Affability

The major tenant of improv is "yes and". Initially this is an effective mantra cultivating acceptance, support, and collaboration. As performers gain experience and confidence the strict adherence to this philosophy becomes a liability for interpersonal communication and creative output.

Off stage the "yes and" credo can cause reticence for team members to speak up, stand up for themselves within the group, and voice personal wants or discomforts. This mentality can lead to a kind of stagnant apathy because everyone is thinking of "the good of the group" and doesn't want to "rock the boat" no decisions get made and problems get ignored until people are so fed-up they blow-up or quit. People make a lot of unnecessary concessions because they want to "yes and" their fellow performers/friends, going along to get along is prevalent. Being blindly agreeable is only accidentally beneficial, doubly so in a creative setting.

If something is bothering you artistically or personally you should voice it, do so in a calm and open way, I'm not advocating temper or slander, but I am advocating direct communication and letting concerns be known. "Yes and" does not mean do whatever someone else says, it means listen and collaborate, your personal feelings and opinions should not be sacrificed simply because they run counter to the perceived groups. Individuals make up a group and each individual needs to have a say.

On stage, after a certain point, the literal application of "yes and" becomes unnecessary. "Yes and" is an idea, a style, a mode of performance. There comes a point when actually saying it is no longer necessary and where doing so sacrifices the integrity of the performance. Recently I've noticed a lot of affable scenes. One person comes in with a point of view, an angle, and their scene partner is totally agreeable. And totally boring.

There's this idea that some players get trapped in, that whoever speaks first has ownership over the scene and they simply agree with whatever the person says. In order to build a scene, to truly collaborate and support, that other person has to contribute content. They don't have to say "yes and" they don't have to have overt(i.e. saying "yesyesyes") agreement, they have to "yes" the idea and "and" it further. That can be done through any number of ways- specific details, physical play, argument, emotion, back story, stakes etc. That isn't done by simply nodding at your scene partner and agreeing with what they are saying. That puts all the impetus on one person to invent everything about the scene and its boring to watch. Two people discovering and building a scene is fascinating, one person inventing a scene while the other person affirms their inventions bores me to fucking tears.

"Yes and" is a hard and fast rule when learning improv. But once learned it becomes mailable, it can be bent and twisted and tied and tucked. Once understood fundamentally its effective application is much more ethereal. Acceptance of others ideas(which does not necessarily mean accomdation of), honesty, and openess, these are the cultivated traits not blind obedience, assimilation, and passive agreement.

Groups are made up of individuals and individuality must be maintained and expressed. Only then can a truly cohesive and strong group emerge.

Attrition

another commute
another delay
misery reaps
a fine bouquet

emotions crack
in brittle cold
fatigue exhumes
what once was bold

Bubble Boys: Rosie The Riveter

Bubble Boys Season II is underway. Our old-time-radio style show is back and this time set during WWII. This season features some stellar performances from some amazing improvisers. New episodes every Wednesday. Listen here or subscribe on iTunes.


Season 2 begins with our heroes donning dresses and infiltrating the most secretive of American sects: the women’s workforce.

Featuring:
Steve Nelson as Sven/Selene Ingaborg
Andrew Tisher as Henry/Helen Mossmouth
Annie Donley as Mitzie Slaughter
Allison Ringhand as Norma Titan
Lily Sullivan as Ronnie Winkle
and Tim Joyce as Ron Skelton

Comfort

blankets
over bare skin
warmth
in crooks and cranies
neck nuzzles and shoulder hollows
tangled limbs which softly kiss
spoken word sends adrift

horror comes
swift and low
panic and premonition
gasp awake
lingering intuition
reality sounds paper thin
until sleep comes once again

Philip Seymour Hoffman: A Reminder

Whenever drugs or alcohol take a life it is tragic. There is nothing selfish or weak about the struggle with addiction. Some people are born with a genetic disposition for excess, a gift for boundless consumption, often augmented by psychology. It is a struggle. A desperate, lonely, painful, guilt-ridden struggle. It requires constant vigilance and support. Frequently you have to ask for help. Sometimes you get tired of fighting. I know what it is, I've been there.

The passing of Philip Seymour Hoffman is lamentable but he leaves behind 20 years of incredible work as an artist. He has an uncompromising legacy. He will be remembered.

His death does not surprise me. It is a mantra of those in recovery that taking that first drug or that first drink has only two potential outcomes: jail or death. Relapse is common and perpetually lurking. Addiction is insidious. Drunk, high, or sober it gains strength. Any sober alcoholic or drug addict is days, minutes, even seconds away from total ruin. Myself included. It is a precarious place but with diligence, care, and compassion a sober life can be a rewarding life if never an easy one. I proffer no judgement on the late actor I'm trying to elucidate the tenuous position he and other people with addiction are in.

I do not know the circumstances of Hoffman's death but I would bet it was not some huge event but something small that drove the actor back to excessive drug use. Maybe he saw an advertisement for an alcohol he never tried. Maybe he watched the heroin scene in Pulp Fiction. Maybe he was worn down by the cold and cooped up and bored. Whatever it was I bet it was small. A fleeting moment. A brief craving. A passing trigger. And for that moment his cunning addiction had been lying in wait. One moment was all it took.

I hope his death opens peoples eyes about addiction. How serious it is and how many people need help. There's still a stigma with addiction- that its a matter of will power, that its not an actual disease, etc. Regardless of what you call it or how you classify it addiction is fatal. And these fatalities are avoidable.

I take it personal. That could be me, not that I could be a lauded movie star with an Oscar, but I could be dead. Rich/poor famous/unknown addiction does not discriminate. I would not receive accolades or retrospectives but I might warrant a headline like "Local Comedian Found Dead, Alcohol Related".

For those in recovery this is a reminder. Death is close.

'The Invisible Woman' A Review

The Invisible Woman is a period romantic drama about Charles Dickens and his mistress Nelly Ternan. The film opens on Nelly(Felicity Jones) aggressively walking alone across a cold, wind swept beach. She makes her way to a school, which her husband and her run, and starts a rehearsal for a play written by Charles Dickens. The film unfolds in a series of flashbacks showing her meeting the famous author and their eventual relationship.

Ralph Finnes as Charles Dickens is charming, charismatic, and at times childish. The viewer is seduced along with Nelly initially by his material in a scene where Dicken's is giving a reading. The passion and performance of the reading create a mystique and Finnes follows it up with incessant care, attention, and likability. He is always upbeat almost to the point of recklessness or a disconnect with the world around him, this is juxtaposed well with Jones's understatement, caution, and naivete. Their romance evolves gradually and relies more on the mood, tone, and score of the film rather than scenes with heavy dialogue. We get a sense of real love between the two but the sensitivity, discretion, and prudence of their courtship carries more weight. It is a dance of impending guilt rather than seduction.

There is virtually no judgement of the relationship by the supporting characters, even from Dicken's wife Catherine portrayed by a strong, reserved, yet  heartbreaking Joanna Scanlan. The judgement comes mainly from Nelly herself. Nelly is conflicted, melancholic, and seems mostly unsatisfied but unable to separate herself or her morals from the alluring Dickens. Finnes plays Dickens sympathetic and struggling to be a good man(by the definition of the times) but unable to give full focus or priority to anything but his work. A famous man use to getting what he wants, gets what he wants the way he wants it. At the end of the affair Nelly is cloistered, kept secret for Dicken's, and you get a sense she is resigned but not happy.

A complicated film with layered, poignant performances from the leads, made all the more complicated by the ease in which the love could have blossomed in modern times.

See It.

Graffiti 115

I started smoking three years ago when I first tried to get sober. The old substitution method. I kept on and now in my recovery I cling to it in a way, the only vice I have left. I want and hope to quit at some point. But not now. I'm not willing to give it up. Not yet.

"Coffee and smoking are the last great addictions." -Lara Flynn Boyle

"So smoking is the perfect way to commit suicide without actually dying. I smoke because it's bad, it's really simple." -Damian Hirst

"Every citizen who stops smoking, or loses a few pounds, or starts managing his chronic disease with real diligence, is caulking a crack for the benefit of us all." -Mitch Daniels