Les
Formateurs

Michael J Gellman is Co-Artistic Director of Process Theatre and a former cast member of the Second City – Chicago mainstage and Resident Director for Second City in Canada and the USA for over 25 years including a stint as Artistic Director of the Second City Toronto. He is a Senior Faculty and founding member of the Second City Training Center where he was a Program Head and Director of the NYC training Center, Founding Faculty at ImprovOlympic with Del Close, and Adjunct Faculty Columbia College in the Film Directing and Comedy Studies Departments. Other credits include co-founder and company member of Rendition Theatre, Artistic Associate – Organic Theatre, founder and Artistic Director of Theatre Works and Windy City Workshop and Co-Artistic Director of Wavelength.

He has taught and designed classes and workshops in directing, acting and improvisation since 1976 at such notable institutions as: Actors Centre London, The Nursery Theatre, AND-NYC, The Audition Centre, Victory Gardens Training Centre, Act One Conservatory and Loyola Law School as well as master workshops for hundreds of Universities, festivals, theatre companies and improv groups around the world. He is credited with originating the term “Long Form” Improvisation and his book – Process: An Improvisers Journey (Northwestern University Press) co-authored with Mary Scruggs is a summary of his workshops on improvisational training. Michael Continues to act, direct and teach in Toronto and around the world.

Michael’s unique approach to improvisation encourages the participants to explore the idea that all improvisation is ultimately about focusing out. Our characters react to what they see, hear taste touch and smell. We will understand: the difference between reacting and responding, the power of improvising in the here and now and staying truly grounded for our fellow players. The ensemble will explore techniques to: enhance emotional honesty, maintain a point of concentration, connecting to your partner and exploring and heightening Point of View to advance story all culminating in a studio performance created by the ensemble.
TOOLS TO KEEP THE PERFORMANCE GOING AND GROWING