Two days of classes with legendary improviser Patti Stiles. Come and level- up!
Patti served her apprenticeship with Keith Johnstone at the world-renowned Loose Moose Theatre before spending over twenty-five years interpreting and extending what she learnt there. In that time, she has become a legendary teacher for her fine skill, strong narrative and elegant style.
Patti has worked all over the world, in countries including Canada, the US, Italy, Holland, Switzerland, Germany, Belgium and Thailand. She is the Artistic Director if Die Nasty AU, co-director of Secret Impro theatre and has been Artistic Director of both Rapid Fire Theatre and Impro Melbourne. She was the first woman to improvise for 53 hours non-stop in the famous Die Nasty Soap-a-thon and has had a workshop room named after her at Impro ACT in Canberra. She is currently the Oceania representative on the Theatresports Institute Managing Board.
As improvisers we are storytellers. Our work is based on creating stories through spontaneous moments. Be it short form, long form, comedic, or dramatic, the same narrative principals apply. Many improvisers learn a series of trained responses (say yes to everything) instead of developing their creative impulse and narrative intuition (what is the story, whose story is it, and craving the unknown). This master class focuses on developing narrative pitfalls such as why we seem to repeat the same stories and have a difficult time finding endings.
Sunday March 12, 10:30-5 pm with an hour for lunch
Being present and fully available in improvisation is an active state of mind. It is moving away from self-focus (worrying about our performance) into a heightened place of perception. By engaging actively we immediately focus on our partner and the offers. We become more available to the spontaneous moments in the scene itself. Most improvisers are in a passive place. They are waiting for something to happen, or worried about what they need to do. Offers and opportunities are missed as the improviser is not fully and actively present. Being active trains us to listen, use the obvious and be responsive. Instead of trying to control what will happen in the future of a scene we enjoy the right now of a scene. We learn to embrace change and abandon ourselves to the moment. Being active opens a whole new world of connected, effortless, and inspired scene play.