If people had no fear, you'd hardly need to have to teach them. It's the fear that screws everything up.
I mean, in the foreword to Impro in Denmark is by Søren Iversen, who I taught long ago, he was a Danish director, after he left. He said he'd read about [Eugeny] Vakhtangov. I'm a fan of his. When he heard that Vakhtangov had lots of tricks, he thought this was very bad. But when he came to be my student, he realised it was very good to have a lot of tricks. You saw some this morning.
When you want to have entertainment, it must be a waste of time. I don't like that. I don't like improvisation being pointless.
You can sort of trick people into being really good. Even if they didn't know anything.
Light entertainment means it mustn't teach you anything.
Very hard to get an audience. So if you're going to fill the theatre, you can't just rely on old stuff.
My feeling is the moment the theatre is not full you have to do something else. But most people somehow think 'If we did it better, they would come'. No. They don't come.
I left my theatre the Loose Moose almost twenty years ago, and I hardly ever go back. Sometimes I go back to do a Mask class. They're doing more of this than I was doing when I left. Often it's the same improvisers but they're older. And now, they don't care if the theatre's full or not.
Every theatre worth anything has somebody in the middle of it who is driving it; like Joan Littlewood with her theatre.
I'm not against work, I think work is great, I work a lot; but if you want to play, the consequences must not be important.
The improvisation had to be in public, because you only get value playing to strangers.
I was crazy about silent comedy - in the old days, and crazy about Japanese movies.
Some people in this life think they're worth something, or that they have a right to things. I never thought I had a right to anything 'cause of the way I was broken as a child. And therefore I was sort of floating around and would get sucked into things.
Where if you're in a universe where you have to accept ideas, you'll never know if your partner wanted the garbage you're handing them. They have to take it.
I see a great lack of stories around. I bought six literary magazines and looked through them to see what people were doing. There wasn't a story in them. They were all about how poetic the feelings of the author were.
In my school, the library was forbidden. I was accused of turning on the radiator so that the [class]room was uninhabitable and the ceiling came down below; I'm pretty sure I didn't do it. But then we were moved to the library. And there was a really boring history thing, about the Spanish Armada: how could you make that boring?!So I reached my hand out, and slid a book off to read under the desk, and it opened at King Lear Act Four Scene Six. I was astounded. I'd never seen language like it. I was awestruck. I think that may be one reason why I got involved in theatre.
Wherever you go it's the same fear. And the same protective devices. There is one big error I think and partly my fault which is that a lot of things are taught to beginners which you can cast off later on.
Trying to do better is trying to be better than you actually are, and I don't think you can do that.
I tell people not to do their best. I don't know when that started. Quite a while ago. Because I . . . when they're doing their best I don't get their best. So I try to persuade them to be average. Because if you're wonderful and you're average, you're still wonderful. If you're a bad improviser and you're average, you're what you are.
The problem's always been to deal with the fear.Cos the fear is pretty . . . it ruins everybody really.
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