[BATA] Pan Theater November Improv Acticle and New Class Schedule

Fri, 21 Nov 2003 15:54:37 EST

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Pan Theater Monthly Improv Article and Class Schedule

What=E2=80=99s Talent and How Do I Get Some? (by Doug Kassel)

I once had a student ask me if I thought he had enough =E2=80=9Ctalent=E2=
=80=9D to take my

class. I thought that was a strange question. I=E2=80=99d never considered=20=
=E2=80=9Ctalent=E2=80=9D

a prerequisite to learning anything, especially something that is designed

to bring out people=E2=80=99s so-called =E2=80=9Chidden=E2=80=9D talents. Th=
at started me thinking,

=E2=80=9CWhat is talent?=E2=80=9D

Talent is perceived as some magical gift or ability that only a few =E2=80=
=9Cchosen=E2=80=9D

people have bestowed upon them while the rest of us are boring, unworthy and

unimaginative. Furthermore, talent is seen as some genetic predisposition,

like being double-jointed or having a perfect pitch; you either have it or

you don=E2=80=99t.

When I think about a person having talent, I think of them demonstrating the

fullest expression of themselves; they have overcome whatever barriers might

have inhibited them from that expression. Some of us have more barriers to

overcome than others such as fear, censorship, judgment, lack of

self-confidence, awareness, fear of losing control, wanting to be =E2=80=9Cr=
ight=E2=80=9D or

=E2=80=9Cclever=E2=80=9D and fear of looking silly.

The fear of looking silly has always interested me, especially working with

actors, who by definition, want to attract attention and =E2=80=9Clive fully=
=E2=80=9D in

front of an audience. Part of the thrill of acting is to communicate and let

the audience live vicariously through the actor=E2=80=99s performance and ye=
t some

actors have a fear of looking silly. That certainly is one of the

self-imposed barriers I see frequently in people during improv training.

Looking ridiculous in public seems to be something most people avoid at all

costs.  However at the same time, we idolize and pay huge amounts of money

to comedians and performers who are =E2=80=9Cextreme,=E2=80=9D =E2=80=9Coutr=
ageous,=E2=80=9D =E2=80=9Cout there,=E2=80=9D

=E2=80=9Cover-the-top,=E2=80=9D and =E2=80=9Cemotionally naked.=E2=80=9D Peo=
ple like Jim Carey, John

Belushi, Robin Williams and Jack Nicholson, for example, are famous

precisely because they are willing to go where most people won=E2=80=99t and=
 we love

to live vicariously through them.

Improvisational training helps break down barriers to the expression of your

creativity. I believe everyone is creative and that creativity already

resides within us. Some people have easier access to it and others have to

work at chipping away the barriers, but that creativity is in all of us.

I=E2=80=99ve learned never to predict people=E2=80=99s success in class. I=
=E2=80=99ve worked with

people who seemed to have it all going in: outgoing, quick, funny, lots of

stage presence. I=E2=80=99ve also worked with people who didn=E2=80=99t seem=
 to =E2=80=9Cget it=E2=80=9D

right away and struggled with the process for a much longer time.

What I found was that once the person who was struggling =E2=80=9Cgot it,=
=E2=80=9D often

their understanding was far deeper and their work far more rewarding than

the rather limited glib =E2=80=9Cone-note=E2=80=9D performance of the studen=
t for whom it

seemed to come more easily. Everyone learns in his or her own way, and in

their own time.

Part of improv training is about releasing yourself from judgment. Part of

that self-judgment manifests itself in how soon the student =E2=80=9Cgets=
=E2=80=9D it and

how quickly he or she progresses. Players who judge themselves a lot will

often shut down and give up. This is especially the case when they feel

(right or wrong) that they are not getting a game or exercise. People

sometimes feel they have to do every exercise perfectly, as if there is a

right way to do it. I often tell my students that just because an exercise

appears to be simple it doesn=E2=80=99t mean it is easy. If everyone could d=
o this

easily, I wouldn=E2=80=99t have a job.

Sometimes tapping into your =E2=80=9Ctalent=E2=80=9D requires hard work and=20=
improvisation is

a skill like any other. You are not responsible for skills you haven=E2=80=
=99t

developed yet. When players get down on themselves, I tell them, =E2=80=9CDo=
n=E2=80=99t

judge or criticize what you did=E2=80=A6diagnose. Look at the scene or exerc=
ise from

a distance. Ask yourself what got in the way, so you don=E2=80=99t repeat it=
 next

time.=E2=80=9D It is important to see your obstacles as just that rather tha=
n

personal =E2=80=9Cfailings.=E2=80=9D Once you are freed from the fear of fai=
ling, censoring

and negative judgment, you will give your natural talent room to grow.

Doug Kassel, November-2003.

Doug teaches intermediate and advanced classes for Pan Theater.

author violates copyright law.

About Doug Kasel:

Doug has more than 30 years of experience in improvisational theater. He

studied with Viola Spolin at Chicago=E2=80=99s Second City, during the writi=
ng of

her ground-breaking Theater Games book, "Improvisation For The Theater=E2=
=80=9D and

performed with Spolin's Playmakers, The Game Theater and Paul Sills' Story

Theater in the 1960's.  He has also studied the work of Del Close, the
creator of the seminal long-form piece "The Harold."

Pan Theater's Classes:
Basic Classes:
Our next Improv Basics class starts 12/1 on Monday nights.
For more information on our basic class visit:
http://www.pantheater.com/ImprovBasics.htm

Long Form and Acting Basics:
A classs that combines the basis from traditional theater training with the
techniques of long form improv. This introduces actors to long form improv
and improvisers to basic acting technique.
For more information on this class visit:
http://www.pantheater.com/ImprovActing.htm

Intermediate Classes:
Intermediate Improv focusing on Spolin bases technique will begin on 12/3
for three class sessions. Get the chance to study with one of the Bay Area's
leading improv performers and teachers: Doug Kassel. Doug has studied,
taught and performed Improv for over thirty years. Doug's improv career
started
when he began studying Viola Spolin in Chicago.
For more information on this class visit:
http://www.pantheater.com/Intermediate%20Improv.htm

Meisner Technique:
Meisner Technique I
Learn the acting technique that revolutionized American Theater. Christy
Butchers, a long time student of Meisner Sanford, will teach the basics of
Meisner technique. This class will introduce students to Meisner technique
including the famous repetition exercise. This class starts January 13th and
meets for twelve weeks.
For more information on this class visit:
http://www.pantheater.com/MeisnerClasses.htm

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<HTML><FONT FACE=3Darial,helvetica><FONT  SIZE=3D2>Pan Theater Monthly Impro=
v Article and Class Schedule<BR><BR>What=E2=80=99s Talent and How Do I Get S=
ome? (by Doug Kassel)<BR><BR>I once had a student ask me if I thought he had=
 enough =E2=80=9Ctalent=E2=80=9D to take my<BR>class. I thought that was a s=
trange question. I=E2=80=99d never considered =E2=80=9Ctalent=E2=80=9D<BR>a=20=
prerequisite to learning anything, especially something that is designed<BR>=
to bring out people=E2=80=99s so-called =E2=80=9Chidden=E2=80=9D talents. Th=
at started me thinking,<BR>=E2=80=9CWhat is talent?=E2=80=9D<BR><BR>Talent i=
s perceived as some magical gift or ability that only a few =E2=80=9Cchosen=
=E2=80=9D<BR>people have bestowed upon them while the rest of us are boring,=
 unworthy and<BR>unimaginative. Furthermore, talent is seen as some genetic=20=
predisposition,<BR>like being double-jointed or having a perfect pitch; you=20=
either have it or<BR>you don=E2=80=99t.<BR><BR>When I think about a person h=
aving talent, I think of them demonstrating the<BR>fullest expression of the=
mselves; they have overcome whatever barriers might<BR>have inhibited them f=
rom that expression. Some of us have more barriers to<BR>overcome than other=
s such as fear, censorship, judgment, lack of<BR>self-confidence, awareness,=
 fear of losing control, wanting to be =E2=80=9Cright=E2=80=9D or<BR>=E2=80=
=9Cclever=E2=80=9D and fear of looking silly.<BR><BR>The fear of looking sil=
ly has always interested me, especially working with<BR>actors, who by defin=
ition, want to attract attention and =E2=80=9Clive fully=E2=80=9D in<BR>fron=
t of an audience. Part of the thrill of acting is to communicate and let<BR>=
the audience live vicariously through the actor=E2=80=99s performance and ye=
t some<BR>actors have a fear of looking silly. That certainly is one of the<=
BR>self-imposed barriers I see frequently in people during improv training.<=
BR><BR>Looking ridiculous in public seems to be something most people avoid=20=
at all<BR>costs. &nbsp;However at the same time, we idolize and pay huge amo=
unts of money<BR>to comedians and performers who are =E2=80=9Cextreme,=E2=
=80=9D =E2=80=9Coutrageous,=E2=80=9D =E2=80=9Cout there,=E2=80=9D<BR>=E2=80=
=9Cover-the-top,=E2=80=9D and =E2=80=9Cemotionally naked.=E2=80=9D People li=
ke Jim Carey, John<BR>Belushi, Robin Williams and Jack Nicholson, for exampl=
e, are famous<BR>precisely because they are willing to go where most people=20=
won=E2=80=99t and we love<BR>to live vicariously through them.<BR><BR>Improv=
isational training helps break down barriers to the expression of your<BR>cr=
eativity. I believe everyone is creative and that creativity already<BR>resi=
des within us. Some people have easier access to it and others have to<BR>wo=
rk at chipping away the barriers, but that creativity is in all of us.<BR><B=
R>I=E2=80=99ve learned never to predict people=E2=80=99s success in class. I=
=E2=80=99ve worked with<BR>people who seemed to have it all going in: outgoi=
ng, quick, funny, lots of<BR>stage presence. I=E2=80=99ve also worked with p=
eople who didn=E2=80=99t seem to =E2=80=9Cget it=E2=80=9D<BR>right away and=20=
struggled with the process for a much longer time.<BR><BR>What I found was t=
hat once the person who was struggling =E2=80=9Cgot it,=E2=80=9D often<BR>th=
eir understanding was far deeper and their work far more rewarding than<BR>t=
he rather limited glib =E2=80=9Cone-note=E2=80=9D performance of the student=
 for whom it<BR>seemed to come more easily. Everyone learns in his or her ow=
n way, and in<BR>their own time.<BR><BR>Part of improv training is about rel=
easing yourself from judgment. Part of<BR>that self-judgment manifests itsel=
f in how soon the student =E2=80=9Cgets=E2=80=9D it and<BR>how quickly he or=
 she progresses. Players who judge themselves a lot will<BR>often shut down=20=
and give up. This is especially the case when they feel<BR>(right or wrong)=20=
that they are not getting a game or exercise. People<BR>sometimes feel they=20=
have to do every exercise perfectly, as if there is a<BR>right way to do it.=
 I often tell my students that just because an exercise<BR>appears to be sim=
ple it doesn=E2=80=99t mean it is easy. If everyone could do this<BR>easily,=
 I wouldn=E2=80=99t have a job.<BR><BR>Sometimes tapping into your =E2=80=
=9Ctalent=E2=80=9D requires hard work and improvisation is<BR>a skill like a=
ny other. You are not responsible for skills you haven=E2=80=99t<BR>develope=
d yet. When players get down on themselves, I tell them, =E2=80=9CDon=E2=80=
=99t<BR>judge or criticize what you did=E2=80=A6diagnose. Look at the scene=20=
or exercise from<BR>a distance. Ask yourself what got in the way, so you don=
=E2=80=99t repeat it next<BR>time.=E2=80=9D It is important to see your obst=
acles as just that rather than<BR>personal =E2=80=9Cfailings.=E2=80=9D Once=20=
you are freed from the fear of failing, censoring<BR>and negative judgment,=20=
you will give your natural talent room to grow.<BR><BR>Doug Kassel, November=
-2003.<BR><BR><BR>Doug teaches intermediate and advanced classes for Pan The=
ater.<BR><BR>All rights reserved. Use of this material without express permi=
ssion of the<BR>author violates copyright law.<BR><BR>About Doug Kasel:<BR>D=
oug has more than 30 years of experience in improvisational theater. He<BR>s=
tudied with Viola Spolin at Chicago=E2=80=99s Second City, during the writin=
g of<BR>her ground-breaking Theater Games book, "Improvisation For The Theat=
er=E2=80=9D and<BR>performed with Spolin's Playmakers, The Game Theater and=20=
Paul Sills' Story<BR>Theater in the 1960's. &nbsp;He has also studied the wo=
rk of Del Close, the
<BR>creator of the seminal long-form piece "The Harold."
<BR>
<BR>Pan Theater's Classes:
<BR>Basic Classes:
<BR>Our next Improv Basics class starts 12/1 on Monday nights.
<BR>For more information on our basic class visit:
<BR>http://www.pantheater.com/ImprovBasics.htm
<BR>
<BR>Long Form and Acting Basics:
<BR>A classs that combines the basis from traditional theater training with=20=
the
<BR>techniques of long form improv. This introduces actors to long form impr=
ov
<BR>and improvisers to basic acting technique.
<BR>For more information on this class visit:
<BR>http://www.pantheater.com/ImprovActing.htm
<BR>
<BR>Intermediate Classes:
<BR>Intermediate Improv focusing on Spolin bases technique will begin on 12/=
3
<BR>for three class sessions. Get the chance to study with one of the Bay Ar=
ea's
<BR>leading improv performers and teachers: Doug Kassel. Doug has studied,
<BR>taught and performed Improv for over thirty years. Doug's improv career
<BR>started
<BR>when he began studying Viola Spolin in Chicago.
<BR>For more information on this class visit:
<BR>http://www.pantheater.com/Intermediate%20Improv.htm
<BR>
<BR>Meisner Technique:
<BR>Meisner Technique I
<BR>Learn the acting technique that revolutionized American Theater. Christy
<BR>Butchers, a long time student of Meisner Sanford, will teach the basics=20=
of
<BR>Meisner technique. This class will introduce students to Meisner techniq=
ue
<BR>including the famous repetition exercise. This class starts January 13th=
 and
<BR>meets for twelve weeks.
<BR>For more information on this class visit:
<BR>http://www.pantheater.com/MeisnerClasses.htm</FONT></HTML>

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