4 and 8-day passes
- Jeu. 6 déc. + autres dates
- L'Improvidence - Lyon
Send an email to book your workshops: email@example.com Subject to availability.
Send an email to book your workshops: firstname.lastname@example.org Subject to availability.
In this workshop we will combine multiple aspects of improvisation to make characters, scenes and stories bigger, stronger and more fun!
Physicality: by being physical on stage, we lift improv out of the “talking heads” syndrome and into exciting and theatrical worlds. By being physical, we engage both ourselves and our audience on a visceral level. How do we portray Violence, Friendship, Intimacy, Love, Lust?
Staging: in improv, we can actually make an audience see things and places that aren't there on stage, if only we have the skills and commitment to make it happen. Instead of standing onstage and talking, we have the opportunity and the challenge of portraying the full range of human experience.
Transitions: transitions (sometimes called “edits” or “scene cuts”), both within and between scenes, are one of the truly magical aspects of improvisation. We will look at the many ways that we can, as an ensemble, move from one part of scenes and stories into the next part, with the goal of making anything and everything possible.
This workshop presents Jill Bernard's Fireball Theory and offers exercises to help you improvise faster and harder than you can judge yourself. You will learn to metaphorically hit the scene running and outrun the explosion of self-loathing and doubt like an action movie hero outruns a fireball thus defying the laws of physics. Please wear closed toe shoes to this workshop.
This workshop will explore more than 15 structures for one actor scenes. Using viewpoints and other tools we will unfold the triple role in the monologues: the writer, performer and director. Tools to generate scenes and no improv text.
Just like life- impro requires contradictory abilities: The ability to be focused, and the ability to let go. To zoom in and zoom out. To find the details and tell the story. To lead! And still stay surprised. To hurry up, and slow down. These contradictory abilities are simply different ends of the same rope. The rope of focus, storytelling, cooperation, rhythm and more. I invite you to come and explore the balance, the place where you can choose to do what’s needed at the right time. Be a Ninja! You have inside of you the spectrum of each tool, now use the one most needed.
In this workshop, I take participants through some of the core principles of Commedia Del Arte. On how through your body language, and gibberish you can actually tell a story. We'll look at areas like: How can I perform without talking my native language? How a movement or a facial expression can transform your story? How do we elaborate a scene without talking, but only with your body expression?
This workshops aims at giving you a comprehensive toolkit to explore, enjoy and design your own sound signature. We’ll go through basic beatboxing and musical notions to support scenes with powerful soundtrack. No need to be a specialist, just explore your possibilities and create your own sound box, special effects, animate,objects, animals and more!
Many of the genres we perform have characters that were created to reflect society of the time. Even if the author set the story in a different time, the actions or behaviours of the characters represented the social sensibility of the reader. These acceptable social rules were heavily categorised into male and female behaviour. Today’s world is different. Our social dynamics and ‘rules’ of engagement encompass more freedom then rules of the past yet our storytelling is still shackled to historical roles. For example, if we continue to categorise behaviour by gender, in reflection of today’s world, are we not perpetuating a form of sexism? Do the actions need to be linked to the gender for the story to be told? Do the stories remain genre ‘true’ regardless of ‘gender’ casting? By questioning, challenging and exploring the purpose of the character in the story and removing the gender assumptions we break open new levels of impro play and possibilities. The effects on the audience are really quite interesting.
Jill Bernard offers a character toolkit to give participants the ability to create strong, compelling characters that they can hang onto through the whole scene. This session will focus on using Voice, Attitude or Posture, and Animal, Prop or Obsession to build instant characters. Participants will use these tools to fearlessly initiate scenes, create relationships and find agreement.
But improv can also contain realistic characters who are vulnerable. Having the ability to create improv that is honest and vulnerable adds another layer to your work, a little bit of cake underneath your frosting to take your work from light entertainment to something with resonance. In this module, we start with your true self as a completely valid and powerful launchpad to creating original improvisation.
In this workshop we will explore everything about the languages of improv. These include:
Verbal, Physical and Emotional Language The Languages of Truth and of Humor The Language of Scene, Narrative & Game Improvising in your Second (or 3rd or 4th) Language Improvising in Multiple Languages at the same time Improvising Social & Political Satire
This workshop will probably be best for Intermediate to Advanced Improvisers and especially beneficial for multilingual improvisers. I will also provide personal feedback for each improviser and will be open to addressing any curiosities about Language in Improvisation that students bring into the workshop.
Magical Realism is a genre where extraordinary, unreal and strange things appear as part of the daily life and it´s completely normal. This workshop is a journey through the complex world of magical realism exploring basic elements
such as : different ways of playing with time, fantastic or magic things as part of normal life, social and political relationships, and from who´s point of view are we watching the story.
The intensive focuses on the skills for creating, building and sustaining a scene / story in either long or short form. We look at platform, circle of expectations, identifying whose scene is it, advancing, raising the stakes and finding endings.
This workshop is for those who want to start working with the audience even more than already usual in improv. You may have heard of Lees work on stage, performing scenes with audience members in the show „Your 15 Minutes of Fame“. The results can be magical. Its a must see for any Improvisor. Working with the audience can be tricky, dangerous and even frightening. Lees approach is simple... they should be the star. Giving everything to support your public partner becomes the best practice for any improvisor. Lee takes you through his philosophy and various scenarios to condition you for entering the world of scenes with audience members.
For experienced performers.
In this workshop you will work on scenes that lead to memorable songs, and practice different song structures.
What makes a scene go from talking to singing? When is it the right moment? How can a song rise the stakes or make us understand a character?
You will find answers to these questions and many more!
And this class is open to musician improvisers!
The sound painting is a sign language that is used to compose in real time performances executed by several art disciplines. Created by Walter Thompson and spread around the world, the “Impro Big Band” is a derived dialect from the original. The end of the workshop is a performance open to spectators. It has been performed at Mexico, Reunion Island, Puerto Rico, Spain, etc. with an absolute success. Is a new way to play, in relationship with another artistic disciplines.
This workshop is open to actors, musicians, dancers and any other artistic discipline!
The workshop will explore the joy of finding truth in characters, and the ability to change in a believable way. We will do so by trying out different body languages, statuses,
personal rhythms and psychological states. We will explore realistic characters along side with expressive and extreme ones. By using impro scenes and long forms, we will search the ways each character has to express it self while using its motivation, action, relationships and more.
Lee will guide you through some basic long form structures to give you a taste of the complicated but exhilarating world of long form improv. This workshop covers story timing, simple story frameworks and character development. Even if you have been doing long forms for years, this is a great workshop to get new perspectives and inspiration.
Deal with the worst improvisers and worst situations.
Improvising implies taking risks but also commitment to your partners.
We want to feel safe on stage but that oftens makes us too polite.
We'll study both sides of the coin and learn how to break the rules and deal with the rulebreakers!
We will see the different ways we have to tell a story. Using resources like flash-back, flash-foward, music to make time jumps. Even cyclic structures, ordered and disordered. We will learn to know what is the main thread of each story and to quickly identify which is the engine and the idea. So we don’t get lost later in the structure and use it to entertain us and to surprise the audience.
Doing scenes with no talking (!) takes us into a realm of non-verbal communication which is both challenging and eye-opening. How do we do it with clarity and commitment? How do scenes build? We need to pay attention and respond to each other in new and exciting ways. Fun!
Improvising 1-Act and 3-Act Stageplays
Discover the joys of using your full acting prowess in this awesome format! If you enjoy improvising full-length stories, you’ll LOVE discovering The Naked Stage!
This intensive will focus on the acclaimed Improv Playhouse of San Francisco format "The Naked Stage", in which the stories take place in a single setting/location, in traditional stage-play style. The improvisers play one character each, and there are no built-in time jumps, transitions or scene breaks .
All the actors have is the bare stage, a simple suggestion from the audience, and each other. "The Naked Stage" is hugely popular in San Francisco and across the USA. "The Naked Stage" combines San Francisco’s tradition of narrative longform improvisation with the demands and surprises of traditional theater. In a sense, the actors are “trapped” on stage with only each other. Without the usual exit options (lights, time and location jumps, and other scene-enders), they are left to fully confront the characters and situations which they have created. (Suggested that students have significant prior experience in longform improv.)
Master Class is designed for the experienced improviser and is focused on providing specific feedback on the individual from an experience outside eye. We look at strengths, patterns and habits. The aim is to bring a greater awareness of your work, provided challenges and open areas for growth.
The focus of this workshop will be providing students powerful, specific tools to help you connect and respond to your scene partners while improvising. I’ll show you how to play with - Emotional depth to bring richness to the ordinary - Emotional & Psychological listening to discover more possibilities in the moment - A strategic point of view to sharpen your Characters and Scenes - A vital presence to serve yourself and your scene partners, your scenes and shows We’ll work with understanding the differences & similarities in playing Game, Narrative & Long Form Characters. I’ll include personal feedback with tools you can use going forward. This workshop is perfect for all improvisers, regardless of skill level, and will provide you LOTS of reps in the improv gym to practice using the tools that I share with you.
This workshop is an encounter with an essential part of oneself. The clown that we’re looking for is hidden there where we hide our defects and our fears. Where we hide optimism and the pleasure to fail as well. In the workshop we´ll explore through games, improvisation and movement, the work of connecting in a special way with the public, the discovery of creativity immersed in failure, the ability to live in the moment and the moment in search of pleasure and play.
Let's take risks. Let's be on the stage in groups of between 3 and 10 people at the same time.
Let's see how we can find focus, harmony, beauty, narrative, statuses and much more in this situation that we are usually trying to avoid.
I believe that seeing a bunch of improvisers finding the flow together is a powerful and unusual thing to see on an impro stage.
I invite you to explore with me the power of a group. To find the difference notes in the harmony. To find the balance between leading and following. To enjoy the power and support of being on stage as a mass group.
In this course we will learn how to use the body as well as the mind. Not to be dissociated to be able to transmit in silence with our bodies the things that are happening to us. We will learn to gather ideas with physicality and body, in order to achieve a more complete and committed communication.