Most improv instruction is structured around the eight-week class. As a teacher I was always like, “OK, I can see half of you have not gotten it yet, and now I have to move on to next week’s lesson,” and feltIn the book, I talk about how I reached a point at Second City where I didn’t want to deal with a rigid structure anymore. That allowed me to do whatever the fuck I need to do. I don’t do eight-week classes anymore.
Say NO! There is no play that doesn’t have the word “no” in it. And there is no play that doesn’t have a question in it! There is no play where they’re not talking about somebody who isn’t there! All of that. Why is it that improvisers aren’t fucking allowed to do that? Fuck off! I don’t teach “yes, and,” so it’s already advanced. I’m teaching, “look at your partner right now, what are they thinking?” And keep going with that. So what ends up happening is we start opening our hearts more, and we start going, “I trust you, you trust me.”, a podcast by that guy, Phil, Rosenberg? Rosenthal? One of my fellow Jews, whatever. He interviewed Elaine May for her first podcast.
In your book you recall your father telling you to get a real job, and having a meandering career like many artistsmyself included. As artists, there’s always the doubt of “Is this what I should be doing?” How did you navigate that?
Source: Entertainment Trends (entertainmenttrends.net)
United States Latest News, United States Headlines
Similar News:You can also read news stories similar to this one that we have collected from other news sources.
Source: Chicago_Reader - 🏆 447. / 53 Read more »
Source: Chicago_Reader - 🏆 447. / 53 Read more »
Source: chicagotribune - 🏆 8. / 91 Read more »
Source: bleedingcool - 🏆 20. / 69 Read more »
Source: MSNBC - 🏆 469. / 51 Read more »