By William Leith
William Leith, writer of The Hungry Years and Bits of Me Are Falling Apart, tells, in A Northern Line Minute, the darkly funny stories of his escapades at the Tube - a part of a chain of twelve books tied to the twelve traces of the London Underground.
The Northern Line is the Black Line, and William's event of it definitely displays that. It's the road on which he has fought together with his female friend, misplaced jobs, watched soccer groups lose and been caught underground. It's a narrative of London lifestyles.
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Extra resources for A Northern Line Minute: The Northern Line (Penguin Underground Lines)
When we were one stop from Waterloo I asked her to teach me how to improvise. What would it take? What would it cost? I wanted regular classes. Patti said we would need a group of four and a space, and if we all put in what we could afford each session, she’d love to teach us. I was ecstatic. Because she didn’t want it to seem exclusive or cliquey, she suggested we keep it quiet. The Secret Impro Group was born. First I had to ﬁnd three other improvisers to join me. I didn’t really know Tom at that time, so I asked two people I knew and liked who I had met at London Theatresports workshops: Alex Lamb, who worked in artiﬁcial intelligence and also wrote science ﬁction, and Jane Elson, an actress.
It follows that the people who are most successful at learning to improvise are those who are most relaxed. We tell our students that their only mission is to have lots of turns and see if we’re worth our money. ” If they can already do everything we show them very well, that makes our job very difﬁcult. As teachers it’s our job to ﬁnd things the students can’t do and show them how to do them. Education is not coming to the workshop pre-educated. ” We say if they can do everything we show them perfectly, they should ask for their money back because it means we’re not teaching them anything new.
Our improv workshops are almost always oversubscribed and our corporate training is in high demand. We are actively developing new improv formats in our regular stage shows and hope to continue pushing the boundaries of what improv can achieve for many years to come. ” Intermission WHAT SHOULD IMPROVISATION BE? #1 “FROM INNOVATION TO ART FORM” By Deborah Frances-White Overview The first of two answers to this important question, this is Deborah’s personal summation of where improvisation came from and where it is going.