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Issue 24 Spring / Summer 2016
ISSUE 24 SPRING / SUMMER 2016 DEMOThe Alumni Magazine of Columbia College Chicago YEARS OF COLUMBIA Albert “Bill” Williams (BA ’73) has made a planned gift to Columbia through his estate. Have you considered including Columbia College Chicago in your estate plans? Provide for future generations. For more information, Make a bequest to Columbia contact Development and Alumni and support tomorrow’s creative Relations at [email protected] industry leaders. or 312-369-7287. colum.edu/plannedgiving ISSUE 24 The Alumni Magazine of DEMO SPRING / SUMMER 2016 Columbia College Chicago INTRO 1890–2015: CELEBRATING 125 YEARS 7 DEPARTMENTS VISION 5 Questions for President Kwang- Wu Kim ALUMNI NEWS & NOTES 53 Featuring class news, notes and networking When the Columbia School of Oratory opened in 1890, the founders couldn’t have imagined the school’s evolution from scrappy elocution college into a powerhouse arts and media institution. FEATURES 1890–1927: 1961–1992: FOUNDING AND BEGINNINGS 8 RENEWAL AND EXPANSION 26 As Chicago prepared for the World’s With flailing enrollment and few resources, Columbian Exposition of 1893, two orators Columbia could have folded. Instead, and educators chose the Windy City as the President Mike Alexandroff decided to break home of a new public speaking college. the mold of what an arts education could be. 1927–1944: 1992–2015: 16 COLUMBIA IN TRANSITION 16 CONTINUED GROWTH 37 Columbia went through a period of great An ever-increasing focus on the student change following the deaths of its founders. experience and a permanent home in The birth of radio created a completely new the South Loop continued to transform way to communicate, and Columbia had Columbia. -
Theater Artist
K. Brian Neel REVIEWS king (at) kbrianneel (dot) com "K BRIAN NEEL brings a dextrous, knowing innocence to his roles, something between vaudeville and Beckett." – The Stranger (Seattle) ACTING "I was rivited. Neel rocked." – National Public Radio Waiting for Godot Estragon One World Theatre Tom Miller, Jená Cane Zirkus Fantasmo Signore Zupa Teatro Zinzanni Liz Bunior "Memorable, pure, live theatre." – The Advertiser (Adelaide, Australia) 14/48 Festivals Many Roles One World/Three Card Monty Misc. 99 Layoffs Orson ACT Theatre David Gassner "A one-man panorama. Virtuoso performing." – Seattle Post-Intellingencer A Mouse Who Knows Me Romeo, Roland Annex Theatre Kristina Sutherland "Neel rules the stage. dynamic, engrossing, funny, heartbreaking, poignant, unique – all those things The Milosevics Dragoslav Ognjanovic Paradise Theatre Pattie Miles that make a night at the theater the thrillingly consuming experience that only a couple shows in a The Happy Ones Walter Wells Seattle Public Theatre David Gassner The River Why Titus, Rodney Book-It Repertory Theatre Myra Platt hundred can create." – Charleston City Paper My Body Lies Over... Person On The Boards Mike Pham "You gotta love the sweat on K. Brian Neel's face. Neel's onto something." – Washington Post True North Ensemble Ontological-Hysteric Theater R. Hynes, M. Pham Trickster Tales Coyote Book-It Repertory Theatre Annie Lareau "The star of the show is K. Brian Neel... In a production with a number of strong performances, I Feel Fine Nikola Tesla Helsinki Syndrome R. Hynes, M. Pham his stole the show and was delightful to watch. He is one of the most expressive comedic Three Sisters Rodey INTIMAN Theatre Bartlett Sher actors around with excellent comic timing and facial expressions which kept the audience Vera Wilde Oscar Wilde Bedlam Theatre, Edinburgh Kibby MacKinnon completely entertained." Noises Off Tim Algood Village Theatre M. -
Contemporary Improvisational Theater in Poland and the United States
ACTA UNIVERSITATIS LODZIENSIS FOLIA LITTERARIA POLONICA 2(40) 2017 http://dx.doi.org/10.18778/1505-9057.40.05 Magdalena Szuster* “Alchemy and smoke in a bottle” – contemporary improvisational theater in Poland and the United States Part 1: (Re)defining Improvised Theater – the American and Polish Perspectives What Does Impro(v) Mean Anyway? The origins of improvisation are indistinct, and for most part untraceable. An academic endeavor to establish its beginnings would go unrewarded, as there is no one distinct inventor1 of improvisation. This technique, or method, had been used as means of expression in art long before Spolin or Johnstone, and far away from Chicago or London. The Atellan farce (1 BC), secular entertainers and court jesters in China (10 BC), or the frenzied improvisations in Ancient Greece (600 BC) had preceded the 16th century commedia dell’arte2 the Italian improvised per- formance based on scenarios and/or sketches. The renaissance of improvisation in the 20th century was largely brought about by experimental artists who used it as means of expression, communication and representation. As a tool, a vessel or foundation improvisation existed in theater (both formal and popular), painting, poetry and music. It was an important substance, and an interesting addition to avant-garde art. The early avant-garde theater welcomed improvisation as a means in the pro- cess of developing plays and productions, or as a component of actor training, yet an independent improvisational format was yet to be devised. In the mid-twentieth * Dr, University of Łódź, Faculty of Philology, Department of American Literature and Cul- ture, 91-404 Łódź, ul. -
Drennan Barbara Phd 1995.Pdf
PERFORMED NEGOTIATIONS: The Historical Significance of the Second Wave Alternate Theatre in English Canada and Its Relationship to the Popular Tradition by Barbara Drennan B.F^., University of Windsor, 1973 A Dissertation Submitted in Partial Fulfillment of the Requirements for the Degree of DOCTOR OF PHILOSOPHY in the Department of Theatre We accept this dissertation as conforming to the required standard Michael R. Booth, Supervisor (Department of Theatre) Juliapa M. Saxton (Department of Theatre) Murray D. Edwards (Department of Theatre) Stephen A.C. Scobie (Department of English) Dr. Malcolm Page, External Examiner (Department of English, Simon Fraser University) © Barbara Drennan, 1995 University of Victoria All rights reserved. This dissertation may not be reproduced in whole or in part, by photocopying or other means, without the permission of the author. Supervisor: Michael R. Booth ABSTRACT This doctoral project began in the early 1980s when 1 became involved in making a community theatre event on Salt Spring Island with a group of artists accomplished in disciplines other than theatre. The production was marked by an oiientation toward creating stage images rather than a literary text and by the playful exploitation of theatricality. This experiment in theatrical performance challenged my received ideas about theatre and drama. As a result of this experience, I began to see differences in original, small-venue productions which were considered part of the English-Canadian alternate theatre scene. I deter mined that the practitioners who created these events could be considered a second generation to the Alternate Theatre Movement of the 70s and settled on identifying their practice as Second Wave. -
Truth in Comedy.Pdf
Meriwether Publishing Ltd., Publisher P.O. Box 7710 Colorado Springs, CO 80933 Editor: Arthur L. Zapel Typesetting: Sharon E. Garlock Cover design: Tom Myers © Copyright MCMXCIV Meriwether Publishing Ltd. Printed in the United States of America First Edition All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without permission of the publishers. Library of Congress Cataloging-in-Publication Data Halpern, Charna, 1952- Truth in Comedy : the manual for improvisation / by Charna Halpern, Del Close, and Kim "Howard" Johnson. - 1st ed. p. cm. ISBN 1-56608-003-7 1. Improvisation (Acting) 2. Stand-up comedy. I. Close, Del, 1934-1999. II. Johnson, Kim, 1955- . III. Title. PN2071.I5H26 1993 792\028-dc20 93-43701 CIP 6 7 8 01 02 03 04 DEDICATIONS Charna Halpern To my loving parents, Jack and Iris Halpern. Without their constant calls to push me to continue writing, this book might never have been finished. I also thank them for raising me in a home that was always filled with laughter. and to Rick Roman — wherever you are. Del Close To Severn Darden, Elaine May and Theodore J. Flicker. Kim "Howard" Johnson To Laurie Bradach, who improvises with me every day, and for the Baron's Barracudas, who blazed the trail. ACKNOWLEDGMENTS So many have been so wonderful. I'd like to send my thanks — To Bill Murray, Mike Myers, George Wendt, Chris Farley, Andy Richter, and Andy Dick for their support — To Suzanne Plunkett, the best photographer in Chicago — To Thorn Bishop for his way with words — To David Shepherd, Paul Sills, and Bill Williams for their inspiration — To Betsy Nolan for being a perfectionist — To "The Family" and all the other ImprovOlympic teams, for helping us to learn from them — Special thanks to Kim Yale — TABLE OF CONTENTS Foreword by Mike Myers …………………………………………………. -
A Look at the Upright Citizens Brigade Theatre and Hidden Collections of Improv Comedy
Never Done Before, Never Seen Again: A Look at the Upright Citizens Brigade Theatre and Hidden Collections of Improv Comedy By Caroline Roll A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts Moving Image Archiving and Preservation Program Department of Cinema Studies New York University May 2017 1 Table of Contents Introduction ……………………………………………………………………………………… 2 Chapter 1: A History of Improv Comedy ...……………………………………………………... 5 Chapter 2: Improv in Film and Television ...…………………………………………………… 20 Chapter 3: Case Studies: The Second City, The Groundlings, and iO Chicago ...……………... 28 Chapter 4: Assessment of the UCB Collection ……………..………………………………….. 36 5: Recommendations ………..………………………………………………………………….. 52 Conclusion ……………………………………………………………………………………... 57 Bibliography …………………………………………………………………………………… 60 Acknowledgements …...………………………………………………………………………... 64 2 Introduction All forms of live performance have a certain measure of ephemerality, but no form is more fleeting than an improvised performance, which is conceived in the moment and then never performed again. The most popular contemporary form of improvised performance is improv comedy, which maintains a philosophy that is deeply entrenched in the idea that a show only happens once. The history, principles, and techniques of improv are well documented in texts and in moving images. There are guides on how to improvise, articles and books on its development and cultural impact, and footage of comedians discussing improv in interviews and documentaries. Yet recordings of improv performances are much less prevalent, despite the fact that they could have significant educational, historical, or entertainment value. Unfortunately, improv theatres are concentrated in major cities, and people who live outside of those areas lack access to improv shows. This limits the scope for researchers as well. -
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Abstractionism (136–40)
Text Matters, Volume 9, Number 9, 2019 http://dx.doi.org/10.18778/2083-2931.09.23 Magdalena Szuster University of Łódź Theater Without a Script— Improvisation and the Experimental Stage of the Early Mid-Twentieth Century in the United States A BSTR A CT It was in the mid-twentieth century that the independent theatrical form based entirely on improvisation, known now as improvisational/ improvised theatre, impro or improv, came into existence and took shape. Viola Spolin, the intellectual and the logician behind the improvisational movement, first used her improvised games as a WPA worker running theater classes for underprivileged youth in Chicago in 1939. But it was not until 1955 that her son, Paul Sills, together with a college theater group, the Compass Players, used Spolin’s games on stage. In the 1970s Sills made the format famous with his other project, the Second City. Since the emergence of improv in the US coincides with the renaissance of improvisation in theater, in this paper, I will look back at what may have prepared and propelled the emergence of improvised theater in the United States. Hence, this article is an attempt to look at the use of improvisation in theater and performing arts in the United States in the second half of the 20th century in order to highlight the various roles and functions of improvisation in the experimental theater of the day by analyzing how some of the most influential experimental theaters used improvisation as a means of play development, a component of actor training and an important element of the rehearsal process. -
Theater Without a Script—Improvisation and The
Text Matters, Number 9, 2019 http://dx.doi.org/10.18778/2083-2931.09.23 Magdalena Szuster University of Łódź Theater Without a Script— Improvisation and the Experimental Stage of the Early Mid-Twentieth Century in the United States A BSTRACT It was in the mid-twentieth century that the independent theatrical form based entirely on improvisation, known now as improvisational/ improvised theatre, impro or improv, came into existence and took shape. Viola Spolin, the intellectual and the logician behind the improvisational movement, first used her improvised games as a WPA worker running theater classes for underprivileged youth in Chicago in 1939. But it was not until 1955 that her son, Paul Sills, together with a college theater group, the Compass Players, used Spolin’s games on stage. In the 1970s Sills made the format famous with his other project, the Second City. Since the emergence of improv in the US coincides with the renaissance of improvisation in theater, in this paper, I will look back at what may have prepared and propelled the emergence of improvised theater in the United States. Hence, this article is an attempt to look at the use of improvisation in theater and performing arts in the United States in the second half of the 20th century in order to highlight the various roles and functions of improvisation in the experimental theater of the day by analyzing how some of the most influential experimental theaters used improvisation as a means of play development, a component of actor training and an important element of the rehearsal process. -
Improvisation for the Mind: Theatrical Improvisation, Consciousness, and Cognition
Improvisation for the Mind: Theatrical Improvisation, Consciousness, and Cognition A dissertation submitted by Clayton Deaver Drinko In partial fulfillment of the requirements for the degree of Doctor of Philosophy in Drama Tufts University May 2012 © 2012, Clayton D. Drinko Advisor: Downing Cless ii Abstract Improvisation teachers Viola Spolin, Del Close, and Keith Johnstone knew that with structure and guidelines, the human mind can be trained to be effortlessly spontaneous and intuitive. Cognitive studies is just now catching up with what improvisers have known for over fifty years. Through archival research, workshops, and interviews, I ask what these improvisation teachers already knew about improvisation’s effects on consciousness and cognition. I then hold their theories up against current findings in cognitive neuroscience, psychology, and philosophy. The hypothesis that comes out of my methodology is that improvisation orders consciousness. By demanding an outward focus on other improvisers and the game being played, improvisation diminishes one’s internal focus. This reduces self-consciousness, fear, and anxiety. I also look at more extreme examples of this change in focus where improvisers reach states of flow and experience changes in perception, time, and memory. Examining cognitive studies’ relevance to improvisation has implication for scripted productions, therapy, and our everyday lives. The guidelines of improvisation and how those guidelines alter consciousness and cognition can serve as a model in ordering consciousness, interacting with people, and living optimally. iii Acknowledgements I have to thank my advisor, Downing Cless. Thank you for stepping up to the plate, giving me great revision ideas, and challenging me to make this dissertation stronger, better, and faster. -
The Novelty of Improvisation
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Louisiana State University Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2003 The novelty of improvisation: towards a genre of embodied spontaneity David Alfred Charles Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Theatre and Performance Studies Commons Recommended Citation Charles, David Alfred, "The novelty of improvisation: towards a genre of embodied spontaneity" (2003). LSU Doctoral Dissertations. 76. https://digitalcommons.lsu.edu/gradschool_dissertations/76 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. THE NOVELTY OF IMPROVISATION: TOWARDS A GENRE OF EMBODIED SPONTANEITY A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy in The Department of Theatre by David Alfred Charles B.A., Roosevelt University, 1995 M.F.A., Western Illinois University, 1998 August 2003 © Copyright 2003 David Alfred Charles All rights reserved ii ACKNOWLEDGMENTS Thank you to those who started -
Theodore J. Flicker Collection
http://oac.cdlib.org/findaid/ark:/13030/c8nc65xn No online items Theodore J. Flicker Collection Finding aid created by Writers Guild Foundation Archive staff using RecordEXPRESS Writers Guild Foundation Archive 7000 West Third Street Los Angeles, California 90048 (323) 782-4680 [email protected] https://www.wgfoundation.org/wgf-library-archive/about-the-film-and-tv-archive/ 2017 Theodore J. Flicker Collection WGF-MS-049 1 Descriptive Summary Title: Theodore J. Flicker Collection Dates: 1965-1985 Collection Number: WGF-MS-049 Creator/Collector: Flicker, Theodore J., 1930-2014 Extent: 4.5 linear feet Repository: Writers Guild Foundation Archive Los Angeles, California 90048 Abstract: The Theodore J. Flicker Collection, 1965-1985, contains both writing and directing materials from his career. The bulk of the collection consists of scripts written by Flicker, most notably the pilot of Barney Miller, as well as episodes of The Mod Squad, and Nichols. Included are a number of production notebooks from television movies he directed, most notably Guess Who’s Been Sleeping in My Bed and Where the Ladies Go. The collection also includes many unproduced works written by Flicker, for both existing series and original projects, including scripts for Columbo and McMillan and Wife. Language of Material: English Access Majority of materials stored off site. One week advance notice required for retrieval. Publication Rights The responsibility to secure copyright and publication permission rests with the patron. Preferred Citation Theodore J. Flicker Collection. Writers Guild Foundation Archive Acquisition Information Donated by Barbara Flicker, September 2, 2015. Biography/Administrative History Theodore J. Flicker was a prolific writer and director best known for creating the hit television show Barney Miller in the late 1970s.