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Improvisation is the spontaneous invention of performance. But while it specifies a particular form, elements of improvisation are intrinsic to all performance and the quality of liveness it produces.


00:01:03
Contact Improvisation for Actor Training
Video
This video is documentation taken from a weekly contact jam session with the actors in the MFA Actor-Training program at UC Irvine. Contact Improvisation is a large part of the movement arc in the first year of actor training, and jam sessions are held weekly, integrating all three years of MFA actors.  Someone happened to video this session, and I give a brief description of our use of contact as a tool for actor training in the voice-over. 
00:04:02
Contact Improvisation for Actor Training - Movement with Text
Video
This video is documentation of an exercise with 3rd year graduate actors at the UC Irvine Actor-Training program, speaking a monologue while contacting with a silent partner. At a moment of heightened activity, the silent partner is removed, and the resulting delivery of the monologue is focused and intensely communicated. The athleticism and sensitivity of the contact created a culture of expressivity. Tenderness as well as rage and challenge emerged in the contact session and remained present in the solo monologue. So, the complexities of emotion that were embodied metaphorically and rhythmically in the extreme lifts and rolls and balances of the partnering could be seen as an emotional “rehearsal” for the solo performance. But once the partner was removed, the speaker had to reach out to us, and address each deeply felt idea to the audience in the room. No longer in a contact with the literal “other,” we, the audience, now become the necessary focus.
00:30:15
Prapto Human Nature Spirit - Asset Image Thumbnail
Video
Shot at a workshop held at La Bartra, a retreat centre in the Prades mountains. Most of those present had worked with Suryodarmo for many years, and they came from across Europe to share his practice.
00:12:29
Structured Improvisation - Impro Maids - Image Asset Thumbnail
Video
Zarrilli’s Psychophysical Acting methodology focuses on the relationship between the actor-as-doer and what the actor does. It (re)examines in practice and theory a psychophysical approach to acting.
00:36:42
Interview with Siddis from Karnataka India, 2016
Video
This interview was conducted as part of the “Telling Our Stories of Home Festival” made possible by Kathy Perkins and Tanya Shields at the University of North Carolina at Chapel Hill. It is about the African Diaspora in India, particularly Siddi life and culture in Karnataka, and descriptions of the arts and social conditions in the Siddi community. Also included are the personal experiences of Girija Siddi and Geeta Siddi, such as how they were able to continue their education and and how they got into Theatre. They are the first Siddi women to graduate in Theatre, which has motivated other Siddi youngsters to consider Theatre as a profession and to continue their advanced studies. In the interview they also noted that they are now living in a city, no longer within their own community. They are looked upon as strangers in Bengaluru because most of the people in the community are not aware of the Siddi people, who have been living in the same country for more than 600 years. Girija now is practicing Hindustani classical vocal music, and she is the first Siddi woman to study classical Indian music. Geeta Siddi, after her master’s in performing arts, is doing her PhD on women artists in Kannada Theatre. She has been honored by a fellowship from HRD, Government of India for her research on the Arts of the Siddi Community in Karnataka. Girija and Geeta are also the first women to travel outside of India. They were invited as international artists to participate in the “Telling Our Stories of Home Festival.” Channakeshava G is founder trustee of the Siddi Trust and the Lokacharita Trust organizations. He is a visiting teacher at NINASAM Theatre School and other institutions. He has worked with the Siddi community of Karnataka for the last 15 years and has written and directed more than 50 plays in 5 of the languages of South India.
01:19:28
Odin Teatret - Moon and Darkness - Asset Thumbnail Image
Video
In this demonstration-performance, Odin Teatret’s Iben Nagel Rasmussen shows and explains her working practice, from her training methods through to performance.
00:42:23
Prapto 1
Video
This workshop has a strong focus on voice work. It takes place on Dartmoor, in an ancient stone circle, a village hall and a garden, and illustrates Suryodarmo’s individual movement practice.
00:58:20
The Bridge of Winds. International Group of Theatrical Research Led by Iben Nagel Rasmussen
Video
This film documents the work of Iben Nagel Rasmussen (Odin Teatret) with her international group The Bridge of Winds during a two-week closed work session held in December 2011.
02:01:50
Touchdown_Assetthumb
Video
Touchdown Dance, which includes commentary and analysis by Paxton, observes the experience of a visually impaired woman, Kirin Saeed, as she moves through a five-day workshop with Paxton’s company.
Commentary
by Annie Loui
Contact improvisation is a form of dance improvisation based on energy and weight exchange, incorporating elements of aikido, jitterbugging, child’s play, and tumbling
Commentary
by McPherson, Katrina
Practitioner
Actor, director, teacher, author of six books and pioneer of ‘Active Analysis’, Maria Osipovna Knebel is arguably the most influential figure in 20th-century Russian theatre, after Stanislavski.
Practitioner
Steve Paxton worked with Merce Cunningham and helped found Judson Dance Theatre. He is the inventor of contact improvisation, and continues to perform, choreograph and teach around the world.


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Category
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