Linksammlung

[Nox]

Hier alle wichtigen und nützlichen Links zum Improtheater posten und Kurzbeschreibung dazu.
Ich editiere das dann im ersten Post so das es übersichtlich bleibt.

https://freemailng2302.web.de/jump.htm?goto=http%3A%2F%2Fwww2.htw-dresden.de%2F%7Efsr_lblp%2Fwiki%2Fpot81%2Findex.php%2FImprovisationstheater
Das Impro-Wiki Dresden

http://www.impro-theater.de/index.php/tipps-und-tricks.html
Eine Linksammlung für alle Bereiche des Improtheaters.

http://www.stefan-scherbaum.de/impro/docs/Mindmap_Improwarmup_Stefan%20Scherbaum.pdf

[a maze thing]

Kannst du mal den einen Link korrigieren?

http://stefan-scherbaum.de/impro/impro.html
da gibts unten noch weiteres Material, v.a. die Spielesammlung könnte interessant sein

http://literatten.net/impro/goldstein.html  - Wie man ein besserer Impro-Spieler wird
bzw. das engl. Original von Dan Goldstein
http://www.dangoldstein.com/howtoimprovise.html

http://literatten.net/impro/solo.html - So, du denkst über Solo-Improvisation nach
Sehr interessant, würd ich gerne mal ausprobieren in der Probe

Ganz allgemein gibts viel auf der Literatten-Seite zu entdecken
http://literatten.net/indexi.html

[felixbecker2]

Ein paar Auszüge aus einem Text über Improvisation und Angst, dass nix
passiert (ist aus dem Kontext Contact Improvisation, aber ist finde ich
allgemein auf Improvisationssituationen anwendbar) (Quelle: [1]):

===>

[...]

[The fear of failing]

What I found for myself as a performer of improvisation is: I want to
give all that I just described and I have the huge fear that I won't
make it. The only way for me to maybe get there on stage is my honest
permission that nothing spectacular has to happen. It is a paradox, as
in all big truths. To let go in order to find, and nobody knows what.

[...]

But how can we deal with this fear of failing when we are on stage to
improvise? Basically there are three options. The common one is to run
away from the fear. Stephanie Maher, a well known Contacter and
improviser from America based in Berlin, quoted: "Don't follow the
Adrenalin on stage! It is the fuel of fear." Adrenalin enables us to run
away very quickly to save our lives and forget about everything else.
Our muscles work blindly. Muscles are contracting and in improvisation
especially our brain muscle. The brain works like crazy between doubting
and creating something new. The ability to hear any real impulses is
blocked. And so we invent things, have ideas, we make something up,
which is not connected to where and who we are. We blow up the nothing
and shape it with our artistic tools, running from one effect to the
next, while feeling more and more hollow because we feel we are not
giving and sharing anything but our well shaped and hidden fear.
  [footnote: Usually the fear leads me into a pushing energy. I start
looking for good ideas. I want to entertain. Feeling chased I exercise
beautiful or artistic movements of my repertoire or more difficult
movements, which I can only do when I am in the flow. Then I start
bumping into people and hurting the floor. Or I make the audience laugh.
It makes me feel that they like me and what I am doing, at least for a
short moment. Or I start acting, using words, doing all the things that
more easily transport sense than pure movement. All those things I am
not really good at. And eventually I realize that I haven't given
anything I wanted. I started with running away from the fear instead of
trusting in what I have: myself and my body. For me this is the basic
experience of performing or watching improvisation.]

[...]

The third option is to allow that nothing interesting might happen on
stage. This is of course my greatest fear: that nothing interesting
might happen. It is everything but easy. It is like dying in advance.
That's very awful but it is my favorite one because it is eventually the
most satisfying. After I let go my wanting and my expectations I can
enter an empty space, somehow feeling lost and empty but with a
sensation of relief and a soft alertness. And then suddenly things fall
into the empty space by itself, which are rooted in my actual being. So
I can start a performance with a rather relaxed state of mind, being
able to arrive in my body and listen what is there. I start with what I
have and not with what I think I should achieve.

It becomes easier through practice. I can build up trust through
experiencing that it works. And I do it again and again in dancing, but
also in teaching and living and eventually in performing.

[Entering the emptiness and seeing what falls into it]

[...]

[...]

* In Alexander Technique people practice so called "inhibition". When I
realize I execute a movement pattern, which I wish to overcome, I hold
in for a moment, interrupt the mechanism and give space for my body to
find its own way to continue. On a non-dramatic level it is listening
into a moment of emptiness. The magic is: there is always something
arising. It might be beautiful or disturbing but somehow true and
valuable, because it is rooted in myself.

[The state of intuition]

I think this 'letting-go-finding' thing is a key to get to the level of
intuition. Once we are there it is being close to heaven. Intuition is a
state beyond the hard work of choice. There is no doubt, nor hesitation.
There is just knowing - or better noticing - that everything I do is
perfectly right. Everything is available and possible. My body serves me
in a better way than I imagined was possible. It is a state of extreme
awareness and flow.

[How to get into the state of intuition (on stage)?]

I don't know how to work on it directly. It seems to be more the subtext
of the regular work and practice, which helps to build up the necessary
trust to make it easier to step into the nothing. But I need to want it.
I don't give up. It is in the back of my head. I know the taste of it
and I am sensitive when this kind of smell is in the air. It is an
underlying atmosphere of my work. Allowing mistakes; going for
curiosity; "finding" is more important than "following instructions";
[...]

[The level of making choices]

But of course, we are never safe. There is no safe way into the state of
intuition. And we can also fall out of the heaven of intuition in every
second. We can't force ourselves to let go. Intuition is out of reach
for our will.

For improvisation it seems to be necessary for most of us to build a
safety net. We have to fill our toolbox with technical knowledge on a
movement level as well as on an improvisation skill level. This is the
level of choice. It saves us when we fall out of the intuitive state and
it might also open doors into it.

[...]

The worst I can do is to doubt my choice. Doubt is the voice of fear. It
leads to a judgemental state. It is the contracting brain muscle at its
best, closing all doors. I start to imagine what great things I might
have missed or I focus on all the things I don't like about the room I
am in. So I start to sit down and cry and complain (which is also a
choice). But the great thing about this magical house is that every room
has other doors and that I can choose again. The more tools I have, the
more interesting details I can find in a room and the easier I know how
to use and to enjoy the things I find. I'll be able to discover more
doors. I'll get a better sense for which door might be good for me.

[...]

And in all fields there is the physical-movement aspect as well as the
relational-emotional side. On all levels there are continuously choices
to be made. Many, many more than my conscious brain can deal with. So in
some ways most choices are made intuitively anyway. The problem is that
this kind of intuition is usually strongly linked to my patterns and
automatisms, which are not in dialogue with the situation.

In order to make decisions that fit the needs of the actual situation I
help myself with a jumping focus. I visit and revisit the most important
compositional sights randomly with my consciousness. It is like being a
host for a party in a house. People playing or singing dancing or
talking in different rooms. But there is a light problem. Once I switch
on the light in one room it slowly fades away so I have to come back
there after a while that my guests don't get lost in the darkness. If
the party goes well people will start to turn on the lights themselves.

My experience is that once I visit - lets say the level of 'me and the
group' my body will keep on providing some awareness for this field for
some time. Then I jump to 'me and my body' ... It is the best I can do
when I am in the state of making choices. But once I offered my body to
take over and if am lucky he took it, I enter the intuitive level, where
I am present on all fields and I am more or less witnessing the choices
which are made by me.

[...]

<===

===>
[...]

It's just an exercise or only a movement. There is hardly anything less
important in life! And it is the most important thing right now. Be
passionate and give all you have. Be aware of both at the same time.
(This is actually the heart of playing.) Technique is your servant. (YOU
are the king or the queen not the technique!) Improve your technique. It
is the base of contact. But technique is not the dance. For the dance
you have to let go the technique. Trust your body that it will serve you
with the best technique it has so far. For the dance you need to get
your heart involved.

[...]
<===

Ciao,
Felix.

[1] Paar Texte von Jörg Hassmann zu CI:
http://www.dancecontact.de/de/inspiration.htm#perform