Stage 2 Improv!! They’re Back!! Go See It!!

Standard
Stage 2 Improv has been so widely popular,
Stage 2 Improv has been so widely popular,
Stage 2 Improv has been so widely popular,

My son’s in the show!!

Saturdays @ 8 pm and Sundays @ 2pm

January 4th/5th, 11th/12th, 18th/19th, 25th/26th

Because they’re “so widely popular.”

http://www.naplesillustrated.com/index.cfm?fuseaction=events.details&content_id=2214

“Laugh until you cry with Stage 2 Improv.”

Tickets are $20 for adults and $10 for students under 18.

Call 239-263-7990

Or purchase online at www.naplesplayers.org.

Sugden Community Theatre
701 5th Ave. S.
Naples, FL 34102
http://www.naplesnews.com/news/2013/jul/23/curtain-up-stage-2-improv-troupe-keep-the-laughs/

“For 20 dollars you can go downtown

and see a group of personable,

quick-witted young (or at least young-ish)

performers play the improv game…

If you have been to improv,

you know the drill.

Audience members contribute ideas —

celebrity names, vegetables, places —

and then the cast has to do something with them…

So go…and have some goofy fun.”

Mike Santos, Kat Ebaugh, and Meg Pryor

Meg and Judith talk about the benefits of Leg Hair Removal

Brad Goetz, Bukki Sittler, and Guy Glover

http://en.wikipedia.org/wiki/Improvisational_theatre

“Improvisational theatre…

often allows an interactive relationship with the audience.

Improv groups frequently solicit suggestions from the audience as a source of inspiration,

a way of getting the audience involved, and as a means of proving that the performance is not scripted.

That charge is sometimes aimed at the masters of the art,

whose performances can seem so detailed that viewers may suspect the scenes are planned.

In order for an improvised scene to be successful,

the improvisers involved must work together responsively to define the parameters and action of the scene,

in a process of co-creation.

With each spoken word or action in the scene, an improviser makes an offer,

meaning that he or she defines some element of the reality of the scene.

This might include giving another character a name, identifying a relationship, location,

or using mine to define the physical environment.

These activities are also known as endowment.

It is the responsibility of the other improvisers to accept the offers that their fellow performers make;

to not do so is known as blocking, negation, or denial,

which usually prevents the scene from developing.

Some performers may deliberately block (or otherwise break out of character) for comedic effect—

this is known as gagging

but this generally prevents the scene from advancing and is frowned upon by many improvisers.

Accepting an offer is usually accompanied by adding a new offer, often building on the earlier one;

this is a process improvisers refer to as “Yes, And…”

and is considered the cornerstone of improvisational technique.

Every new piece of information added helps the improvisers to refine their characters and progress the action of the scene.

The unscripted nature of improv also implies no predetermined knowledge about the props that might be useful in a scene.

Improv companies may have at their disposal some number of readily accessible props that can be called upon at a moment’s notice,

but many improvisers eschew props in favor of the infinite possibilities available through mime.

In improv,

this is more commonly known as ‘space object work’ or ‘space work’, not ‘mime’,

and the props and locations created by this technique, as ‘space objects’.

As with all improv offers,

improvisers are encouraged to respect the validity and continuity of the imaginary environment

defined by themselves and their fellow performers;

this means, for example, taking care not to walk through the table

or “miraculously” survive multiple bullet wounds from another improviser’s gun.

Because improvisers may be required to play a variety of roles without preparation,

they need to be able to construct characters quickly with physicality, gesture, accents, voice changes,

or other techniques as demanded by the situation.

The improviser may be called upon to play a character of a different age or sex.

Character motivations are an important part of successful improv scenes,

and improvisers

must therefore attempt to act according to the objectives that they believe their character seeks.”

Hey, this is hard work…

But soooo much fun!!

And for more laughs…

Follow them to…

Marco Island!

http://islandtheatercompany.com/stage2improv/

February 14 & 15 and March 21 & 22
Evening Shows 7:30 p.m.

Island Theater Company

Marco Island’s Community Theater

info@theateronmarco.com or 239-394-0080

LOL

You will not be disappointed!!

Really…

You’ll be…

Laughing Out Loud!!

Isaiah 61:10

“I delight greatly in the Lord;   

my soul rejoices in my God.”

 Ecclesiastes 3:4

“…a time to laugh…”

Amen!   

Leave a Reply

Fill in your details below or click an icon to log in:

WordPress.com Logo

You are commenting using your WordPress.com account. Log Out / Change )

Twitter picture

You are commenting using your Twitter account. Log Out / Change )

Facebook photo

You are commenting using your Facebook account. Log Out / Change )

Google+ photo

You are commenting using your Google+ account. Log Out / Change )

Connecting to %s