FREEHOLD FORUM JUNE 2008 ISSUE

 




    FREEHOLD FORUM JUNE 2008 ISSUE


 

This month we are pleased to share the following:

  • Jessica Jobaris. Find out how Jessica's extensive movement training has informed her professional work.

  • Reginald Andre Jackson. Read Reggie's compelling insights into his upcoming turn as Iago in Freehold's upcoming laboratory showing of a work in progress of OTHELLO (lab showings beginning of July - see below for dates and times).

  • Matt Smith. Check out how Improv has helped Matt both as a performer and personally.

  • Freehold News. Hear about the latest Freehold news and upcoming events.

  • Freehold Faculty and Student News/Shows. See the great work being done by faculty and current students and alums of Freehold.

We always appreciate your input. Please feel free to contact us at (206) 323-7499 x14 or kate@freeholdtheatre.org.

 

 



    Interview with Jessica Jobaris

 


Jessica Jobaris is a Freehold faculty member. Jessica received her Yoga Teacher Training thru Pacific Yoga, having studied also at Samadhi, 8 limbs, and Om Yoga in NYC. She has taught yoga at Seattle Pacific University, University Prep Academy, various local Community Centers and private dance studios, during summers in Central Park, and most recently at Fred Hutchinson Cancer Center. As a dance/theater performer, she has spent the last 8 years working with companies Scott/Powell Performance, Lingo Dance-Theater, Seattle Mime Theater, Maureen Whiting Company, Bryon Carr Performance (NYC), and with her own physical-theatre company, corpuscorpus movement association, with partner Luke Allen. For more information, go to www.corpuscorpus.org

Jessica, can you describe a little bit what inspired you to move into your work as a dance/theatre performer?

To be honest, I have always felt that watching dance is often alienating. I sit watching modern dance and think, what the heck is going on . . . why are we here? . . . and I'm a dancer! I crave to find ways to join with the viewer, to share more than high leg kicks and ballet training. While at Cornish, about 12 years ago, tired of "pretty-dances," I grabbed a handful of actors, took my favorite aspect of ballet, storytelling, and merged "dance" with stylized pedestrian movements, and a mess of props, in an attempt to reveal more humanity in dance performance. Not much has changed since, and that is what I still try to do! Shortly after graduating Cornish, I took Robin and Lee Eisler's Dance/Theater summer intensive which re-affirmed a deep connection to continuing merging those mediums (so my audiences don't feel left out!).

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    FREEHOLD NEWS

 


Freehold's Engaged Theatre's Laboratory Showing of A Work in Progress: OTHELLO

Join us at our laboratory showing of a work in progress of Shakespeare's OTHELLO which is being produced as part of our Engaged Theatre Program. This year's production includes the outstanding talent of actors Annette Toutonghi, Reggie Jackson, Sylvester Kamara, Lauren Herrick, Mariah Cane Ware, Damien Peterson, Jieun Kim, Gino Yevdjevich, Chris Bell, Bart Smith and led by Freehold's Artistic Director Robin Lynn Smith. This year's production will include several open rehearsal showings and post rehearsal discussions on the following dates:
July 1st - The Washington Women's Correctional Facility in Purdy (not open to the public)

OTHELLO - OPEN TO THE PUBLIC on the following dates:

July 2 at 4:00 pm - at Freehold Theatre, 2222 2nd Avenue, Suite 200
July 3 at 7:00 pm - at Freehold Theatre, 2222 2nd Avenue, Suite 200
July 6 and July 7 at 7:00 pm - at Seattle University's Lee Center for the Arts. For more information, kate@freeholdtheatre.org or (206) 323-7499.
Tickets: Free - Donations Accepted!

Plan on attending and being a part of the exploration and telling of one of Shakespeare's most compelling works.

Freehold's Gala Auction - Bring Your Fire



Timothy Piggee


Thank you to all who turned out to support Freehold at our 7th Gala Auction on Saturday, June 21st. Attendees were feted with inspired performances by Timothy Piggee, Gin Hammond and Kate Gavigan and an amazing assortment of incredible auction items. As always, we appreciate everyone's commitment to and support of Freehold!

Spring Class Showcases at Freehold

Have you been wanting to find out what goes on in some of Freehold's classes? Here is your chance to check out the work of some of our students:

June 26th at 7:00 pm - Meisner Showcase (students taught by Robin Lynn Smith)

The showcase is free and will be held at Freehold Theatre, 2222 Second Avenue, Suite 200, Seattle, WA 98121. If you have questions, contact us at (206) 323-7499 or info@freeholdtheatre.org

Summer Quarter is Now Open for Registration!

Whether you want to take an Introductory Acting class, an Alexander Technique, a Spoken Word class, an Intensive Improv class or work with the incredibly talented George Lewis (one of Freehold's founders) in our Rehesarsal and Performance class ... we have it all this summer for you! For more information about our exciting array of classes, call us at (206) 323-7499 or go to our website, www.freeholdtheatre.org to look at our extensive and diverse spring offerings.




    And what's he then, that says I play the villain? by Reginald Andre Jackson

 


Reginald has worked extensively all over Seattle as an actor and a playwright. His work has been seen at Intiman, Seattle Repertory Theatre, ACT, Book-It and the Seattle Children's Theatre.

It is a commonly held belief that the play Othello is a battle over who will lay claim to the titular characters soul. Desdemona is said to be all that is holy, all that is divine.

"Tempests themselves, high Seas . . . do omit their mortal Natures, letting go safely by the Divine Desdemona."

Iago, then, is all that is evil.

"I look down towards his feet; but that's a Fable, if that thou be'st a Devil ..."

Between this angel of light (come straight from heaven) and this daemon of darkness, this henchman from hell, we find Othello, a so-called barbarian recently converted to Christianity. In the ensuing encounters either Iago or Desdemona will return to their spiritual realm with the Noble Moore's soul safely in tow, or so it is said.

What if things were a little more complicated? What if, like the other central characters in the play, Iago and Desdemona were richly drawn, yet, beautifully flawed human beings?

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    The Benefits of Improv by Matt Smith

 


Matt Smith has taught thousands of people to improvise. He has taught at Freehold since 1991, and also teaches at Seattle University. He has improvised for 16 years as a member of None of the Above, Seattle Improv, Seattle Theatre Sports, and Stark Raving Theatre, where he and Edward Sampson used improvisation to develop scripted performances. Solo endeavors include My Last Year With The Nuns, Helium and Beyond Kindness: Essays in Childrearing. Screen credits include Sleepless in Seattle, Spiderman, Almost Live and Outsourced. Matt also designs communication training programs for businesses and organizations using the concepts of improv as a foundation.

I took an improv class in 1985 because I wanted to make an attempt at being a comedian. What excited me most about the class was that there is an actual craft to it. There is an identifiable, learnable, repeatable approach to communicating that lends itself to spontaneity and genuine comedy.

more ...  

 




    Freehold Faculty/Alum Shows and News

 

FREEHOLD FACULTY NEWS

Daemond Arrindell. Every Wednesday night at ToST in Fremont, The Seattle Poetry Slam hosts a spoken word extravaganza. 8 p.m., $5 cover, 21 & over IC required, go to www.seattlepoetryslam.

Elizabeth Heffron playwright for Foxy Populi, the piece she did for Annex's show Keep The Light On is going to be published in the next edition of KNOCK Literary Journal.

Tim Hyland will perform in A Streetcar Named Desire at Intiman opening July 9. For more information: www.intiman.org.

John Jacobsen just completed his screenplay adaptation of E. Nesbitt's "House of Arden" for a Los Angeles production company and is starting research for a studio feature, a film based on the infamous WWII battle in Huertgen Forest. He is also scheduled to start production in '08 on "Sweat", a PBS documentary on the history of the famous saunas and spas around the world.

Jessica Jobaris is currently working with Robin Lynn Smith on Freehold Theatre's upcoming laboratory showing of Othello, which runs July 2 at 4:00 pm and July 3 at 7:00 pm at Freehold (2222 2nd Avenue, Suite 200) and on July 6 and 7 at 7:00 at Seattle University's Lee Center for the Arts. For more information, go to www.freeholdtheatre.org or call (206) 323-7499.

Marya Sea Kaminski will be performing in the following:

THE DOOM SERIES: A Collection of Three New Works by Marya Sea Kaminski
HAND2MOUTH'S RISK/REWARD PERFORMANCE FESTIVAL How I Became Such A Quitter (A Tap Dance Part One)
Someday Lounge, 9pm; Portland, OR
June 27 & 28

-STRIKETHROUGH-

Four Letter Words (My Tap Dance Part Two)
Do not come to the Jewel Box Theater at the Rendezvous.
Not in Seattle, WA
Anytime except June 30

NEXT STAGE'S NEW PLAY FESTIVAL The Last in the Doom Series
written and directed by Marya Sea Kaminski
Hugo House; Seattle, WA
August 15 - September 15 2008

BUMBERSHOOT
Unicycle Collective at the Centerhouse Theatre
Saturday August 30, 2:45 - 3:45 & Monday September 1, 3 - 4pm
Cheap Wine and Poetry on the Leo K Stage at the Seattle Rep
Monday September 1st, 5:15pm (Labor Day)

Darragh Kennan will be doing a season with American Players Theatre in Spring Green, Wisconsin, appearing in A Midsummer Night's Dream, Henry IV Parts One and Two, and The Belle's Strategem.

Cyrus Khambatta, Artistic Director of Phffft! Phffft! will be rolling, sliding, bouncing and dancing around the sound (WA and OR) with several new pieces - Body of Water, a commission using HUGE rubber balls for the Bellevue Crossroads Waterpark Opening - Mass Movement which will take over Kent Station Mall by surprise (you have to be there to find out) as well as for the 2nd edition of Artopia in Georgetown, and much more. June 2, Performance, Body of Water, Crossroads Water Park Opening Ceremony, 16000 NE 10th St., Bellevue, WA, Admission is Free, info: 425-452-6881. For more information about the other performances around town, go to: www.PHFFFT.org.

Shelley Reynolds will be performing in A Streetcar Named Desire at Intiman Theatre. For more information, go to, www.intiman.org.

Gary Schwartz is producing the Ha-Ha Sisterhood - Stand-up Comedy with Amy Alpine, Bryley Hull, Robin Fairbanks, and Jeanann O'Brien at Valley Center Stage in North Bend, www.valleycenterstage.org and will be a presenter at the Applied Improv Network conference in Trondheim, Norway June 5-8.

Matt Smith can be seen in the nationally released feature film "Outsourced" produced by local film company Shadowcatcher. For more information, go to www.outsourcedthemovie.com.

Amy Thone will be seen in Strawberry Theatre Workshop's production of Leni. It opens July 10th, and plays through August 19th. Leni is a two-person piece (Amy Thone and Alex Tavares) by Sarah Greenman about the Nazi cinematographer, Leni Riefenstahl . . . . Fascinating subject matter, plus the "play" is multi-media, . . . Directed by Rhonda Soikowski. For more information, go to: www.strawshop.org

Annette Toutonghi will be seen in Othello as part of the Engaged Theatre Program with Freehold Theatre which runs July 2 at 4:00 pm and July 3 at 7:00 pm at Freehold (2222 2nd Avenue, Suite 200) and on July 6 and 7 at 7:00 pm at Seattle University's Lee Center for the Arts. For more information, go to www.freeholdtheatre.org or call (206) 323-7499.

FREEHOLD STUDENT/ALUM NEWS

Michelle Flowers will be in Mother Courage and her Children, produced by The Edge Theatre Ensemble, playing July 5, 6, 11, 12, 13, 18, 19, and 20, 2008, at Youngstown Cultural Arts Center. For more info, go to www.edgetheatre.org.

Irwin Galan just completed a TV commercial for Credit Union of Washington and will be playing Eilif in Mother Courage with EDGE Theatre Ensemble in July and in September will be in LA MAriposa with Book-It All Over.


Jodie Knowles

Jodie Knowles will be featuring at the Seattle Poetry Slam on July 2nd. She will be performing all new work and debuting her chap book 'Contribution to a Human Revolution'. Jodie is passionate about personal truth, strong female voices, and sharing the arts to under privileged (forgotten) communities. She believes the arts have the capacity to move a society forward and help keep children from being statistics. She is proof of its power. She is an alumni of Freehold Theater were she studied acting for 5 years. She has volunteered alongside acting mentor Robin Lynn Smith at the women's prison in Purdy helping facilitate poetry and acting workshops with the women. In her first year writing poetry won a spot on the 2007 Seattle Grand Slam stage alongside nationally awarded poets . . . In the same year became one of the four rotating hosts for the Seattle Poetry Slam. Her mission as an artist is to share her personal truth and struggles to encourage and inspire everyone to find their voice. Jodie will be featuring at the Seattle Poetry Slam July 2nd. She will be performing all new work and debuting her chap book 'Contribution to a Human Revolution'. Please join Jodie as she celebrates art, life and her 30th birthday. For more information, go to www.seattlepoetryslam.

Kate Parker will be in Wooden O's production of Romeo and Juliet playing Benvolio. The show is free and runs from July 10 - August 3rd in parks all around the greater Seattle area. For more information, go to, www.seattleshakespeare.org. Note that Wooden O and Seattle Shakespeare have merged organizations.

Louise Penberthy will be seen in Angels in America: Millennium Approaches with Absurd Reality Theatre. It opens July 24th and runs through August 9th, at the Poncho Forum at the Seattle Rep. For more info, go to www.absurdreality.com.

Stephanie Rouge is performing in The Rocky Horror Show playing in Olympia at Harlequin Productions-State Theater, opening June 5th. Here is the link, www.harlequinproductions.org.

Andy Tribolini and John Paulson can be seen in a film called Visioneers playing as part of SIFF June 12th and 14th. Trailer: www.visioneersthemovie.com.




    Freehold Theatre Guild

 

Freehold Theatre Guild

The Theatre Guild is composed of a group of Freehold students and alumni who have shared in the unique Freehold experience. Freehold Theatre Guild's (FTG's) stated mission is "To help members of the Freehold Theatre Guild make the transition from student to active participant in the greater theater community". For those interested in joining Freehold's Theatre Guild, email Andy Tribolini at atribolini@hotmail.com with your desire to join. You will receive confirmation of membership by receiving notices about monthly meetings and activities in which you are strongly encouraged to participate. The Theatre Guild would love to have you be a part of the group!

 

 



    About Freehold

 

A group of artists, who after years of professional work felt that the full potential of the theatrical event had yet to be realized, founded Freehold Theatre in the summer of 1991 when two prominent actor studios-the Pasqualini-Smith Studio (est. 1985) and the Mark Jenkins Actors' Workshop (est. 1985) joined forces. The founders, Robin Lynn Smith, Mark Jenkins and George Lewis, among others, are professional actors and directors whose credentials include recognized work on and off Broadway, as well as in major films, television, and regional theatre. They formulated the following mission: Freehold engages artists of all levels in training and experimentation so that they may become more innovative and heartfelt in generating theatre that has a lasting impact on the community we serve.

As a center for the development and practice of theatre, Freehold Theatre is committed to art that embraces the full range of human experience and that inspires performers and audience to connect more deeply to themselves and to each other. We move toward this goal in four ways:

  • Our Studio provides a place for actors, from inspired novices to working professionals, to train.
  • Our Theatre Lab provides a forum for mature artists to research and develop new work and to re-interpret classics.
  • Our Engaged Theatre Program reaches out to culturally under-served communities.
  • Our rehearsal and performance facilities located in Belltown comprises of three rehearsal and performance studios, including a fully equipped 49-seat black box theatre.
Here we strive to provide our artists with the tools necessary to make a deep and lasting impact on the community based on organic esthetics. Freehold has become an integral part of Seattle's thriving theatre community, having gained a reputation as the place for serious young artists to train and take the leap into performing and creating original work.

In 2003 we developed an Engaged Theatre program in which we reach out to culturally under-served communities. The program comprises an annual tour to organizations that represent culturally under-served populations and a four-month residency at Washington Corrections Center for Women, in which the women create, rehearse and perform a theatre production. This year for the first time, George Lewis has developed a similar pilot program at the Monroe Correctional Center for Men.

For more information about our programs and services see our website: www.freeholdtheatre.org.




    What is the Freehold Forum?

 

The Freehold Forum E-Newsletter was born out of our desire to respond to requests from you, our Freehold community, to hear about the innovative and powerful work being done at Freehold Theatre by our incredibly talented and diverse faculty and alumni. The Forum will provide you with a wealth of information that will serve you in your work as an artist. The monthly Freehold Forum will include insightful interviews with talented actors, directors and playwrights, compelling articles on a wide array of topics to assist you in your artistic growth, cutting edge news on upcoming Freehold Faculty and alumni performances, highly newsworthy articles by Freehold's Theatre Guild and Freehold Calendar Highlights showcasing upcoming must-see Freehold Calendar events.




    Become A Part of the Freehold Community!

 

Freehold is always looking for people interested in joining our team of committed and enthusiastic volunteers. Whether you have time, wisdom, strength, money, a desire to be involved in your community, or any combination thereof, we would love to have you join in our efforts. Here are some ways you can participate in our work at Freehold:

Volunteer Opportunities

Volunteers are highly treasured at Freehold!! We rely on and appreciate the invaluable and diverse skills our volunteers contribute which enable us to further our mission. We are currently seeking volunteers to help us with our administrative functions, staff performances and fundraising events!! If you have the desire to be part of a committed group of staff and other volunteers, please give us a call at 206-323-7499.

Donations

Freehold is a 501(c)(3) non-profit organization. We rely on philanthropic donations from the community to help us continue to be a part of the theatre community and to keep the cost of our classes affordable.

Donations may be sent to: Freehold Theatre, 2222 2nd Floor, Suite 200, Seattle, WA 98121.

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Interview with Jessica Jobaris

What sort of movement training have you participated in? How has it informed your work as a theatre performer?

I've done most of my theater movement studies at Freehold. George Lewis taught me about the value of physical precision and timing, and that fully embodying what you are doing helps dispell self-consciousness that comes when you are trying stupid ideas. Robin Lynn Smith, who is also incredibly perceptive of emotional-physical integration, has helped shape how my character work can be more fully engaged uniting intention with clarity of the body. I truly believe studying movement for actors is sooo important because it frees you, by creating awareness. This awareness ultimately allows you to make those surprising choices. It just takes a dedicated practice, and learning the right tools. It is not easy to train the body. As an actor, our entire body is our instrument, so secondary attention to the physicality of a character is like eating half our dinner at a guest's home . . . its sorta rude! Our bodies are like maps; we carry our experiences in our muscles, cells, bones . . . movement for actors offers me the skill of investigating the maps of my own physical idiosyncratic self and that of the characters, so I can fully inhabit/create the similarities and differences. I can't ignore the maps!

As a choreographer, this training continues to help me in creating original works with actors. As a dancer, authenticity became my goal when I became a student of Freehold. That word wasn't previously in my vocabulary, and probably wasn't in my dancing. I believe my Freehold studies have helped me land more unique and rewarding employment in the field of dance. I may curse it when it is happening, but in the end I'm more fulfilled when I am doing things that are difficult, things that require more than a "pas-de-toure-entre-chat and a 5.6.7.8 . . . sparkle fingers!"

Any advice you would give to students feeling challenged by movement in their work?

In my studies at Freehold, and abroad, the highest caliber of teachers offer one thing in common: take risks. Really. If there is any advice to students studying movement, I believe you just need to give yourself permission (and patience) to try your ideas, no matter how absurd. Without permission, you pretty much stay in one place. Having teachers that give you license is vital, but ultimately, you have to give it to yourself.

As you look back over your career, are there one or two performances that stand out for you as significant and if so, what were they and why?

George Lewis, John Paulsen and I created an original work together in 2005, titled Door Stories. It was significant to my growth as an artist in that it was the first piece, that was not dance was not theater, but somewhere in between. Sometimes, you do get to be a part of those unexpected works that are not as easily categorized, but have a real impact. We definitely felt the crafting was important, but also because three minds were involved, we were able to do things none of us could think up alone. I felt my own choreography work shifted after that. I've always allowed my performers into the process, but I had redefined what collaboration meant to me.

Also, it was intensely personal for each of us, as over the course of the two years in the making, we lost family members, lovers . . . letting life into the work was a real gift with those two. Door Stories was a container for not just our artistic process, but for what we were going through. Authenticity requires no less than everything . . . that's why it kicks your ass so hard.

You recently performed a piece with Luke Allen in Sandpoint called "Imagine that everything I'm doing is exactly how I want it to be". Can you describe what drew you to developing this piece? (Also feel free to add any thoughts about how it was to perform it).

Luke and I were drawn to making "Imagine...." because honestly, we couldn't get our cast to rehearse on the same night! Coincidentally, we'd been working on this chunk of a duet for a summer arts festival, Smoke Farm. We were pressed for time (hail to the exquisite pressure!) and turned on the video camera to record some "cool moves"; in a lot of it, we didn't know what the heck we were doing (like most improvs)! We found those parts most interesting because they were so, natural and unspecial, and that made them more special somehow. We thought "wow! pretend that is a magnificent swan dive", or "imagine that moment is exactly how I want it to be.." (hence we made a piece about love and relationships. haha) In the dance world, virtuosity is held in high esteem, but we gave ourselves permission to do what others might consider non-virtuosic or boring, which was scary, so I guess risk is what ultimately drove us to create the work.

What are you currently working on (or planning on developing)?

Currently working with Robin on the physical movement for Othello, as part of The Engaged Theater Tour for this summer and winter. Again another place where I get to try anything ...... the humbling act of learning never stops in this Freehold world. My next project is to perform "Imagine everything I'm doing is exactly how I want it to be..." in Berlin in '09 ... Lebe Tanz-Theater!

Interested in learning more about movement? George Lewis, one of the founders of Freehold, will be teaching a Movement Intensive at Freehold this summer. For more information, go to www.freeholdtheatre.org or call us at (206) 323-7499.

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And what's he then, that says I play the villain? by Reginald Andre Jackson

Having had a few cracks at the lead role, I was immediately intrigued when Robin Lynn Smith approached me with the idea of playing Iago. We were both excited to explore what a black Iago would do to the Othello relationship. We could now see Iago as a black man who has found a way to assimilate to our version of Venetian society. He still finds that, for whatever reason, advancement does not come. A young exotic stranger arrives in Venice. Iago embraces this African (this Moore), as a fellow black man, as a brother. And somehow retaining his sense of self, this stranger is propelled to the forefront of Venice's military, outranking Iago. He then chooses a young white man from outside the province, with far less experience than Iago, as his second in command.

What the @^(&*^?

Committed to the prospect of an Iago who was not omniscient, his journey then becomes one of trial and error, of happy accidents and close calls. Who though an undeniable force on the battlefield, he insinuates others to murder, while he cowardly evades violence unless cornered.

"Though in the trade of Warre I have slaine men, yet do I hold it very stuff o'th'conscience to do no contriv'd Murder."

In fact, early in the process Robin posed the question, "Do you think Iago intends for anyone to die?" I think the play is far more interesting if the answer is no. He simply wants what he believes is rightfully his. The Lieutenancy. What happens when you get everything you want, and then waken the next day to realize the snipers are still in the trees, and the only way to call them off is to take the bullets yourself?

Who's soul then is at stake?

To see Reggie and fellow cast members in Freehold's upcoming laboratory showing of the work in progress of OTHELLO performances will be on July 2 at 4:00 pm and July 3 at 7:00 at Freehold (2222 2nd Avenue, Suite 200) and July 6 and July 7 at 7:00 pm at Seattle University's Lee Center for the Arts, 901 12th Avenue. FREE! Donations accepted. Questions: (206) 323-7499 or kate@freeholdtheatre.org

Want to explore the nature and structure of Shakespearean language, and begin to decode its potent secrets that energize and empower actors? The incomparable Amy Thone (Freehold Faculty Member and 2007 Stranger Genius Award winner for Theatre) and Paul Morgan Stetler (highly acclaimed Seattle actor) will be teaching a Shakespeare Intensive this summer at Freehold. Call Freehold at (206) 323-7499 for more information or email us at info@freeholdtheatre.org

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The Benefits of Improv by Matt Smith

After months of immersing myself in improv it occurred to me that I had become a better person. The things that I was required to learn before getting up on stage so that I could be funny had applications beyond the stage, to every personal relationship; even the one with myself.

If you study improv your listening skills will develop new layers, and you will learn to respond more effectively. It will encourage you to be transparent. You will trust your own ideas. It will increase your awareness of options. When you study improv you trade in about one million "good citizen" rules for 5 or 6 simple principles which create a safe structure in which to explore the human condition.

A student told a story about how he'd taught himself how to golf. After years of golfing he signed up for a class and had to change his fundamentals. He said it was excruciating until very soon, he saw the results.

Improv is like that. It seems hard until you experience the results of following a few simple principles.

Matt Smith will be teaching a Improvisation Intensive this summer at Freehold. For more information, go to www.freeholdtheatre.org.

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