CHAPTER 3: AUDIENCE. Historical influences on improv. Why did impro start when it did and why did it grow?

Blog by Steve Roe, co-founder of Hoopla Impro. Hoopla run improv courses, classes and shows in London and across the UK. Twitter: @HooplaImpro. Facebook: HooplaImpro. Website: www.HooplaImpro.com. 
This chapter is part of a series of blogs about my personal opinions on the historical influences on improv, why it started when it started, why it survived and then flourished, and where it fits into the wider scheme of things.

CHAPTER 1: TV
CHAPTER 2: CENSORSHIP
CHAPTER 3: AUDIENCE
CHAPTER 4: EDUCATION
CHAPTER 5: COLLECTIVE JOY
CHAPTER 6: FUTURE   
 
CHAPTER 3: AUDIENCE RELATIONSHIP

I went on an acting course recently and the only thing said about the audience was “you want to pretend they aren’t there.” I thought “No I don’t - they pay us/tell us what shows they want to see/give us a reaction/bring the show to life/are our friends”. Many drama school acting styles seek the actor's isolation from the audience, but then countless plays wonder why there’s eventually no audience.

In his book An Actor Prepares Stanislavski mentions the splendid isolation of an actress brushing her hair in front of the audience as if the audience wasn't there, and this isolation can indeed be a beautiful natural thing, but I believe there has to be a balance.

Following Stanislavski and others at the start of the last century isolation and naturalism was in, and the fourth wall seemed to descend between actors and audience.  Audiences started to become (first with music) passive and watch something, rather than be activate and participate in something. Even theatre design changed, with plays going further and further back behind the proscenium arch and actors feeling safe behind a fourth wall boundary between light and dark. 

But TV does passive entertainment much better than Theatre, it’s got special effects and stunts and everything and way more budget. At some point theatre had to be honest and acknowledge that a huge chunk of the population couldn’t give a damn about plays. Musicals, stand-up, rock concerts, and pantomimes the population seemed to love, but not plays so much. Yes, of course you like plays, you're reading a drama blog. In my opinion the main way Theatre can fight back against TV is by being active and open, not passive and closed. 

In my opinion there has been a rise in impro, stand up, circus and clown as a much needed response to the overwhelming rise in disconnected acting from behind the fourth wall over the last century, and at the end of this there might be a more balanced relationship with the audience. I think this is also changing in drama schools, or has already changed. For instance Adam Meggido who is one of the best impro teachers I have ever met and he is also Head of Foundation at LAMDA.

There is an audience there, fact. You are on stage, fact. They are looking at you, fact. You are human, they are human, you are all in the same room, fact. If you don’t care what they think about you and your show, and can’t adjust to them, then don’t be surprised when there’s eventually no audience. 

Coincidentally while writing this I happened to be having a meeting with Mark Beltzman, a lovely chap who is over from the U.S and was heavily involved with the birth of IO in Chicago and Del Close. We shared opinions on many things, but seemed to especially have the same view on the improviser's relationship with the audience. Mark spoke about three points of focus - you, the other actor and the audience, and the magic happens when all three discover the same thing at the same time. We also talked about the difference between being with the audience (great), performing to the audience, and performing at the audience (not so great).

In plays you can get away with performing to or at the audience, as they know deep down that it's a script and that you are effectively stuck on a linear pathway. The audience suspends disbelief, but the slightest disturbance (phones/sweetwrappers) can shatter this new reality as the actors end up in a different world from what the audience are actually experiencing. 

Even more so in impro you have to deal with the big obvious things in the room so you can come from a place of being with the audience. If they know its improvised, which they do because you told them, and you don't deal with what's actually happening in the room then you actually look slightly mentally ill to the audience. The improviser can loose their humanity and become a performing object blindly spewing up their subconcious or the structure of the show, whereas the audience are thinking "how come you haven't noticed the cat/annoying photographer/phone/cold draft?"

By not connecting to the room, the environment, the emotions of the audience it accidentally sends up a signal that the impro isn't happening for us (the audience), and it ends up looking like the impro is for them (the actors), which is impro's worse criticism. This doesn't mean that all impro has to be facing the audience and constantly asking for directions, just that it's at one and in the moment with them. 

There was a great example of performing with the audience on Tuesday at The Miller, when Grand Theft Impro did an awesome show. Phil Whelans comes on stage and there is something so natural about the way that he gets suggestions, so friendly, its like he's chatting to friends and you think 'it's just a bloke'  and that's great. The audience are immediately giggling and opening up. Then in the very first scene the actors (Ruth Bratt, Briony Redman and Dylan Emery) were starting their scene when there was a sudden massive noise of a pub crawl from outside the room followed by loads of students in fancy dress accidentally walking in asking for the toilet. Rather than ignore it they used the outside noise, justified, and let it influence the scene for the better. The short-term effect was that we all laughed, it was really funny. But longer-term for the show it signalled that we were all in the same place, they were at one with us, they were performing with us not at us, and most of all that instead of objects they were humans. 

Sometimes I think that's all that impro is, being human with other humans so lots of other humans can remember what it's like to be human in that moment. Impro can reflect back the lives of the audience ("Ha ha ha, that happened to me"), the repressed thoughts of the audience ("Ha Ha Ha he just said what I always thought"), the dreams of the audience ("Ha ha ha, I wish I could do that") and things that don't exist in the real world yet ("Ha ha ha that's a great idea, whoahhh.") 

Blog by Steve Roe, co-founder of Hoopla Impro. Hoopla run improv courses, classes and shows in London and across the UK. Twitter: @HooplaImpro. Facebook: HooplaImpro. Website: www.HooplaImpro.com. 
This chapter is part of a series of blogs about my personal opinions on the historical influences on improv, why it started when it started, why it survived and then flourished, and where it fits into the wider scheme of things.

CHAPTER 1: TV
CHAPTER 2: CENSORSHIP
CHAPTER 3: AUDIENCE
CHAPTER 4: EDUCATION
CHAPTER 5: COLLECTIVE JOY
CHAPTER 6: FUTURE   
 

CHAPTER 2: CENSORSHIP. Historical influences on improv. Why did impro start when it did and why did it grow?

Blog by Steve Roe, co-founder of Hoopla Impro. Hoopla run improv courses, classes and shows in London and across the UK. Twitter: @HooplaImpro. Facebook: HooplaImpro. Website: www.HooplaImpro.com.

This chapter is part of a series of blogs about my personal opinions on the historical influences on improv, why it started when it started, why it survived and then flourished, and where it fits into the wider scheme of things.

CHAPTER 1: TV 
CHAPTER 2: CENSORSHIP
CHAPTER 3: AUDIENCE
CHAPTER 4: EDUCATION
CHAPTER 5: COLLECTIVE JOY
CHAPTER 6: FUTURE
 

CHAPTER 2: CENSORSHIP

Until 1968, British law required scripts to be approved by the Lord Chamberlain's Office, a department within the British Royal Household, who then also sent bureaucrats to the performance to ensure the approved script was adhered to (thanks to Theatre Company Cartoon de Salvo for reminding me of this when I was putting everything together). Keith Johnstone encountered problems with this at the start, and had to put on improvisation as ‘open workshops’ rather than ‘shows’ to avoid getting in trouble.

Joan Littlewood, the English actress and director who was active from the 1930s to 1970s, made extensive use of improv in developing plays for performance. However she was successfully prosecuted twice for allowing her actors to improvise in performance. Prosecuted. For Improvising. In a Theatre. 

So in terms of the effect on the growth of impro, which is what this blog was about, it seems that until the 1960s improvisation on the stage wasn't even legal! As far as I can work out this seemed to be mainly a British thing, there may have been an American version of the Lord Chamberlain but not that I know of. 

But looking at history it appears spontaneous theatre will always fight back.

For instance in Shakespeare’s day he put on quite rowdy plays featuring love, death, comedy, tragedy, clowns. He even used many Commedia dell’Arte scenarios and improvisation within performance. The audience would boo, hiss and clap as the show went along. They would talk during the performance (it's only recently that this became unusual), food and drink would be passed around.

However this incredible peak of British Theatre was soon followed by a banning of all public stage performances by the Puritan regime for 18 years. Shakespeare to nothing, just like that. But following the Restoration in 1660 theatre flourished. Theatres re-opened following a whole generation of nothing, and Restoration Comedy was born with its sexual explicitness, intricate plots and general naughtiness. Even when theatre hadn’t been in the national consciousness for so long it still came back with a life of its own, and the pressure cooker effect of extended censorship made it rowdy and naughty.

You can’t repress proper theatre for long, it is a basic human instinct. Theatre isn’t an intellectual political act in my opinion, it’s a human action like feeding, drinking and talking so we’re going to do it whether we have permission or not.

I believe that even if humans were brought up in isolation on some sort of multi-generation space ship trip to a distant galaxy, and even if generation 5 or whatever had been brought up solely on space education, that someone would still end up running a theatre in the basement. Except it wouldn’t be called theatre, because they wouldn’t know what the word was, which would actually make it better because they would be discovering it for themselves. Hopefully it would take the piss out of the Captain and they would laugh their space socks off, good on ya fith generation space dudes!

I actually think theatre is still heavily censored in Britain, but in an accidental way. The way theatres and the entire industry is set up economically means that to put on a major show these days most people need either Arts Council funding or Corporate Funding. So your show now has to be approved by someone in the Arts Council, or someone in a Corporation, both of whom therefore have ultimate power over what shows actually happen. The Arts Council can be a kindly giving father figure, but I worry this leads to seeking of approval and the almost Child/Parent relationship theatre has with mysterious overriding bodies.

Put on what the hell you want to put on, and if people don’t want to come and watch it then try again and put something else on. When you’ve got something good it’ll work, you don’t need someone giving you permission to make stuff up, so just do it now.

That’s why I love theatre in pubs so much, there’s something there that nobody can fuck with. But then again if I don’t bring in people to watch it, the pub would replace me with someone else who does, so I can’t escape censorship either. The Miller is my Arts Council. 

CHAPTER 1: TV
CHAPTER 2: CENSORSHIP
CHAPTER 3: AUDIENCE
CHAPTER 4: EDUCATION
CHAPTER 5: COLLECTIVE JOY
CHAPTER 6: FUTURE
Blog by Steve Roe, co-founder of Hoopla Impro. Hoopla run improv courses, classes and shows in London and across the UK. Twitter: @HooplaImpro. Facebook: HooplaImpro. Website: www.HooplaImpro.com. 

CHAPTER 1: TV. Historical influences on improv. Why did impro start when it did and why did it grow?

Blog by Steve Roe, co-founder of Hoopla Impro. Hoopla run improv courses, classes and shows in London and across the UK. Twitter: @HooplaImpro. Facebook: HooplaImpro. Website: www.HooplaImpro.com. 

This chapter is part of a series of blogs about my personal opinions on the historical influences on improv, why it started when it started, why it survived and then flourished, and where it fits into the wider scheme of things.

CHAPTER 1: TV
CHAPTER 2: CENSORSHIP
CHAPTER 3: AUDIENCE
CHAPTER 4: EDUCATION
CHAPTER 5: COLLECTIVE JOY
CHAPTER 6: FUTURE   
 

This is a work in progress, a blog not a PhD, so feel free to comment and add at the bottom and at some point I’ll re-write a more complete annotated version.

This blog makes the assumption that modern impro/improv in its current form started in the 1940s and 1950s. You could argue that in fact impro has always been around in different forms (Commedia dell’Arte, Carnival, Mask, Oral Storytelling etc) but as a recognisable thing called impro/improv the 1940s and 1950s seem to be the agreed start point.

The Early Days – Viola Spolin, The Compass Players, Second City, Keith Johnstone

Viola Spolin, a pioneer of improv, created improvisation acting exercises in the 1940s and 50s in Chicago, originally as a drama supervisor on the Chicago Works Progress Administration Recreational Project, working primarily with children and inventing improvisation games as a basis for theatre training.

Viola’s influence on her son Paul Sills lead to him founding The Compass Players in 1955 with David Shepherd, originally putting on semi-improvised scenario plays and then a full on improvised show based on audience suggestions. Incidentally I heard that David Shepherd’s original dream was along the lines of a ‘theatre of the people, where secretaries, miners, farmers and construction workers can all get up on stage and perform there and then’ I love and hopefully still support.

When The Compass Players went their separate ways in 1959 some carried on in St. Louis with a new Compass Players group, including Del Close who went on to be hugely influential in the world of improv.

After Paul Sills left The Compass Players he set up The Second City in 1959 with Howard Alk and Bernie Sahlins, which went on to be hugely successful.

Viola Spolin first published her book Improvisation for the Theater in 1963, and it is still hugely relevant today.

Almost simultaneously Keith Johnstone in London was forming something similar. He first worked as a school teacher in Battersea and then in the late 1950s was working at The Royal Court Theatre, as a play-reader and then as Director of their writers’ group. He abandoned their boring discussion meetings in favour of acting out ideas there and then, leading to various improvisation games.

Keith Johnstone’s writer’s group led to improvisation classes as a thing in itself, which lead to him experimenting with performing improvisation games in front of an audience as ‘The Theatre Machine’, touring schools and colleges and then around Europe with support from The British Council throughout the 1960s.

Keith Johnstone’s work seems to have happened in isolation from Viola Spolin, as according to his book Impro he didn’t hear about Viola’s work until an audience member lent him Viola’s book in 1966, hence the subtle differences between the two schools of thought and two words: Impro and Improv. I always feel that taking sides between the two is like deciding to run using only one of your feet, a surprisingly pointless decision that vastly limits your capabilities.

In the 1970s Keith moved to Calgary in Canada to teach at the University of Calgary. He there co-founded the Loose Moose Theatre, inventing Theatresports and various formats. He first published Impro: Improvisation and the Theatre in 1979, a book that’s also still very relevant today.

But why then? Why now? What else influenced the start and ongoing growth of improv?

There are loads of other people involved in the early days of improvisation, and many other steps they took to grow it and support it. But all that is already well documented in various books and websites (e.g. The Art of Chicago Improv by Kozlowski, Keith Johnstone’s books, Viola Spolin’s books etc and the great youtube video http://www.youtube.com/watch?v=t5wgtkgCH3A) so I won’t spend more time writing about it.

What I’m interested in adding to this history is what other factors influenced this growth. Why did improv seem to pop up independently on different sides of the Atlantic, at a similar time, in a similar form? People are always experimenting with theatre, but why did this particular new form of theatre bed in and grow? Why does impro seem to be exploding in growth over the last ten years? What are the historical, social, cultural, environmental and political reasons influences on all this improv stuff?

Questions, questions, questions, there are going to be some answers coming out over this week, with some different ideas each day. Feel free to make your own opinions and add comments at the end.

1. Start of Television and Ongoing Growth of The Screen

The modern television was first demonstrated in London by Scottish inventor John Logie Baird in 1926. Basic public broadcasts were established in the UK and USA by the late 1920s, with modern style broadcasting from the BBC in London by 1936. In the USA it became more familiar with the public due to the 1939 World’s Fair.

But Television didn’t achieve widespread public use over the 1930s and early 1940s due to World War II limiting manufacture. Proper commercial networking programming in the US did not begin until 1948. In Britain TV ownership didn’t become widespread until the build up to the much watched Coronation of Queen Elizabeth II in 1953.

So the birth of widespread television ownership in each country coincides almost exactly with the birth of modern improvisation in each country. Spookily enough countries that were later to the game with improvisation (Canada, Australia and New Zealand) were also later to the game with television ownership.

Of course this could just be a coincidence and me inventing cause & effect, similar to saying that the spread of microwave ovens resulted in man landing on the moon, but I personally think there’s more to it.

Television has been highly destructive in my opinion (read Four Arguments for the Elimination of Television by Jerry Mander for loads on this). Before TV, entertainment was done with other people. Entertainment was sociable. Entertainment involved dancing, singing, interacting, talking, playing games, playing music. It also involved getting out of the house and into shared spaces. If it was in the house it involved family and friends interacting. Entertainment was active. Even the solo activity of reading is active, as you have to actively create the imaginary world suggested by words.

Before Television people were capable of making their own Entertainment. The Victorians played parlour games (many similar to impro games and even used to great effect by impro group Fat Kitten). In my own South London family the Grandparents from both side would still play the piano at family gatherings, organise songs and go ball room dancing. Parties would involve kids putting on sketches, doing mini-plays and magic. When they got a new pianola they played with the windows open so the neighbours could hear. My Dad’s Father was an accountant by day but pub pianist by night, going into random pubs to play and get people singing. Music Halls would be packed with people chatting, watching acts, interacting. This has actually been a personal drive for me with Hoopla, as it is a part of South London life I thought was worth keeping alive.

When I’m putting shows together I often imagine I’m a Victorian Music Hall proprietor and try to create the same vibe in the modern world, as I see impro as the same ‘type’ of theatre as Music Hall (Rough Theatre, a term from Peter Brook’s book The Empty Space) that we always have a need for.

Then cinema arrived, pretty much killing off Music Hall/Vaudeville overnight. Movie Theatres might have killed off Music Hall Theatre but at least they still got people out of the house, and at first were incredibly sociable places with all of the community together. Also, the originally movies actually featured old Music Hall stars (Charlie Chaplin etc) and were heavily influenced by that performing style.  

But then TV brought people back indoors into segregated houses where they passively stare at an artificial light for hours on end. It’s a passive form of entertainment that keeps people isolated while giving them the impression that they are experiencing the world. Humans evolved to tell each other stories at the end of the day, now the TV does all the storytelling for us so we don’t have to talk to each other.

TV was the first of many media to place an individual screen between us and our view of (and later our interaction with) the world. As the years have gone we now also work through screens (computers), socialize through screens (facebook), play through screens (computer games), seek love through screens (internet dating), talk through screens (text, skype, facetime), and even have sex through screens (internet porn). Then when we want a break from all that we go to IMAX, nice one humans!

Screen interaction has replaced what used to be moments for genuine human connection. And we start it at such a young age, and in such volumes, that eventually the screen is the thing we practice most and human connection and interaction least.

Dr Aric Sigman, of the British Psychological Society, via the BBC:

  

• At age 75, the average British person will have spent more than twelve years of full 24-hour days watching television. 
• The average six-year-old will have already watched television for more than one full year of their lives.
• Children aged 11 to 15 now spend 53 hours a week, seven and a half hours a day watching TV and computers, an increase of 40 per cent in a decade.

As TV has taken over our lives impro (among other things) has maybe survived and developed as an extreme reaction to regain human connection. I often start my workshops with a basic mirroring exercise - two people stood opposite each other, with eye contact, copying each other’s movements. After a whole day of phone, kindle, computer, phone, television this simple exercise is beautifully simple and yet surprisingly powerful. There’s a human, in front of you, now, and there’s nothing in the way.

I think of impro workshops are part of a massive uncoordinated movement of anti-TV/screen activities that seem to particularly thrive among urban dwellers (now almost half the World’s population by the way). This includes things like Bikram Yoga (advertising tagline ‘love your sweat’), Glastonbury (note constant use of mud in PR), adventure obstacle race Tough Mudder (again note use of elemental Fire, Earth, Water in marketing) and loads more.

Ironically the rise of impro also coincided with TV due to performers from the impro stage making it big on TV shows like Saturday Night Live, in fact that might have enabled the birth of more corporate improv companies.

The underlying marketing message is often “Because John Belushi/Dan Akroyd/Bill Murray/Mike Myers/Tina Fey did this course, then if you do this course you will end up doing what John Belushi/Dan Akroyd/Bill Murray/Mike Myers/Tina Fey did”. Quite often this doesn’t make logical sense because the people teaching the original course have moved on, and the reason the people became famous in the first place was because they came up with something new and current and relevant by experimenting in the moment, rather than obeying a set course. But it still seems to be what brings in 1000s of people per year, and each year there seems to be a new improv school that is subtly marketing the ‘Get Famous on TV’ lure.

CHAPTER 1: TV
CHAPTER 2: CENSORSHIP
CHAPTER 3: AUDIENCE
CHAPTER 4: EDUCATION
CHAPTER 5: COLLECTIVE JOY
CHAPTER 6: FUTURE

Blog by Steve Roe, co-founder of Hoopla Impro. Hoopla run improv course, classes and shows in London and across the UK. Twitter: @HooplaImpro. Facebook: HooplaImpro. Website: www.HooplaImpro.com.