I thought this message could be of some usefullness on the issue of
improvisation as a theatrical action, "lato sensu" (in the sense of a
conscious action to an observer, to the other, in bakhtinian terms of an
aesthetical action)
Ricardo Ottoni Vaz Japiassu
Professor da Universidade do Estado da Bahia-Uneb X
http://www.ricardojapiassu.pro.br
----- Original Message -----
From: <DgSWEET@aol.com>
To: <GiveandTake@yahoogroups.com>
Sent: Friday, June 07, 2002 3:08 AM
Subject: [GiveandTake] Improv and comedy
> My thoughts:
>
> The reason why players tend to do comic work -- when you're up there, you
do
> tend to hope to get evidence that you're communicating with your audience,
> your community. How does the audience confirm that you're communicating?
> Well, it's hard to get a readable response from people watching drama.
You
> can't actually hear people empathizing or feeling pity and terror. But
you
> know you've made a connection with comedy because you get the
reinforcement
> and reward of laughter.
>
> I suppose many idealistic players play without worrying about audience
> reaction, they just work with whose playing with them and don't worry at
all
> about results or who thinks what out front. But those are pretty pure
souls
> indeed. We mostly do have a care about our audience -- they're our
community
> after all. We want them to be able to hear, to see, to understand, so we
> share our voices and bodies with them without thinking that this is
> compromising.
>
> I have long been interested in the use of improvisation for developing
> dramatic material and have, in fact, worked on what I consider to be
serious
> scripts by either playing the games with others or playing them in my
head.
> (I know this sounds a little precious, but that's sometimes how I do it.)
> But I think the need for reinforcement in the moment is at the root of the
> tendency for most improvisation to play the comic side of the street.
>
> Jeff Sweet
>
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