Showing posts with label play. Show all posts
Showing posts with label play. Show all posts

Thursday, September 10, 2015

Playful Imagining: My First Time Doing Improv Comedy

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“You’re second cousins,” the instructor said, pointing definitively at me and at Kelsey, a young woman I had just met twenty minutes earlier. The rest of the class backed away into an audience, leaving Kelsey and I alone together on our makeshift stage. “And you’re waiting in a loooong line for a roller coaster. Go!”

Kelsey sighed and began tapping her foot, glancing at her imaginary watch. “How much longer is this line?” she whined.

I took her lead and impatiently crossed my arms—and my legs. “I have no idea,” I said. “All I know is, I reaaaaally have to pee.” The rest of the class laughed, and I felt encouraged. I had acted out a character, in a spur-of-the-moment situation, and made them laugh!

I never would have thought I would take part in an Improv Comedy class. I love watching comedy and live theater, and in college my roommates and I would go to Improv shows nearly every Friday night at a coffee-shop on campus. But getting up onstage myself? No, thanks! My stomach knotted up just thinking about it.

Then one day, my boyfriend asked if I would like to attend a beginner’s Improv class with him. I was scared, but it seemed like the kind of scared that begs to be challenged. Plus, with my boyfriend by my side, I feel like Superwoman. I could do anything! Even Improv! I told him it sounded like a fun date night idea and to sign me up.


As the date of the class approached, I grew more and more apprehensive. While I enjoy public speaking, I do not consider myself to be an actress. And while I love writing about characters outside myself, actually personifying other people and characters does not come easily to me. I also like a sense of control. I was especially intimidated by the "not-knowing" aspect of Improv. What if I can't think of any good ideas? What if I have a mind-freeze? What if I ruin the scene and let down my partner?

When we arrived at the studio where the class would be held, I made an intentional decision. You might call it a promise to myself. I consciously pushed these worries aside and focused my energies on having fun and soaking up a new adventure.

In the book Genership 1.0: Beyond Leadership Toward Liberating the Creative Soul (Arch Street Press), David Castro writes: “In normal usage the word playful signifies frolic and humor, and suggests a context of recreation. Genership, however, focuses on a particular definition of the verb to play: to move or function freely within prescribed limits. Within genership and CoVisioning, the word playful conveys commitment to free experimentation and movement, in the sense that someone might play with a control panel or software package to learn how it works and discover its full potential.”

This is Improv at its essence: moving and functioning freely within the prescribed limits of the scene. Only when you allow yourself to be free within the parameters of the situation you have been given, do the ideas begin to flow into your mind.


Castro continues: “To play and be playful in this sense means to explore and exploit a situation’s full potential. … Genership promotes enthusiastic playfulness, whereas the leadership paradigm tends to restrict it. … To play a game is to enter into it and explore everything that can happen within its environment as we move and manipulate its features. The opposite of a playful orientation is one that sees the world as given and something with which we should not interfere. When someone tells us, 'Don't play with that!' what he admonishes is Don’t touch it, don’t manipulate it, let it be only as you find it. A critical part of the creative orientation required for genership is to explore the environment together, testing the application of the will to all parts of it in a playful way—manipulating, risking and examining what happens when we attempt to make changes.”

In class, we learned that the first rule of Improv is never to say, “No.” Instead, when discovering a scene with your partner, you always say, “Yes, and…” This is what allows the scene to grow and expand and gain life, rather than stagnate and die on the vine. Yes, and. Exploring, manipulating, creating. Why is this group co-creation so important?

In Genership, Castro explains, “Playing together in groups expands our ability to explore the potential environment for change. One person playing alone can only apply his personal thinking and activities. A team of people creates the opportunity to apply a spectrum of ideas and abilities to the world, yielding infinitely greater potential for change.”


Improv class ended up being one of the best date nights my boyfriend and I have ever shared. I loved seeing him jump into a new endeavor, just as I could tell he was delighted each time I raised my hand to volunteer and bounded onstage. The wonderful instructor created an environment of energy and creativity in the class, and people were very supportive of each other.

To be sure, I was definitely a little nervous and uncomfortable the entire time… but, you know what? It was exhilarating to get up in front of people and act out a zany scene on the fly. It made me feel proud of myself. Indeed, I ripped off the label I had always put on myself as "someone who could never do Improv." Now that label is gone. In fact, my sweetie and I are already talking about going back to Improv class again soon!

Monday, August 11, 2014

Wisdom from Anna Deveare Smith: on acting and writing

In an interview about her groundbreaking play Twilight: Los Angeles, 1992, playwright and actress Anna Deveare Smith says, "You're not the character, and you're not yourself. You're in the 'not not' -- which is a positive. I think this is the most we can hope for. I don't think we can really 'be' anybody else. The actor is a vehicle of consciousness, projected through a fictional character, and the fiction displays great truth."

I think this sentiment applies to writing as well as to acting -- actually, I think it apples to any creative art. When I write a piece of fiction, I am simultaneously myself and the characters I create. I give pieces of myself to my characters, but as the story progresses something magical happens: they become their own individual selves, with their own identities and desires.

Often when I set out to write a story, I have a specific ending in mind, but sometimes the main character will decide to take the action in a different direction, or a minor character will pop up and demand attention. It's as if I am merely the vehicle for expressing these various voices.

Here's a writing prompt that you might try: When I'm stuck or the writing becomes stagnant, I place two characters in a situation and let them talk to each other on the page. Often the story takes form in ways I never would have guessed before I began writing.

I also love something that Anna Deveare Smith says about the actor: he or she has "a deep desire to connect and people come to the theater because they too want to connect. The actor does not produce the connection alone, the audience has to push forward also; the two have to meet in the middle." This is true for all types of art.

One of my favorite things about the medium of writing is that once a piece is published and unleashed upon the world, it is open for interpretation from all different perspectives. The meaning of a piece of writing can shift and morph as the times change and society's needs for sustenance and meaning through literature changes.

What do you think? I'd love to hear your thoughts in the comments section!

Tuesday, October 2, 2012

Will you join our Indiegogo Campaign to help produce my play in NYC?


Hi everyone! A couple months back I shared the exciting news that my play "A Frog in Boiling Water" is going to be produced in New York City as part of the Samuel French Off-Off Broadway Short Play Festival! (Read my interview on the Samuel French website here: http://oob.samuelfrench.com/index.php/a-frog-boiling-in-water-by-dallas-woodburn/)

I could not be more thrilled to be part of this prestigious festival and to be working with the amazing director Brian Gillespie and Pull Together Productions.

We're looking for a little bit of help to cover the costs of producing and rehearsing the show for its Off Off Broadway, New York premiere on October 27th. We've created an Indiegogo page with various "perks" for donors, including a thank-you shout-out on our Facebook page, the Pull Together Productions website, and right here on this blog!

  • Donation Amount: $10 or more
  • Name of Perk: "Simmering"
    Description: You are heating things up. With a donation of $10 or more you will receive a shout-out on our Facebook page!
  • Donation Amount: $25 or more
  • Name of Perk:"Percolating"
    Description: You're getting warmer. With a donation of $25 or more, you will be listed on Pull Together Productions website and Dallas Woodburn's Writing Life website as a sponsor, and receive a shout-out on our Facebook page!
  • Donation Amount: $50 or more
  • Name of Perk: "Bubbling Up"
    Descripton: You're cooking with gas. With a donation of $50 or more, you will receive a poster signed by the cast and crew, as well as a listing on our websites as a sponsor and a shout-out on our Facebook page!
  • Donation Amount: $100 or more
  • Name of Perk: "Boiling"
    Description: You're fired up. With a donation of $100.00 or more, you will receive a photo from the production signed by the cast, a poster signed by the cast and crew, as well as a listing as a sponsor on our websites and a shout-out on our Facebook page!

About the Play:

On the surface, an ordinary family lives a sheltered existence — but on a dry, still Friday night, something is sparked to life that reveals the tension and secrets behind their perfect facade and ultimately changes their lives forever.

About the Festival:

Now in its 37th year, The Samuel French Off Off Broadway Short Play Festival is Manhattan’s oldest, continuous short play festival. In the first 36 years of the Festival, over 500 theatre companies and schools from across the U.S. and around the world have participated. The Festival has served as a doorway to future success for many aspiring playwrights, and has helped launched the work of notables such as Theresa Rebeck. In many cases, Festival participation has sparked agent contracts for Festival finalists and all of the final forty plays selected to be perform in New York are guaranteed to be seen by an Artistic Director of a major theater, a professional playwright, and a theatrical agent. Many past Festival playwrights have gone on to win major Playwriting awards and honors, as well as to have major theatrical productions of their works staged.

Check out the festival's website for more info: http://oob.samuelfrench.com

What your donation will go towards:
  • Rehearsal Space - Your donations will go directly towards paying for rehearsal space in New York City (average rate for rehearsal studios is about 25-30 dollars an hour)
  • Costumes, Props and Music - Even on a shoestring budget, it's important to have the props you need and to find costumes that help reveal the characters. Finding just the right music also helps to enhance the telling of the story. Your donations will help us make the show look and sound its best.
  • Promotional Materials – postcards and posters to help spread the word and get a great audience.
  • Actor Stipends - Our wonderful actors are basically donating their time for free to be part of this neat play in such a prestigious festival. But we will be reimbursing them for their travel expenses and you're donations will help pay for those.
We don't need much; about $1000 should come pretty close to covering our expenses. But that's just a little bit more than a struggling New York director and a grad. student playwright can pay for out of pocket. We're hoping friends and supporters like you can pitch-in and help us along. Every donation, no matter what amount, will help us make this play a success.

Thank you! 

Here's the link one more time: http://www.indiegogo.com/afroginboilingwater?a=21564