V4 Improv Connect: Empowering Cross-Border Collaboration And Growth (Project And Network) [Part I]

Collective Interview with V4 Improv Connect Team (Hon Chong (actor, director – Slovakia), Zdravko Stojmirov (actor-Macedonia), Paulina Prokopiuk (actress, director – Poland), Lukasz Wojtowicz (manager – Poland), Chrissy Galambos (actress-Slovakia), Láďa Karda (actor-Czech Republic), Nándor Varju (actor-Hungary), Gabor Szoke (actor-Hungary), Ábel Farkas (actor, manager – Hungary) – improve and drama actors/actresses, directors, stand up comedians, educators, producers, theatre founders (Slovakia, Czech Republic, Poland, Hungary and R. Macedonia, Europe)

Ivanka Apostolova Baskar:  Why improvisational theatre? What is it for the theatre actors and directors and what are the power and challenge of improvisation in art, theatre and performance?

Hon Chong:  So many reasons why. Firstly, improvisational theatre plays a big and important role in the world of performing arts. Just like its scripted sibling, improvisational theatre is a full-fledged art form that requires its practitioners’ dedication, practice, discipline, hard work, and lots and lots of training to make the art itself seem effortless. It’s funny to say it, but the art of improvisational theatre demands a lot from its practitioners, actors, and directors to perform at a high level. It is a unique art form that thrives on spontaneity, vulnerability, creativity, and collaboration. For actors and directors, it’s a practice that sharpens instincts, builds the ability to embrace mistakes and imperfections, and fosters creativity. The power of improvisation lies in its ability to create authentic connections – with fellow performers, the audience, and the moment itself. The challenge is embracing vulnerability and letting go of preconceptions, trusting that the process will lead to something meaningful and impactful.

Zdravko Stojmirov:  As to why, the only answer I have is that it was unexpected and surprising. But also very rewarding. Acting and directing are devised simultaneously in the moment, depending on yours and the inspiration of your colleagues on stage. And somehow all that different thought and energy is symbiotically intertwined in one performance.

Paulina Prokopiuk:  Improvisational theatre was something common in Lublin city, where I grew up. I got to know it early and find it very developing, good for focus, intelligence, memory, brain work. Nowadays, my main areas are dramatic/post-dramatic theatre and dance theatre (as a graduate at the National Academy of Theatre Arts). However, thanks to V4 project in 2024 I got back to my roots and I remind myself how great is Improv. It was a pleasure to observe my colleagues who have excellent technique. The power of Improv is unpredictability. You need to make fast decisions, react, create an action, to be super conscious of what is going on. To do it well – it is a sort of a masterpiece. Perpetual challenges on stage.

Láďa Karda: Improvisational theatre holds a special place for me in all forms of art. Its power lies in unpredictability, which is also its greatest challenge.

Gabor Szoke: Improvisational theatre is the art of the moment. The very essence of it is that whatever you do, it only happens once, and only in that moment. You need to be present to experience it. “Hic et nunc” – here and now, this is the baseline of the modern theatrical art, and that is best represented in improvisational theater.

Ábel Farkas: I believe that theatre tools and knowledge can contribute a lot to Improv and vice versa; Improv can contribute a lot to theatre and chamber acting. In particular, it really teaches you to be in the moment and connect to your partner. You may practice your lines and play perfectly, the emotional state that you designed for your role, but if your partner plays differently in the moment than it might seem unreasonable. So most important is to resonate with your partner in the moment. More important than knowing your lines.

IAB: How do you feel improvising on stage, in front of an audience, and interacting with the audience, using your own imagination for wits and contrivances, for creative ad hoc narration?

HC: It’s a rollercoaster of emotions – exhilarating, scary, vulnerable, empowering, joyful, and humbling all at the same time. Being on stage without a script feels like walking a tightrope between two skyscrapers, but the support from fellow actors on stage becomes a safety net. And the energy from the audience when you successfully get them on your side is priceless. It is worth the emotional rollercoaster every single time. The interplay between performer imagination and audience response creates an irreplaceable synergy that keeps the performance alive and dynamic. Every moment is a discovery, and that’s where the magic happens. What is even more magical is that the audience is there with you every single moment, and they are often two steps ahead as they have all the time in the world to interpret and understand the scenes. It feels like the actors and the audience, are in on it together, moment by moment.

ZS: The feeling when improvising while being on stage, is not that different from the feeling while playing scripted theatre on stage. For me, the only difference would be the elevated adrenalin that is more present while improvising. In scripted theatre you sometimes need to provoke that feeling if you lack it. And in improv it comes as a wave that you need to get on and ride it.

PP: Like a fish in water. High adrenaline. Focused. Alive. Present. Satisfied, when all threads are connected. Sometimes missing or losing something… Then, acceptance must come immediately, otherwise you will be stuck in the past.

V4 Improv Connect. Photo credit Vesna A Briskoska.

CG: It is a feeling of freedom, excitement, the unknown, and the fact that during all this you are laser focused on your scene partners and also paying attention to the players on the side or ones coming in, it is absolutely exhilarating!

LK:  For me, improvisation is the simplest form of expression because I’m not afraid of messing up; you can’t ruin something that isn’t planned.

GS: I had the luck to participate in many different improvisational theatre acts in the past 9 years, and the level of interaction highly differs, depending on the format that is actually presented. I personally like those that involve the audience more – it is a great feeling to sense the actual atmosphere in the theatre room and find out what is interesting for the audience right there on the spot.

AF: In a way, the audience gives meaning to a performance. Without an audience, there is no stake, and so it has no weight, similarly to practicing alone in front of a mirror. When I teach Improv, I always focus a lot on the audience perspective it is important that the actor understands it. However, I do not feel that performing is the most important, to me a good practice is just as important as a good show.

IAB: Since you come from various cultural heritages and theatre projects, schools, methodologies and performing experiences, how does improvisational eloquence influence or/and improves your dramatic, stage, film work, your non-theatrical professions and your life?

HC: Improvisation teaches adaptability, vulnerability, collaboration, acceptance, and active listening, which are invaluable in every aspect of life. It’s helped me approach dramatic and stage work with more openness and flexibility. Additionally, improvisational theatre has helped me understand storytelling much better. I used to think I was a terrible writer or storyteller and wouldn’t be able to write a good script. As for acting, improv skills are invaluable for actors. Improv skills sharpen an actor’s reaction and ability to stay in the moment, something highly valuable in both film and theatre. Outside the theatre, these skills enhance problem-solving and interpersonal relationships. Improvisation is more than performance – it’s a mindset that fosters resilience and collaboration.

ZS: Everything in life is a plus for this profession. No matter if it is a positive or a negative experience. And also everything in this profession is a plus for your life too. I would say, from personal experience, that improvising emboldens you as much in life as it does in work. And it gives you more freedom and bravery in expression and thought.

PP: Live? Improv taught me to be spontaneous and brave. To think fast, analyze and act (on contrary to analyzing only!). On the stage? It taught me to be present and be ready for all changes that just might happened. For example, in my monodrama “The Republic of dreams” I do interact with audience – I am ready and open for whatever comes. I trust that I will manage the situation somehow. I am not afraid. Actually, improvisation is something that I always use to create performances. That is my way of generating material, text, ideas for scenes. Good improvising period, then composing, then grinding.

CG: As far as influencing my on stage work it helps to watch other performers from other countries because there are so many talented improvisers so I learn just as much as watching others as being on stage. For my personal life I find improvising has made me more connected to people and also to pay more attention to others and thru their speech and body language – feels I can understand better. I also believe that improvising is more important in today`s times because I feel so many people are in need of getting back to group activities and also just laughing and having fun like we were when we were children.

LK: I use improvisation in all my work: directing, singing with a band at concerts, performing stand-ups, and any other performative art, because it’s a universal tool that never fails.

GS: Besides acting, I also teach improvisation, and I always emphasize that throughout the years, it has completely changed my life and my personality, and definitely in a positive way. If you continuously practice the base principles of Improv, like pay attention, be present, be kind to your partner, say yes, that has an effect on your private life, work life and on your personality in general.

AF: In scripted acting it often helps me to understand and remind me that it is more important to connect to your partner than knowing your lines well. Connect and react in the moment even nonverbally.

IAB: How does improvisation connect performing artists and strengthen collaborations locally and globally – via your involvement?

HC: Improvisation creates a common language that transcends cultural and linguistic barriers. Through projects like V4 Improv Connect, artists from different backgrounds find common ground and inspire one another. This includes artists who otherwise would not have the opportunities to dive deeper into the world of Improv theatre. It’s a space where ideas, skills, and creativity are exchanged freely, strengthening local communities while building global networks of collaboration and creativity.

V4 Improv Connect. Photo credit Vesna A Briskoska.

PP:  Improv is a method – it gives a common understanding for improviser all over the world. Doing it in foreign language, but at the same time – international language open a lot of new possibilities. Doesn’t matter from where we are, we can meet one day and make Improv together! V4 project is the best example of it – I am still impressed by the idea of the project, to meet artist from 5 different countries, create a format and perform it in each of those countries. Now we know, it is possible to do it.

CG: For my involvement personally is that I have a very high energy level and love connecting people to other people in sharing ideas and making sure Improv is taken seriously and all that it can do for you as an individual and also knowing that I can travel anywhere and be able to bring a group of complete strangers together and have fun with them in a non judgmental way and make them feel good thru playing games and also breaking the ice when people who don’t know each other are now in a place that is unknown.

LK: Improvisation has the power to connect people because it’s so universal. Just like there are AA meetings everywhere, I can find an Improv group anywhere I go.

GS: The company I am representing has made its international debut in 2023. Since then, we have been actively looking for cross-country collaboration opportunities and figured that because improvisational theatre as an individual art form is relatively new in Europe, international cooperations are definitely the fundaments of improvement, both professionally and financially. The nature of improv is that you don’t need much preparation to be able to play or perform together with improvisers from another group or country – even language barriers are non-existent, and that grants a unique opportunity to easily connect to groups or fellow improvisers from another countries.

AF: In Budapest I hold Improv workshop in English too. There seems to be a good community evolving where not only improvisers come to learn but other acting related people. Apart from actors and drama instructors, also directors, screenwriters and a camera man attend my workshops. They sometimes collaborate on short films or other projects.

IAB: How did your experiences grow and evolve into an idea for an international project called V4 Improv Connect, which integrates theatres and artists from the countries of the Visegrad Union (Itt és Most Társulat, České národní improvizační divadlo, z.s. , Fundacja Teatr Wschodni), including artists from Macedonia (Macedonian Center ITI /PRODUKCIJA)?

HC: The idea emerged from years of witnessing the transformative power of improvisation in building bridges between people. V4 Improv Connect was born out of a desire to celebrate cultural diversity while highlighting shared experiences. As my own theatre, Funnylicious Theater, grew over the years, I noticed that we Improv artists became a community within a community. Improv theatre festivals are numerous and well-attended but mostly by improvisers themselves or Improv enthusiasts. In fact, most Improv shows are also attended by Improv enthusiasts or actors themselves. This niche market has become common across various countries, and it’s even happening within larger cities sometimes. These separations create barriers to new audiences who may not know much about Improv. The common misunderstanding is that Improv theatre is stand-up comedy or just a bunch of extroverted people having fun on stage. This has also led to backlash from scripted or traditional theatres, where many do not consider Improv a full-fledged art form. That was a big reason why I initiated the V4 Improv Connect project. The main mission was to elevate the art of improvisational theatre. Other goals included bringing artists from the V4 region and beyond together to collaborate, share, and create. I purposely invited theatres that are usually not improv-focused to broaden the art form to more theatres. Collaborating with talented artists across the Visegrad region and North Macedonia gave the project depth and breadth, showcasing the universality of storytelling and the world of Improv.

V4 Improv Connect. Photo credit Vesna A Briskoska.

PP: I meet improvisers from whom I could learned. I became more confident improvising on the stage. I understood that those skills (creating, analyzing, listening, communicating, reacting quickly, connecting ideas, memorizing, adding different artistic qualities and tools) I recognize in myself and want to develop them.

GS: We were invited to this project at the very last moment replacing another company that was not able to participate. However, we did not hesitate to accept the invitation, as we have foreseen an excellent opportunity to build international relationships and get into a network of improvisational theater groups that we can utilize to build similar projects in the future.

IAB: In what way and qualitatively does the support of the Visegrad Fund increase the relevance of your professional theatre portfolios?

HC: The Visegrad Fund’s support has been instrumental in making it possible for us to do this project. It has elevated our work, providing resources and credibility to reach broader audiences. It validates improvisation as a serious art form and encourages professional growth by facilitating workshops, performances, and international tours. This support enriches our portfolios and opens doors to further opportunities.

PP: Thanks to these projects and some others, I started to consider myself as an international artist. It makes my thinking wider, opens new doors. I practiced performing in English. I have more new ideas for developing improvising projects (locally in Lublin, and internationally).

CG: For me having this designation is highly sought out because I think it has major creditably because it`s not an easy thing to get a grant.

GS: With the financial resources we can get from national institutes is becoming more and more scarce, we must rely on selling our products in the for profit sector, and to apply for sources directly at international organizations. This latter is highly affected by our history of involvement in a project like the V4 Improv Connect. It adds creditability, projects a professional image, and it obviously comes with a tremendous amount of experience on how to operate in an assignment of this scale.

AF:I am from Flow Szinhaz (Flow Theatre), a newly established Improv theatre company in Budapest. I had been planning to build relations with the Improv theatres from the nearby countries. This opportunity was a great start to it.

(End of Part One)

To read PART II of this interview, go to this link.

Bratislava/Bitola/Budapest/Lublin – 2024