1,000 and Growing

4923997_300[1]We’re honored that far more than 185 improvisors walked into a website.We know that numbers don’t mean a thing without an active community, but since our launch just under a year ago, we’ve reached 1,000 members talking and sharing here on the site. We’re humbled by both the support and patience folks have had with us this first year of this idea. And in that year, that idea has changed as grown as so many members have been brilliant in suggesting new ideas that have become part of the page.

This is truly a network now, not a series of passive readers, but a community building festivals, troupes and theatres. Sharing ideas, helping each other grow. We are one awesome community and I know we’ll continue to grow as we pass along our knowledge to our students and watch them build greater things that we believed possible. We all share a love of an art form that let’s us express ourselves and relate to the world around us in a startling honest and beautifully fleeting way.

I have met so many people, both online and at festivals this year. I can’t wait to meet more and continue to learn from everyone. We are truly humbled and grateful  for your  being here. Improv is the winner.

Currently Bill is an instructor at The Torch Theatre and producer for the Phoenix Improv Festival. He tours teaching and performing across North America.

Interview with Rick Andrews – Joining the NIN Team!

As you’ve probably heard by last weeks announcement Rick Andrews from The Magnet Theater in New York will be joining the NIN team. He joins Bill and I to help us develop the site and reach out to even more improvisors. We are extremely happy to have Rick on board. Here is an interview I did with Rick so you can get to know him a little better:

N: Rick, tell us about yourself. What theater do you call home and why?

R: Hey earth people!  I’m an instructor and performer at The Magnet Theater in New York City, NY.  I started doing improv at Improv Boston, then continued in Saint Louis.  I moved to NY about 4 years ago and quickly fell in love with the Magnet.  I love the attention and care put into the training program and all of the students.  I believe that improv is something that anyone can do and do well, and The Magnet really creates an environment that allows all to succeed and grow.  I also believe that good improvisation can take all kinds of shapes, speeds, and sizes, and I love that I get to explore that at Magnet, to see great work of different styles and approaches.

N: You’re a teacher of improv. What is it you like about teaching improv?

R: Teaching Improv is the my favorite thing to do in the entire world.  Improv gives people genuine confidence; it puts them in situations where they follow their gut and the ensemble supports that choice and they see their choices born into wonderful scenes.  People learn to really trust themselves and others and the change I’ve seen in students who dove into improv in just the short time I’ve been in New York is very staggering and humbling.  People very rarely get to play, and improv lets us play while also fostering excellent listening, teamwork, etc. It makes people better people, which sounds culty and insane, but it’s true.

On a personal level, Improv is the thing I love most, and getting to share that love with others and see them fall in love with it is very fulfilling.

N: Who are your improv heroes?

R: Oh man!  Armando, Tj and Dave, Cackowski, Jill Bernard, Will Luera, Joe Bill and Mark Sutton, …these days the people who inspire me are the people I’m insanely lucky to work with on a daily basis at Magnet.  Too many to name…

N: Do you have an improv philosophy? If so, what is it?

R: There are a lot of ways to do an excellent improv scene.  A compelling relationship will feel different than an odd or interesting character, which will feel different than a well heightened game, etc.  I view these styles as techniques to achieve different but compatible goals.  I’d never coach a group to play an Armando, for example, without talking and thinking about game.  But I’d also never coach a group to do Monoscene without thinking about character.  Improv is improv, but different styles and methods allow us to play shows and scenes that manipulate reality and comedy to varying affects.

Uniting all of these, though, is what I call the dynamic in the scene.  It is the sub-atomic level of all improvisation.  The core of any improv scene, regardless of style, is the two people being affected, most often by each other.  Everything else in the improv scene is super invisible and make believe, except for how the people are being affected.  The people will always feel more palpable and real, the audience will always inherently invest in their active behavior above all else, and it is where the moment-to-moment truth in comedy comes from in a scene.  Every reaction is another chance for an honest response.

A relationship is not compelling if the people are not actually affecting each other; a character is no fun if he/she doesn’t affect anyone.  A game and pattern is meaningless without anyone being affected by it, etc.  Good improvisation in any style follows these ideas and usually leads you back to being affected; The audience doesn’t want a sketch you wrote in your head 2 seconds ago.  They are compelled and moved to laughter and other emotions by the shared journey and the truths and humor discovered on the way.

N: You’re joining the National Improv Network as a team member. What are you most excited about joining the team?

R: The growth of improv over the last decade or two has been amazing, and the capabilities of the National Improv Network to help further connect the community are really fascinating to me.  Our art form is a transient one.  If someone in New York makes some interested musical innovation, someone in LA can hear it on a record, online, etc.  They can experience those ideas.  But for improvisation, we need to connect to each other, we need to travel and see what else is going on to get that outside inspiration.  The freer the exchange of ideas, the better, and I think NIN is a wonderful tool for that.

N: What drew you to join the team at NIN?< R: I'm a user of the site and a big fan of the goals and aims.  I have faith in improv not only as a useful tool to develop comedy but also as a wonderful artform and pursuit itself, and I also believe in collaboration over competition as a way to achieve those means.  I think NIN embodies all of that, and so it's a no brainer to help be a part of it! N: You travel to a bunch of festivals, where do you see improv in five years from now?

R: The change and growth I’ve seen in New York and beyond in the last few years has been amazing.  You still get the same commitment and love in improv by folks who are pursuing and interested in comedy as an art and career.  But I’ve been seeing so many more “regular people” who want to try improv for other reasons, to work on public speaking, feel more confident, meet people, or simply to be playful and have fun.  Improv is becoming a thing that adults just do as a part of being an adult.  In my head, I liken it maybe to where yoga has gone?  From a more niche thing to something that a large part of the population participates in.  I think improv is immensely rewarding to do and enhances people’s lives in so many ways; I see that continuing to spread.
-Nick Armstrong

Nick is Camp Director and Founder of Improv Utopia an improv retreat for adults in California and Pennsylvania. He is also one of the founding members of the National Improv Network and performer and teacher at iO West. He has also taught workshops around the country. We are always looking for better ways to serve the community. Drop us a line and let us know what you want! To e-mail nick e-mail nick@nationalimprovnetwork.com. For more information visit: http://www.nickarmstrong.com or http://www.improvutopia.com