As improvisers, I believe we all wish to feel grounded on stage. Meaning that we trust the process more than we stress, that we let our characters make the choices without being too much in our own heads, to see what’s already there without constantly searching for something new. And most importantly: leaving space and room for joy and playfulness on stage!
Finding your character and finding ways to let it stick can be one of many ways to ground yourself on stage.
In this workshop you will try different exercises that’ve been collected over the years with its main focus on tools that will make you more grounded on stage. Several of these come from clowning. As an improviser who has experience in clowning, I’ve found that exercises from clowning are a very fun, useful and powerful way to find and create characters. To strap things down to its bare minimum one can often experience that what one has is enough, and that there are plenty of things to play with! In addition to clowning there will be exercises from character work and warm up exercises. Together they will help you get ready to enjoy and play.
Because in my opinion, we as improvisers are often doing more than enough! What it’s often more about is letting ourselves trust the process, find our character, see and listen to our fellow players. And last, but not least: have fun!
This workshop is suited for all improvisers, whether you are new to the game or experienced.
Friday June 28 — 10:00 to 12:30
€60 for the half-day workshop
All our classes are accessible.
Location: TBC in Amsterdam-Noord
Lina Furuseth is an improviser from Trondheim, Norway. She has played impro theatre for nearly a decade, mainly with the groups Improoperatørene and TRE TING. She has played at international festivals like Trondheim International Impro Festival, IMPRO Amsterdam and Improfestival Karlsruhe.
Lina has a love for characters and how to find them. In 2018 she went to England to study clowning for a month, and realised that never had she ever felt so bare, but also free on stage. She brought exercises back to Trondheim and modified them for the impro stage. Together with other tips and tricks collected over the years, the bag of exercises for developing characters has grown and grown. Apart from playing impro theatre, Lina is a classical pianist and a lover of jazz music, so be careful: should anyone mention Bach or Nina Simone, she might lose her focus and start nerding hard.