Improv Communities

[proofred]

I'm in a smaller market (than Chicago, LA or NY). Miami is different in a lot of ways from the rest of the country and the troupes here reflect those differences.

We have different styles, different audiences, different takes. We also have internal stuff and stuff between troupes. Pretty much like everywhere else.

What do you do in your communities to try to boost unity and harmony among the troupes?

We have a yearly "Jam" for charity. What are your experiences?

Todd Rice
ProofRed
---------
Trying to generate more interest in the Other Places.

 

[Sugar-Snit]

I sulk about the lack of women in my "community." I flit from long form to short form. I pout about how expensive the classes are. I struggle to find a schedule that fits with my school schedule. Once I'm happy with a group, they change their prices or their schedules or they make random workshops that are impossible to attend. (in an effort to bring in more people - of course-- i do NOT judge this, but I DO hate it).

And to be honest - I do NOT feel a part of my improv community - as nice as some of the people are. And I don't see people in the improv community doing much other than trying to make a buck and/or and trying to do improv with little resources and in a city that wants to laugh rather than think.

If you are in Atlanta, please don't hate me because I'm beautiful. Don't hate me for being rich. Instead, get on your knees and try to be my bitch. I mean... I would love to be part of your community - especially if you're a girl and queer-friendly. And ESPECIALLY if you're not doing short form guick laugh games n sportz using props and too many sexual jokes.

 

[megatron]

24 Live welcomed many non Dirty South Improvisors from around the NC area. And they were all sweethearts. Except for the one guy.

 

[pokey]

Yeah, Atlanta's improv community isn't as much of a "community" as it could be. A couple of groups are closeknit and collaborative, but most of the others keep to themselves. (Naming names would be sort of tacky.) At present there's only one full-time long form group, but that'll probably change in the near future.

It'll be interesting to see a few of Atlanta's improv groups playing at the ImprovFest next week. There'll mostly be shortform and some gameprov, but also a couple of long form shows.

Sugar Snit... where've you played?

 

[Gnome]

In the past year and a half I've played in Atlanta, Phoenix, Worcester, and Boston.

My primary troupe in Atlanta was a college troupe that were largely isolationists. We rarely went off campus and I really regret it. I never even saw a Dad's Garage show until after I'd graduated and that was only to meet some Phoenix folks that were in town for the weekend in preparation for my move. Never did see a Jackpie show - didn't even hear about them for a long time. I can't really speak for the rest of the city's scene.

Phoenix was not nearly as developed as Atlanta or Boston. It seemed that there was one established gameprov troupe that mostly kept to itself and all the other improvisors in the city were all pretty cool with each other and would party together. The established troupe had a non-compete policy but held weekly open jams (mostly attended by students - but other area improvisors were invited and would have been welcomed). It seems that the homeless improvisors would regularly form new improv / sketch groups and other projects from within the pool - they would exist for a while and then either go dormant or disband. This might be a false observation. Seemed like a pretty tight group that showed good support of each other. They're also doing a LOT of work with high schools. It is my understanding that half of the performance groups at the Phoenix Improv Festival were high school groups (usually created by local improvisors). This is building the next generation of Phoenix Improv. The more children are aware of improv, the more they'll participate / attend shows in 5+ years.

Worcester (an hour West of Boston). There are a couple college groups that all mostly do their own thing and in the last two years one "professional" group started up but I don't believe they do much to reach out either. I know that WPI and UMass Amhearst occationally hold mini-festivals that brings in college troupes from around New England.

Boston is my newest improv city. Mini-side projects seem fairly common among intermediate improvisors and can pull a wide variety of people to work together. I don't know much about the relationship between the two primary training centers. I also know know how much support troupes tend to show each other. I haven't run into anything that would suggest anything less than a friendly relationship.


The nomadic troupes of Phoenix gave me the biggest feel of "improv community," probably mostly because it was small enough that everyone could know everyone else. I showed up not knowing anyone and immediately joined a group and was invited to parties hosted by other groups. Instantaneous trust and friendship. Boston seems pretty cool, but I haven't been around long enough to know what the "community" is like.

 

[proofred]

Thanks for your stories. It's interesting to hear about how other areas are similar in a lot of ways...and hopefully it helps you guys as well.

Any suggestions as to how we can improve things?

Any suggestions on boosting the "rep" of improv in the local communities to get it a larger audience base? We're trying, but it's a constant uphill battle.

Todd Rice
ProofRed
---------
Basking in the sun of Miami.

 

[Sugar-Snit]

To be honest - I don't see a lot of "cooperation" going on here. (Holy crap, do I sound like benorbeen now??). Seriously though - when I go to SOME places, I feel as though it is very anti-intellectual and all about the quick laugh. They ARE funny, but very frat-boy. And trust me I am NOT a man-basher... but there are like no chicks. And those who are there have become numbed to the sexism and treatment. God- I sound like a whiney-tail...but I'm not whining, just pointing it out.

It feels like high-school, where the guys are AFRAID to show each other their intellectual side. I cannot believe that I"ve seen these same men emote on stage in a play-- because they have stifled ANY character development and emotion during their improv.

So- I'd say: cooperate with other 1)troups 2) genders 3)communities and by so doing, create inclusive rather than exclusive communities - that is to say, when someone comes to visit your class or take a beginning level remind them that they'll get their training wheels off if they stick with it.
Make a better pricing structure, more affordable to artists and students. It always amazes me that classes in NYC are CHEAPER than some of the classes here... I've even gone to workshops where it changed from pay what you can, to a set fee to a higher set fee within 3 weeks. I'm NOT against people getting paid or making a fair wage-- it was just confusing AND difficult to budget for it-- AND when I asked for a way to have reduced fees OR pay over a longer period they were unwilling though they said via e-mail that they'd gladly accept volunteers at their shows for a lower fee.

Have a better method of PR and audience relations. Here - you only hear about things if you TRY. I had to ask around all over before I accidentally met someone at an audition who told me about other improv (beside's Dad's Garage). People shouldn't have to WORK to find out about a show to see... else they'll just go to the movies.

Create alternative spaces for watching improv. You don't have to have a THEATRE for your audience to see improv. You can use public spaces to have quick improv skits and q/a sessions. I love it when people do that at festivals here. It would take more work - but it would be doable... especially if you got your students involved and let them run with their diplomat status.

Ok- this was LONG. Yikes. (obviously, I feel strongly about this issue).

 

[Gnome]

My thoughts on this:

Promote and support each other's shows. This is particularly important if you don't have your own space, but it would be nice if the established theatres did it too. Along these lines - give industry discounts to fellow improvisors so it doesn't break their bank to support you.

Have a non-partisan improv information webpage for the city with links, schedules, information about every improv related opportunity around. Perhaps have two - one for improvisors and one for general public / audience. Phoenix has this. Salt Lake has this. I don't believe Boston, Atlanta, or Worcester have this. If they do, I haven't heard of it which means it isn't doing a good job.

Work with high schools and colleges. Seriously. Check in with theatre departments and offer to do a few free or very affordable workshops. Make yourself available for e-mail / phone consultation with teachers that are doing their own thing. It may not pay off immediately, but you're planting a seed. Each person that sees improv in high school will remember what it is forever. Their parents also hear about it. Right now a lot of people don't even know what we do. I think this is key.

Have open social activities. I know that Salt Lake attempted a bbq outing open to all area improvisors. I don't know how well it worked - but I think it is a cool idea.

Work with other arts organizations. Work with street performers, puppetry people, sketch / film people, accapella, stand-up, stunt men, whatever. Support them and they'll support you. We all have things we can learn from each other. Your audience may enjoy what they do and their audience may enjoy what you do. Share.

If you're working on a temporary project - recruit people from outside your own troupe. It'll bring something fresh and unexpected.

Invite members of other troupes to join you for the occational workshop and perhaps even guest star in a show from time to time? Hopefully they'll reciprocate and the guests will return to their primary ensemble with new ideas.

Open Jams.

Ban non-compete policies. Lay out your expectations for members and let them decide if they have time to get involved with multiple groups.

Share venues. I like ImprovBoston because twice weekly they let other groups perform at very low cost (Wednesday and Sunday nights - they're not prime nights - but they're at least performance opportunities). In Phoenix they used to perform at a restaurant every other week (I think?). Three different valley improv troupes were on the bill - so if the audience didn't like one style, hopefully they liked the other two enough to come back. I don't know what the financial situation of this deal was? My current troupe puts on a show that includes three different half-hour shows (mix of short/longform/sketch) and a half hour of stand-up. With essentially four different shows going on we're able to take risks. This also gets improvisors to see what else is going on in the field.

Drop the friggin' ego. This can be difficult.

Send small ensembles to regional / national festivals. They'll come back with new ideas and with a head full of possibilities. They'll also show others what is going on in your neck of the woods.

Host local festivals. Feel free to start small. Start off with a few local professional, college, and high school troupes. Bring in at least one out-of-town troupe, preferably one that puts on a pretty dependable show. Have a few workshops instructed by the out-of-towners as well as some volunteer local directors as fluffers. Make sure there are social activities planned (party / kareoke / whatever) but also allow the festival to make its own plans as it goes.

Just some of my ideas. Once I find a permanent living situation I hope to apply some of these.

 

[proofred]

I agree with both of you.

There are some groups that treat women very poorly and getting respect as a woman is very tough sometimes. Our troupe has been pretty good about it, but even with us I see it pop up every once in awhile. The good news is that we all quash that whenever we see it as best we can.

We've created a really comfortable atmosphere and so sometimes the females actually call some of it on because they feel comfortable that it is meant for humor. Even then, I make sure apologies are made, etc., so that the comfort continues.

This doesn't cross troupe boundaries and I've seen some shows (no names - and I may not even be referring to Florida) where I could not believe the women actually stayed in that troupe.

Pricing: I had sticker shock on the price of shows, not just the classes. I returned to Chicago and realized that their prices had climbed even more, so I feel better about it now. There has to be some kind of active program to try and help the financially deficient pay for classes.

After Rick Roman passed away, they created a scholarship fund in his name. It was a great program and a friend of mine got the scholarship. It made me feel better about Rick, that his name was being carried on, and people who couldn't otherwise have taken classes got the opportunity.

Local websites? I agree, I made one at www.improvmiami.com for the local. I tried to keep it fairly impartial, but since I was the only person working on it and the person paying for it, I put my troupe first. Ah, let the fun begin

It's mostly to try to get new audiences to improv.

I also have a bulletin board, etc. Unfortunately there are no takers.

Local Festivals? Another troupe did one, but it was more geared to outsiders. If we were to do one for the locals (which I have considered), it would be seen as some kind of a power play, which I don't want to do. Good idea, though.

Anyway, if you guys get down to Miami, look me up.

Todd Rice
ProofRed
---------
Florida bound...and gagged.

 

[Ross White]

The single best thing you can do to promote community is not shit-talk the other troupes. You'll be amazed at how easily it gets back to them. Go see their shows. Support the art of improv. Community will happen.

If someone from another troupe or theater is shit-talking yours, and you find out, say something nice about them. Don't qualify it. Just say something nice.

If you teach, and you don't encourage your students to see shows at other theaters, I think you do your students a great disservice. Not only do they not expose themselves to other forms of improvisation, but they don't get a chance to see you supporting that community.

 

[proofred]

Amen.

JTF - Throws the MiamiImprovFestival, does a great job of trying to promote improv and pushes long form
NCP - Pushes the envelope beyond what most would think possible
Impromedy - Great video work and quick sketch writing.
Mod27 - Great long form stuff. Wish I could see them more often

Todd Rice
ProofRed
---------
See, I can say nice things

 

[Sugar-Snit]

This is awesome!! I just got the hook up because of this thread!!

Yay for Todd. Yay for improv.

Yay for creating a snuggly cozy prov community.

 

[proofred]

Yay...I think.

Todd Rice
ProofRed
---------
I miss one memo and now I'm a week behind.

 

[Gnome]

This, to me, is what these boards are all about.

A performer in Boston telling a performer in Atlanta about an improv opportunity that fits her needs. I dig it!

If only there were an infosharing and regularly updated www.atlantaimprov.com or a closer relationship amoung local improvisors she may have found out about it earlier. This is the strength and importance of improv community.

Hope it works out for you!

 

[jesster]

Ryan and I started UtahImprov.com to promote Utah Improvisers and let them know each other exists. Some things that have happened that have made me smile in the past couple of years:

Interviewing most of the troupe leaders in Utah to promote participation
4 comedy Jams with invitations to all groups in the last year (all for free or charity)
Most troupes offering free workshops
Many performers becoming "free agents" and performing in multiple groups
Improv BBQ

I agree with more Jams, but more social events as well. Not shit talking is a great note. Promote venues for interaction and sharing.

Boo! to improv non-competes!!

Above all, respect that what you do and what others do is different, not wrong.

-Jesster

 

[pokey]

Above all, respect that what you do and what others do is different, not wrong.

-Jesster

Amen and amen...

 

[proofred]

Double the amen (does that mean Amen and amen...amen and amen?)

Question: How does one offer workshops to other troupes without making it sound like you are saying they need work? That's not what that means at all, and I'd never presume to say that to anyone. I think that we all can learn things from one another, and that is of course the intent. But in an area where years of ignoring one another has lead to feelings that the troupes don't respect one another how do you make an offer like this without potentially having it taken the wrong way?

By the way, we do an annual Jam for charity (well, we've done 2). I just want to continue the love.

Todd Rice
ProofRed
---------
Continuing the love...and the antibiotics.

 

[Ross White]

Todd-- Invite them to teach you a workshop. And when they do, offer the same in return.

 

[Sugar-Snit]

This, to me, is what these boards are all about.
Hope it works out for you!

Thank you Gnome! You've been amazingly helpful! You rock it!

I feel so much more excited about improv now knowing that I can get involved in a community more closely related to what I've been seeking!!!

Yippie.

 

[proofred]

Todd-- Invite them to teach you a workshop. And when they do, offer the same in return.

Thanks. That's the way I figured to go...but most don't have workshops. Maybe it's possible, I'll scout around some.

Honestly, I'm just happy there's this much activity on an "Other Places" board.

Todd Rice
ProofRed
---------
Some "Other Place"