At The Actors' Colony, professional actor and film-maker Tobe Sexton gives his students the basic skills, professional skills, and experience to perform—and for that matter, audition—for stage or film. Actively working in the industry for the last 30 years, Tobe know how to connect with other professional actors to get them where they need to be. In weekly or twice-weekly classes designed for specific age groups, students use scenes from stage plays, television shows, and indie films as springboards for experimenting with a range of acting styles. Class sizes are kept small, which guarantees each student a chance to work with the material in every session.
You never know what you're going to see at an improv comedy show?and that's the beauty of it. Read on to see what you should expect at a show or class and to learn just how it is that actors can put their scenes together so fast.
Even when their characters are arguing, improv comics are working from a philosophy of trust and agreement?necessary ingredients for acting together with no script. Improv comedy encompasses a broad array of styles, with the major division between short form?quick, self-contained games?and long form?a series of multiple, interconnected scenes featuring distinct beats. Accordingly, a given performance might resemble a one-act play, a Saturday Night Live?style sketch scene, or a high-energy game show. Most rely on audience suggestions to spark the flow of fresh ideas, however, and some even weave brave audience members into the action.
Perhaps the most famous long-form style is the Harold, in which performers build continuous scenes that develop and intermingle in surprising ways. The unusual name arises from a joke, according to developer Del Close's biography, The Funniest One in the Room. As Close asked his collaborators what to call the new form, someone sarcastically yelled, "Well, Harold's a nice name." Appropriately for a form devoted to spontaneous absurdity, the name stuck.
This comic form also has roots in one of America's darkest eras: the Great Depression. While working for the Works Progress Administration, Viola Spolin needed a way to teach basic theater precepts to unschooled actors of various ages and backgrounds, so she created a series of theater games that focused on the playfulness at the heart of acting. In the 1950s, her son, Paul Sills, applied her principles at the short-lived but influential Compass Players on Chicago's South Side, and, later, at The Second City?one of the most prominent comedy companies of the 20th century, with alumni including John Belushi, Tina Fey, and Steve Carell.
GO-FAME Youth Theatre Company started as a means of transporting children to another world. Its first production, Alice in Wonderland, taught 60 students at Minnie Gant Elementary School how to travel down the rabbit hole while providing them with an expressive outlet. With their newfound skills, that cast of first through fifth graders performed for full audiences at the University Theater at CSULB in October 2005.
Since then, GO-FAME has expanded into a theatre program for all youth in the community, but its mission remains the same: to encourage youth to explore the arts and expand their skills. When they walk out on stage, students leave behind their old selves and step into the role of performers, and GO-FAME teaches them how. Several weeks of acting lessons and rehearsals preempt annual productions for friends and family. Past performances have included Rogers and Hammerstein’s Cinderella, Dear Edwina, and The Paper Bag Bandit.
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Actor Steven Nelson, a professional with 15 years of experience, works alongside fellow instructors Curtis Andersen and Amber Robins to teach students the fundamentals of acting and improv. Workshops cover subjects ranging from cold readings to audition techniques. On-camera acting courses use a projection system to help actors study their own performances onscreen.
An AT&T ad executive hangs up the phone, grabs his jacket, and heads toward the subway to Hell's Kitchen. It's the late '80s, and at the New York comedy institution The Improv, a slew of up-and-coming talent, including Jerry Seinfeld and Chris Rock, are testing jokes and honing timing. In the next few years, they'll perform on television for millions. But for now, they're changing the life of one ad executive.
The founder of LA Stand-Ups, Joe Falzarano, quit his promising advertising career because he "hated being a suit" and preferred to nurture promising young comedians. With accomplishments that include producing the CableACE Award–winning Caroline's Comedy Hour for A&E, Falzarano helped launch the performing and writing careers of entertainers including Jon Stewart and Louis C.K. Today, Falzarano imparts his more than 20 years of industry experience to aspiring joke-tellers, teaching them tactics for perfecting a punch line, calming nerves, and subduing hecklers with a marshmallow gun. Falzarano maintains a supportive atmosphere where students learn how to use who they are to connect with an audience, and even lets students try out material at the Hollywood Improv.
Home to two stages and an art gallery, the Edgemar Center for the Arts more than meets the needs of the local visual and performing arts communities. The center places an emphasis on collaboration, uniting creative minds of all ages and persuasions both in the classroom and on stage. Hosting musical performances, question-and-answer sessions with Hollywood actors, and theatrical productions old and just sprouted, the space has attracted the likes of Don Cheadle, Christian Slater, Malcolm McDowell, and Jason Alexander.