I’m in week two of Michael Delaney’s eight week Improv 504 Acting for Improvisers class at UCBNY.
I was terrified of Michael when I first arrived in class, because of his reputation as a no punch pulling instructor. I had imagined him to swagger into class, shout at every scene that we were doing it all wrong, and tell us that we were no good. That couldn’t be farther from the truth. Delaney is an amazing instructor. His knowledge and thoughts on improv are on a level I have not experienced before. Just about every word out of his mouth makes me furriously write down something in my notebook. He does give candid notes, but I love a note if it’s on point — and Delaney is always on point.
I can really feel that skillset stretching
One topic he is really stressing on in this class, is to take that initiation and not get caught up in it, instead of continuing on exploring the scene. Often I, as an improviser, will get nervous that I wont find that unusual thing and make the ordinary, unusual. This really pulls focus from what’s ultimately the most important part of the scene, the relationships of the characters on stage. He used a cake analogy which has continued to bounce around my head all week. I can’t shake it.
There is power in an archetypal cake. You can make a cake as crazy [unusual] as you want, but sometimes a cake is just a simple cake and the wedding is what we explore.
Michael Delaney
After watching 36 hours of a 56 hour improv marathon, improv stops looking so much like improv and more like a math equation. You can see patterns forming between performers and see differences in the way geographic locales play. After watching 36 hours of improv, you become a bit of a machine, analyzing each scene for what worked and what didn’t.It was however in this haze of performers, dank body odor, and beef jerky that I truly saw improv for what it is, a groundwork for group mind. A set of traffic patterns to allow a group of performers act like one singular entity. When a group was acting as a whole, they seemed to be reading eachother’s minds, moving in time with one another. When it worked it was incredible (Buiscutville [Creepy guys in a Van], Delta Force 2 [What Happened? Where Were You?], Bruckheimer [An Army of Homeless People], Reuben Williams [Pierre Runs Away]) and when it didn’t, it wasn’t incredible.
Punctuating this mass of performances were the UCB 4 themselves, who got on stage frequently to talk to the audience and answer questions. That for me, was one of my biggest highlights of the marathon. I must have heard Ian Roberts talking over 3 hours about life, love, and improvisation and the majority was truly brilliant. When the 4 got on stage together they really did seem to transform the space. While they really were performing bits the entire time, the energy was contagious.
Read on…
