|This one's for little Johnny Ratliff
||[Jun. 15th, 2007|10:34 am]
PGraph did an old-fashioned Flowy Doughnot montage show last night. We normally stick to something with more of a narrative structure, but it's good to just cut loose every once in a while. We should do that more.
Ah, Interdomestic bliss.
Hmmm, I don't know. Not having spent as much time doing non-narritve stuff, I don't know if my thoughts are very coherent on this. Flowy to me is a show with absolutley no preconceptions about where the show might go. There might be call backs, a story may be flirted with, but ultimately no one knows where it's going? I think of The Knuckleball Now as the local masters of this approach, which says a lot about how Craig's brain works, I think.
Other non-linear shows to me seem more deliberate in how they're put together. They strive for their non-linearity. That's just my off the cuff take. It may just be a question of attitude, not end result. What are your thoughts on this?
Yeah, I think you hit upon what I've been thinking, too... Specifically that if a narrative comes out of it, that's okay. If anything comes out of it, that's okay. And also, yes, there's something harder to define as well... the way the scenes flow into one another... organically.
I was going to bring this up as a topic for discussion on the forums, but I didn't want it to devolve into name-calling.
Here's maybe a salient observation as well. It comes from something I thought about doing duo shows after our DoubleBarrel interview. In two-person shows, no one's offstage to edit you out of your scenes. So you have to feel the end of your scene yourself and edit out from within the scene. Not to brag too much, but I think that's one element of Get Up's prov that we do as well as anyone in town.
I think Flowies usually have a higher ratio of that same internal scene editing more than other non-narrative shows, which often rely on someone coming in from the sides and editing the scene.
This all kind of came clear to me last Saturday after doing both Stool Pigeon and Get Up's show.
The edit style is a big part of what I love about TKN and Get Up, and we were using it a lot last night. I think only one or two scenes had an explicit edit. That probably came from us trying emulate TKN's particular montage style.
"That probably came from us trying emulate TKN's particular montage style."
And I think the argument is being made that their style embodies "Flowy".
So I think I have a deeper understanding of what the hell Andy was talking about when we took classes from him.
He was like, "Flowy Donut is an Austin-style of improv. It's got no structure, and whatever happens, happens." Or something like that, it was 2 years ago.
and I was like, "That's not a format, that's a lack of a format."
and he was all, "No, but it is."
and I was all "You're hurting my brain."
I think that the key here is edit style, which from my understanding is very influenced by what goes down at BATS. When I was taking a lot of classes, one of the biggest prejudices I came away with was against stagy/flagrant/not incorporated into the scene edits, like the walk across, flared arms, tap out, what have you. (We used to call them wipes, but edits has supplanted that term in the local lingo, and that's cool by me. Wipes sound icky.)
There's nothing wrong with those editing methods, but we got an earful of don't do that, it's cheesy and sloppy, so I almost never edit in that way. I think Shana, Craigy, and I all share that bias to some degree, which has influenced the Flowy I guess. Note how GGG edit similarly.