Posts Tagged ‘Applied Improvisation’

Sevanne

Monday, February 28th, 2011

On February 20 in New York City, Jonathan Franklin, author of 33 Men, the new book about the rescue of the Chilean Miners, and I rehearsed Where Are You Stuck?, the new GameChangers program based on our shared observations of the rescue.  His observations are anecdotal, and chronicle the story of what happened before and during the rescue.  Mine are technical, and cite the way in which improvisation informed the process.

The WAYS? menu consists of 15 game-oriented activities inspired by the rescue.  A half-day WAYS? workshop will be comprised of  eight of these 15 activities, of which the client chooses six; two activities, the first and last, are ‘requirements.’  Our first WAYS? engagement is March 2 in Miami, for 120 executives from a large manufacturing company that is restructuring its processes on a global scale.

Because we had only one day to rehearse in person prior to March 2 (Franklin is currently on a worldwide book tour), we hired a coach, Sevanne Kassarjian, to guide and focus our work in New York.  Two ‘applied improvisers,’ Zohar Adner and James Tossone, along with Heather Soldania, a Masters student at USC’s Annenberg School of Communication who happened to be in NYC last weekend, joined us for part of the day.  Jonathan’s wife, father and three-year-old daughter, Zoey, also sat in for part of the day at the Ripley Grier Rehearsal Stages where we were rehearsing.  Zoey even participated in one of the activities, in which her job was baking cakes in a high-speed oven.

It was a good day.  We made huge strides toward getting the program ready.  Sevanne is terrifically focused.  She relentlessly probed and pondered the experience from every perspective.  Her work demonstrates how an improviser can play many roles in quick sequence, always through the essential truth of one’s character.  During our collaboration, she played the roles of Gentle Encourager, Stern Critic, Logistics Manager, Playful Mom, Erudite Intellectual and Fellow Improviser, to name just a few of the hats she wore.  Through it all, she was always the brilliant individual we now know as Sevanne.

Sevanne’s work is itself a microcosm of why improvisation is an essential skill for managers in a Networked World.  A job title is just that, a title.  Sevanne’s job title last week was ‘Coach.’  That title did not define the many ways in which she supported us.  Simply put, she did what was best for the scene, in each and every moment.  Given the gift of improvisation, so can you and your organization.

Play on!

Sevanne Kassarjian (Jonathan Franklin in b.g.)

Sevanne Kassarjian (Jonathan Franklin in b.g.)

Applied Improvisation, Part Seven: Spolin’s Protege

Friday, December 4th, 2009

Last in a series…

Gary Schwartz

Gary Schwartz

While at the Applied Improvisation Conference, I drank beer one afternoon with Gary Schwartz, of Spolin.com. Gary is Viola (pronounced vy-OH-la) )Spolin’s protégé, keeper and practitioner of what is, in my opinion, the mother lode of improvisation, the practice built by the grand dame of the craft, the godmother of the game.  Hearing stories about Spolin and her teaching was in itself worth the trip.

Schwartz, who before meeting Spolin had studied to become a mime, described for me how Viola taught (no nonsense, all about interaction, no note-taking allowed).  How she coached (get out of your head!)  How he happened to become her assistant (a random act of kindness on his part).  How long it took him for a real breakthrough to happen (a long time).

He said that Viola was profoundly influenced by a book entitled The Tao of Physics, which is now at the top of my reading list.

Viola Spolin did profound work that that relates improvisation to all human endeavors, and has particular relevance for business in the Networked World.  She said things like:

“Information is a very weak form of communication.”  (GameChangers translation: Meaning lies beneath the surface of things, hidden behind the facade, the artifice, the mask, it is found primarily in the emotions and in the meta symbolism lurking behind the cosmetic layer of information.)

And –

“Creativity is not the clever rearranging of the known.”  (GameChangers translation: Creativity is daring by design, a plunge into the unknown, into the collective unconscious, and into one’s own subconscious.  It is not rearrangement.  It is newness.  It is radical juxtaposition.  Ultimately it is transformation.)

And –

“Talent or lack of talent have nothing to do with it.”  (GameChangers translation: The individual’s ability to interact with, and be transformed by, environment, has everything to do with it.)  “Act on environment, Spolin said, “and environment will act on you.”

And –

“Don’t thank me!   It’s not me!  It’s not ME.  It’s the WORK!” (GameChangers translation: Stay humble, stay focused, and don’t be an asshole.)

Schwartz quoted Spolin as saying of improvisation, “You can’t write about it, it can’t be described that way. You have to experience it.  When you do it, it’s in your bones.”

At Spolin’s suggestion, I’ll quit writing now, and show you pictures–which I’m sure  Spolin would’ve had said is no substitute for the experience either–of improvisers having the experience at Edgefield.  Good name for it, Edgefield.  We like that about it. At the edge of the field, the transformation begins.IMG_5870

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Applied Improvisation, Part Five: Touching the Heart

Tuesday, November 24th, 2009

Nick Owen is one of those people you feel as if you know even though you know you’ve never met him before.  I think it’s because he’s in touch with his environment, and this allows him to make immediate connections with people who share that environment.  The honesty with which he speaks and his desire to do some good in the world are palpable.  Visible.

His keynote presentation, “Touching the Heart,” is seemingly so in tune with its environment that whenever a phone rings or a plane flies overhead, it is with perfect timing.  With the addition of these ‘rimshots’ ordinary statements become punch lines, a lesson for sure in how humor works.  Timing is………………everything.  Nick:  “Understand what causes the arrow to find its mark.”  (Pause)  Phone RINGS.   Audience LAUGHS.

Nick draws on philosophy, world culture, storytelling and improvisation to describe the expressions of the heart that connect us.

Nick Owens

Nick Owen

He tells a story about a girl riding a camel through a desert who resolves a dispute amongst three brothers fighting over their inheritance–which consists of camels.  He tells another story about a legendary Chinese archer and an old monk. I am a sucker for archery stories.  Shoot an arrow into the air, and I will definitely stick around to see where it lands. The ‘ka-’ always demands a ‘-thunk!’

As part of his address, Nick conducts a couple of exercises.  One of them builds a five-line story about who we are.  What may, to a non-improviser seem narcissistic or self-interested, we regard as essential to the scene.  First be certain of what brought you here, and what you’re here for, and where you’re headed.  Take care of yourself first, and you are free to take care of your scene partners.

In small groups, we read these stories to one another, these five-line reminders of how we define ourselves in the world. The stories are poetic and moving.  We dry a tear off Caitlin McClure’s cheek. The tear speaks for all of us.