Posts Tagged ‘Object Work’
Daughter of the wind, KEILANA DECKER, joins our host Louis Kornfeld in episode #125 of the Magnet Theater Podcast. The two dig deep into the topic of having fun and the trouble they both have with it. Both of them share their appreciation for fellow Magnet personality Charlie Nicholson – including a hilarious story involving Charlies toothbrush – and as always, we learn about different improv tricks and strategies from Louis and Keilana alike.
At the beginning of the episode, Keilana reveals that she has prepared for this recording by listening to other episodes of the podcast and fears that she will simply regurgitate dialogue shes already heard. Keilana tells us about going home to Chico, CA recently and she and Louis chat about going home to see their parents and how belittling it can feel.
Speaking of home, Keilana talks about leaving hers and coming to NYC to do improv. At first, she was so intrigued and confused by how these experienced improvisers were able to have fun while performing and Louis connects with Keilana over the idea of having a hard time having fun on stage. Louis draws a line in the sand and says that he doesnt like fun because fun is cheap. Our host and guest digress a bit, admitting that there is a benefit in allowing yourself to being exposed in front of people who are in a position of accepting and supporting you. Keilana talks about the different levels of exposure, giving the example of how she felt like she wasnt able to tell improv teammates if and when she didnt feel good about her performance. Tangents aside, Keilana and Louis circle back around to the topic of having fun and Louis provides the following analogy: I love dancing – except when there are other people around doing it.
Louis talks about a book he is reading that explores how different people deal with their wounds: people who use their wounds to better themselves and people who give into their wounds the born losers. Our two heroes realize that they are both people who dont like the excessive amount of attention improv necessitates, but who love the art form nonetheless. Louis describes improv as airing out your wounds publicly (for about 20 minutes) and they both relate to how scary and empowering that can be.
We hear about Keilanas newest love: spontaneous one-person applause. She tells us about her appreciation for the recognition in the one person who is willing to clap by themselves, which means more than simply laughing along with everyone else, of which she says, You can laugh because you dont understand something. Of this kind of bold self-expression, Keilana is reminded of her appreciation for Charlie Nicholson (her Bodywork team member). She talks about a fun game he plays by hiding his toothbrush around her apartment when he stays over. Louis describes Charlie as a person who is willing to try out something new, that hasnt been done, just to see what happens with it.
To round out the episode, Keilana and Louis discuss how a really good scene just requires one yes, and, how improv helps us harness the childlike wonder weve forgotten about, and why cleverness has a habit of ruining improv scenes. Plus, Louis describes a dream he thinks everyone has had (no one has) and Keilana builds a beautiful metaphorical firework.
Visual artist and Magnet performer, ANNIE MOOR, is on the podcast talking with Louis about improv and how her art, no matter the medium, always trends toward storytelling. They dive deep into how narrative shows come together and even discuss how jealousy can be a great motivator. Aside from performing at Magnet with Wonderland, Premiere: The Improvised Musical, and Object Work, Annie is also a Magnet instructor, an early childhood educator, a teaching artist, and a visual artist who will be selling her incredible works of art at the Union Square Holiday Market from November 17th to December 24th! So many ways to enjoy Annie Moor, so little time! (But at least this episode will live online forever.)
Annie recently started teaching Level One Musical Improv at Magnet, so Louis begins the podcast by asking her what she thinks is the mark of a successful Level One class. He also wants to know how teachers help students who have zero musical awareness – how to bring them to their voice? Annie find that sharing her own anecdotes of not knowing with students often puts them at ease. Louis comes up with a cool analogy about cutting tomatoes with a dull knife that relates to staying sharp and keeping things fresh when performing. As he is wont to do when musical improvisers are across from him, Louis asks about the use of narrative structure in musical improv. He and Annie get into how narrative shows differ from traditional longform and how picking an antagonist is really hard! Annie has been doing improv since 2008 but it took her four years to find musical improv, which has truly been her love. She’s been doing theater her whole life though and made the jump to studying animation when she went off to college where, Annie claims, she was the worst animation student NYU has ever had! More recently, her primary non-musical improv experience has been performing with Object Work, an improv show which uses real objects. Louis and Annie talk about playing out real life on stage and they ask, does a good kind of jealousy fuel us appropriately? Annie talks about how all of her artistic pursuits trend towards storytelling and narrative moments. She says that storytelling starts taking shape for kids around four years old and that she loves getting to see that development on a regular basis in her work teaching one through five year olds. To end the show, Annie and Louis play a rousing game of monologue hotspot! Sadly, due to a recording error, we lost this episode’s edition of A Serious Scene With A Jar Of Pickles. Only Annie, Louis, Evan, and Grant will ever know how truly delightful it was!
- Annie Moor
- early childhood
- Louis Kornfeld
- magnet theater
- magnet theater podcast
- magnet training center
- musical improv
- musical megawatt
- new york
- new york city
- Object Work
- visual arts
Spartan improviser, Executive actor, and director of Object Work, CHARLIE NICHOLSON, sits down to discuss his upcoming Directors Series, harnessing risk on stage, and RuPaul’s Drag Race. Throughout the episode, Charlie and host Louis Kornfeld find a great deal of common ground as they discuss things like ambiguity on stage, forgetting one’s self in a show, and how to approach leading an ensemble. It’s a beautiful episode with beautiful people and how about that pic, right??
To begin, Charlie opens up about his nerves regarding each show and how he channels them into preparation. He tells us why he loves The Medusa and how he seeks to inject something different into each show the performs. Louis latches onto the topic of small moments and they discover their mutual reverence for well-placed ambiguity. Then, Louis offers that works of art may serve as outcrops of ourselves which help us frame ambiguous moments. How philosophical.
Moving from the abstract to the human, Louis asks Charlie about his style as an improviser and they talk about Charlies love for risk-taking on stage. They also touch on Charlie’s favorite thing to experience in a scene partner. Louis makes a puzzle analogy, folks! Charlie talks about forgetting himself amidst a show and the conjuring of magic on stage. What does is mean to play “out of control?” Charlie and Louis offer up two competing definitions and discuss each. Plus, learn how Charlie’s natural curiosity fuels his performance and find out his recommended reading for Louis.
With its upcoming run looming, Charlie passionately shares with us his thoughts on April’s Directors Series, Object Work, which came to him in a dream. He espouses his love for extending ourselves beyond our bodies and bringing life to the lifeless. Additionally, Charlie shares how he approaches directing a group of experienced performers he so adamantly admires and he and Louis go on to discuss different learning and teaching styles. To wrap up the episode, Charlie shares some of his favorite books and media, and of course, he and Louis discuss RuPauls Drag Race.
Please, don’t forget to go see Object Work this April. Thursdays at 10pm.
*Charlie wants us to note that, at time of recording, he goofed on the authors name of Silently and Very Fast. He said “Catherynne Valero” but what he meant was “Catherynne Valente.”