Countdown Improv Festival
“I’ve noticed that characters are most believable — and therefore most engaging — as well as easiest to play, when the performance is coming from some real place, which may or may not lead to laughter.”
“I want to have a balance of bringing in the tropes, but also modernizing them. I don’t want to just bring in the stereotypes without considering how far we’ve come when it comes to gender roles, what modern relationships look like, etc.”
“We are both drawn to strong characters with a definite point of view. We pay attention to each other, the whole person, words, postures and expressions.”
“When I do stand up, I get frustrated that I can’t do emotional character work. And when I do improv, I get frustrated that I can’t do my witty observations about all the different books and DVDs on minimalism.”
Lots of people are looking for reasons to believe that an online festival won’t work, or that it won’t be as good as the “real thing.” We’re here to tell you that it can.
“We love the feeling of walking off stage and knowing in our guts that everything clicked, that we gave it our all, that we listened hard and supported one another, and that we loved the hell out of each other for every single second.”
“Expect a show that is like going to a movie theater to see a movie, but the movie theater is stuck in a tornado.”
“Expect little to nothing except and including the collapse of all things known unfolding into an origami-esque fractal of the conspicuous subconscious streaming tickle tendrils tangentially fringing mellifluously upon the cortex keys of existential sublimity. Aka, expect to have fun.”
The Project is an improv duo featuring Chuy Zárate and Antonio Zárate. The father-son duo, based out of Austin, Texas, will perform in the 9:05 PM show block on Friday, August 14 at the 2020 Countdown Improv Festival. In this special video spotlight interview, the Zárates talk about the genesis of their duo, what’s great […]
“One thing I really love about stand up, and solo improv, is that you have total control of what’s going on in the act. If a bit is going south, it’s up to you to cut it short or take a new direction. It also forces you to be very in-tune with the audience because they are your scene partner.”