Jeremey Murphy crossed an ocean in pursuit of improv. Canada to Australia. Four years later, he’d barely cross a street for an improv show. So what happened? How do boundless improv summits become scorched earth? An interrogation of the emotional clockwork of improv through one man’s journey.
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What happens when something you love becomes something you really don’t? Improv is a form that relies on childlike spontaneity for its spark, but does it also invite a certain childish cruelty? What of politics, ambition, inner demons and outer challenges and the delicate negotiation of achieving group mind? How does the influence of a great teacher affect your expectations? And does fearlessness on stage mean that fear, like Galileo’s energy, merely finds another form?
Jay Ray speaks candidly about things that were and will never be again.
DATES and THINGS
Jeremey was in Australia from April 2007- April 2009. He trained and performed with Impro Melbourne and was an active member of the Technique (Rookies) group. In April 2008 he returned to Canada for three months. This is where the disastrous show discussed occurred.
Prior to that he trained with Rapid Fire Theatre. They contributed $800 toward his Australian tuition.
He is now happily married and lives back in Canada.
Tony Totino was there at the ignition switch of The Loose Moose Theatre in Calgary in the late seventies. Now working in Norway with Teater Liksom, here he speaks of what it means to be part of that origin story and where those beginnings have led.
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Impro has few trans national touchstones. Sure, there’s the eternal flame-war between Delheads and Johnstone clans, but the form, for the most part, rests uneasily in its own transience.
Here, Tony chats about one significant moment in improv, the early days of ‘The Moose’. On working with Keith Johnstone and the creation of the seminal formats, Theatresports tm (and its subsequent bastardization) and The Life Game tm.
The role of genre in story and our responsibility, or otherwise, to research its beats, Norwegian mythology and impro, why use set when you can mime,… and just how would you improvise in the style of Conan the Barbarian?
Randy Dixon, veteren Seattle improviser and Unexpected Productions Artistic Director, speaks about the influence of Del Close, his life and times as a young improviser, and the impact of mythology in the work he creates.
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From Street Theatre A, Improvention 2011, Australia, the last of the ‘fireside chat’ series. A live recording of Randy Dixon speaking with good friend Rama Nicholas about his growth as a young improviser into the world travelling teacher and player he is today. His unique trake on the Keith V Del debate, facing death with Del Close and what art can draw from such things, and his hopes for the roads yet to be walked..