It’s easy to start up an improv group, since the only requirements are an empty space and perhaps some lights. Everything else is created from the imaginations of the actors and audiences.
The Performance Space
More specifically, you need a space with good visibility (no obstructing pillars), a number of chairs for the audience, and a few chairs for the performers. It’s important that the space be the right size for your audience! You’ll have a much better show if you have 40 people squeezed into a room that comfortably seats 35, than if those same 40 people are rattling around in a room that seats 150.
You may want to consider having a concession stand with pop and snack foods. Once you’re well-established, you might even start merchandising (T-shirts, cast photos, etc).
Ever wonder just how hard it is to build a log fire that flickers like the real thing? One that really looks good?? Wonder what sort of console and how many dimmer channels, or what kind of program patch you need to make it look just right???
I am myself a director, and am planning to direct My issue is not really whether directors should exist or not, but instead whether they are useful or not. If they are useful, they should be utilised to the advantage of the play and the players, if they are not useful, they should be banned from going anywhere near an actor.
Directors can be useful. It is good to have an intellectual in the room with do-ers, IF they are used to their strengths. That’s not saying that actors can’t be intellectuals and I’m certainly not saying they aren’t intelligent, it’s just that most director’s backgrounds lend themselves better to the issues of interpretation and analysis.
One of the biggest faux pas any actor makes is to utter the name of one of Shakespeare’s most incredible plays, “Macbeth” under the roof of any theater. It’s an old superstition that has lasted many years, and it’s one many young actors are not aware of. 
It’s easy to start up an improv group, since the only requirements are an empty space and perhaps some lights. Everything else is created from the imaginations of the actors and audiences.
Ever wonder just how hard it is to build a log fire that flickers like the real thing? One that really looks good?? Wonder what sort of console and how many dimmer channels, or what kind of program patch you need to make it look just right???
The answer is, it’s easy, and needs only one dimmer channel. Plus a couple of hours work in the shed. The technique described doesn’t appear to be published in any of the standard stage lighting works, but has been used for many years, the “secret” having been handed from lighting tech to lighting tech.
I am myself a director, and am planning to direct My issue is not really whether directors should exist or not, but instead whether they are useful or not. If they are useful, they should be utilised to the advantage of the play and the players, if they are not useful, they should be banned from going anywhere near an actor.
One of the biggest faux pas any actor makes is to utter the name of one of Shakespeare’s most incredible plays, “Macbeth” under the roof of any theater. It’s an old superstition that has lasted many years, and it’s one many young actors are not aware of.