He expresses himself with gestures and accents ranging from Shanghainese to Shandong dialect; he can easily play a role similar to the Beijingers in Teahouse (a Chinese play by Laoshe); in fact,he has becom.e popular because of his interpretation of a  middle-aged man who is feminine in both voice and behavior, and takes his English for granted. David Hu, a professional psychiatrist, is a naughty student from our first improv knight class.

In the beginning he was surprised by the improvisers’ quick reaction; after graduation he’s surprised at what he has achieved at an improv show. As a native Beijinger, David knows almost all the famous actors in People’s Art Theatre. To him, improv is not just about acting but it’s also about the games… An improviser plays within certain rules, and his conscious behavior is drawn from his instinct and experience. “My feelings and experiences in life creates the ‘David’ on stage. I act out what I know and my feelings from the past”, Said David.

David thinks the distinctive characteristic of improv is its interactivity. Audience is the master of the actors; the servant won’t be boring if the master keeps offering different and unexpected suggestions. Audience of traditional theatre can never get the same experience. Of course in Chinese stand-up comedy they also tickle the audience based on things happening at the moment, but not as much. Another characteristic is team work and the chemistry between team players creates a good scene..

Applying his knowledge in psychology, David provides a simple analysis on the reason why people love to attend improv “those with traumatic experiences can get emotional healing; those who feel repressed in life find an avenue to release their emotions.” He has been to some drama therapy workshops where the director guides the participant to do some role-playing. And this type of emotional therapy workshops require the director to be highly qualified with a solid background of psychology, considerable experience as a psychiatrist and a strong capability to keep the situations under control..

As to using improv to do therapy, “I think we may try it in the future. I have a strong belief in the positive energy in improv. I used to be pessimistic and when I went abroad, I tend to think that both Chinese people and foreigners have many shortcomings. Gradually, I have adjusted myself and become more optimistic. I’ve learnt to just let it be, and Chinese people and foreigners have similar merits. It’s important to live a positive life…”

“See I’ve brought you a very healthy habit. Now you are all bringing home-made food to office.” Eric took pride of himself while taking his baked mutton chop out of the oven and invited us for a dinner at office before the improv class.

Eric Shen, a Shanghai descent, was born in Tianjin and grew up in New York. A computer science major, he accidentally found his talent when hosting a friend’s marriage. He fell in love with improv theatre and develops his own dating training. The constantly changing environment and roles have formed his a habit: abandoning the stereotypes and I can be anyone.

During the hand-holding improv class, Eric tried hard to create a trusting and safe environment. He believes only a positive encouragement can lead to a positive teamwork among the students. “It’s like a sandwich, acknowledging their progress first, giving suggestions and then more encouragements. Teachers’ critique is very critical in improv class, or the students won’t dare to try any more,” says Eric.

Eric often tells the students to “believe what you say is right”. He thinks that Chinese are used to judge whether it’s right or wrong and are not aware that the answer is colorful. Thus they can’t confirm their direct feeling. For example in the gift game, the sender tends to give very specific information and the receiver often tries to get the right answer exactly as what the sender wants. “We can be more confident in the scene and naturally go with the flow and say it when it comes.”

As for the contradiction between improv theatre and traditional acting, Eric emphasizes that they are in different direction. Improv aims to create a scene in which you and your partner feel the moment and get the inspiration; while traditional acting is all about acting and you need to get involved in the character and practice to act real.

“Usually learning can be based on spontaneity and practice. I prefer to improvise and love the concept of ‘carpe diem’ (seize the day). The creativity won’t be in control and it’s more fun.” Pulling his huge luggage, Eric said goodbye to life in Hutong and got back to Shanghai, “well, where shall I travel this Spring Festival?”

Acdemic Background of Jean Louis Rocca

Rocca, is a cool-looking Frenchman with a hot passion for improv theatre.  He came to our workshops every week last spring and summer. He is a sociologist and lectures in Paris and Tsinghua University.

Rocca’s favorite traditional play is Waiting for Godot and has tried some simple roles in Chinese plays. He thinks one needs to forget himself in traditional theatre. However, in improv theatre, one can show a bit of one’s authentic self. Rocca thinks a perfect actor should be one that can act and improvise.  In fact, many actors in France like to switch between improv and traditional acting.

By observing participants from all walks of life, Rocca has learnt more about the Chinese culture and its different dialects. “Usually it is the new middle-class that is interested in new things. I can learn about contemporary China here.” Middle-class in China is part of his research.

Rocca has since moved back to France with his family and found improv popular in France too. “Many people become successful because of their ability to tell jokes.  . Audiences also love to be tickled by the improvised chat shows on TV. Perhaps that’s why  some young people, especially those living in the suburbs love to learn improvisation. In addition, improvisation allows one to express himself freely and not afraid of being judged. It’s almost ‘therapeutic’ to feel accepted and establish a sense of belonging when playing improv.

Rocca also pointed out some difference between China and France, “The French are more quiet at the beginning in these kinds of workshops. Maybe because most Chinese tend to approach others and communicate more easily. Besides, language is the most important factor in French comedy. People love Puns while in Chinese comedy, I think there’s more balance between words and the use of body and language.”