who’s really thinking about money when you’re investing on expanding your “improviser’s toolkit” and having so much fun doing it? Just eat $1 tacos for a few days and everything will be fine.
Week 4, the Harold. Time flies when you're having fun, right? It really does, and my fourth week at the summer intensive just came and went like speeding car. Luckily, I was able to really enjoy the ride. This week we focused on the harold, the all mighty form from iO. I was a bit anxious about it because a whole week dedicated to this structure (although it's much more than that) seamed too much, but Bill Arnett took us where we needed to go and we focused on perfecting our scene work. The audience does not care about form, it only cares about the scenes, how they are played and the emotional and intelectual connections we are able to create on stage with it. With that in mind, we took on the harold throughout the week with a new perspective and worked on improving our openings, game scenes and different beat scenes.
Last wednesday, our week 1 teacher, Matt Higbee, dared all his students to go out on an adventure after classes: a treasure hunt. But instead of searching for some sort of golden item, we were set out to find our own personal treasure.
Interested? Here’s how it works. Make a group of people. Each one will have a period of 20 minutes where they will be the leader, which means they will be in charge of the destination and activities of the group. During that time the other team members have to support and follow the leader. Everyone will have its turn as the leader and in the end, I promise you, everyone will unearth some shape or form of treasure. Be spontaneous, courageous and empathetic and it will be incredible. In my case, I found beauty. Sad, conflicted, strange, endearing, sweet and exciting beauty. Thanks to the great Matt Higbee, and thanks to Henrique, Georgie and Kristen for this journey within a journey.
End of week 3 with Todd Edwards as our teacher. This was a tough one. A lot of strong emotions running within the group and inside each one of us. We were pushed and we saw ourselves as people, performers and artists in every scene that got created on stage. I do feel that week after week we are growing as improvisers by tackling individual challenges and acquiring new tools. This week I saw my new friends doing stand up, play as guests on improv groups at iO and I'm amazed at how talented they are and how they stand out from other performers. We have so many different personalities and skills between us that I truly feel lucky I ended up in with this group of beautiful people. Teachers, shows and classmates: these have been equally responsible for my personal growth as an improviser.
About support: “I’ve got your back” is an improv mantra we’ve all heard and felt. Trust one another. So much of improv is about being vulnerable and giving yourself to your scene partners and making yourself available to them. The willingness to trust strangers on stage, in front of more strangers, is a magical thing. And we see it everyday at iO, at any improv class or show. In only two and a half weeks, dozens of strangers became groups, bonded with each other with ease and care, broke personal and cultural barriers, became friends. And it only took trust and support. Improv people are some of the most loving and caring people you can meet. So do yourself a favor and buy them a drink when you see them. I’m sure they’ll be interested in your stories too.
Failling
It’s a bitter taste when you end a bad scene or your partners get edited out of one. And it doesn’t even matter if the audience, your coach or your partners enjoyed it. The taste lingers on as long as you feel/think the scene went wrong because of you, that you were disrespectful to your character, made stupid mistakes, or committed to the wrong thing. There is no failure in improv, I’ve been told. But this is one of the most difficult things to truly internalize as an improviser. Yesterday I tasted failure. It made me scowl. But today I feel like I’ve learned something from it because I can go back to that moment and, hopefully, I’ll guide myself in a better direction. There is no failure so we can fail more, and as Beckett said, fail better. Tomorrow I will try again.
