One could but think, isolates, clichés, etc.
feeding them at all the free development of scenic opportunities on stage? In fact Genre
means that we submit ourselves to one style, so sit down borders. If we try, then, a piece of the Shakespeare-style empathize, can quite mystical creatures - fairies, spirits of the dead, Gnome, etc. - show up. But not Martians. One may see it as restriction of freedom. But exactly the limitation of resources allows us only to find a form. It's almost banal: without limit any form. For us it thoroughly declined to say if we are approaching a theatrical or cinematic genre, we can attempt to encircle it:
- Are certain topics treated preferably?
- Diving certain figures again and again?
- Which scenic resources are used?
- what language the characters use?
If the first images that come to one in the head, or really more clichés typical of the genre? An example: In almost any Western improv I've ever seen on stage, missing a duel or a scene in the saloon, where one expresses, Joe was back in town. Now duels, saloon scenes and the residents are not atypical, but on the other hand, not shaped. On the other hand, there are (apart from a few miniatures) no Western without horses. But remember improv players almost always in the Western riding.
is Basically about capturing the poetry of the genre. As the genre creates a fascinating form?
From a purely technical perspective, the story-genre has also another function: the story for the audience to make it manageable. What is it about? If we just go play on it without any sense of form, the scenes just lose their context and meaning. Take a murder. In a Sherlock Holmes mystery the murder has a different meaning than in a Shakespearean tragedy. In a western like "Once Upon a Time in the West," in which there is at the end of more than thirty deaths, the murders play a different role than in "The Godfather".
If we go into a genre, we initially narrow our scope, as we impose on us through the form of limits. On the other hand, we deepen our skills - whether it be narrative, dramatic, poetic or structural. And so we extend our improvisational skills by putting them narrow down first.
In improv theater, we must ask ourselves, of course, how can we with our often very limited resources at all the Genre meet? In order to emulate the example above, we finally have no horses on stage. We are spontaneously only in a few moments on the linguistic power of Shakespeare even come close only. How should we implement landscape shots, camera movements, and similar means of the film? How do we deal with the problem of Who dunnit order, if the actors themselves do not know who the Möder? How we run a piece in which we actually need twelve very, but only three actors have available?
We have to make the genre to handle. Some one should have to spend a certain amount of trouble. In a Shakespeare play are fünfhebige iambics no rhyming doggerel (With a little practice and feeling for language is one of the very fast near). Sometimes structural imagination is needed. I am thinking of the Bochum Hott Lotte that are their crime form designed so that only one of four actors knew he was the murderer, and both audience and players on puzzles.
Another way is the four-piece Texan group Parallelogramophonograph . You place great emphasis on costumes and archetypes to be fixed in advance and already use as a framework.
Immerse yourself into the genre, and come out richer.
(The above thoughts are less significant for the Quick Shot Games á la genre Replay, where it's just about to say something quickly.)
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