Frases de Martin de Maat

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Martin de Maat

Data de nascimento: 12. Janeiro 1949
Data de falecimento: 15. Fevereiro 2001

Publicidade

Martin de Maat was a teacher and artistic director at The Second City in Chicago. He also taught at Columbia College and Players Workshop. He studied under Viola Spolin. De Maat and Del Close were the two main figures of the Chicago improvisational comedy scene in the late 80's and throughout the 1990s.

De Maat began working at The Second City as a teenager washing dishes in the kitchen and began teaching classes at The Second City for his aunt, Josephine Forsberg, when he was 18 years old. He instantly became a favorite teacher at The Second City, as well as supporting the shows by doing lights and stage managing. He studied theater at the University of Iowa and would much later receive a PhD from National University in Kanpur in communication arts. In 1974 he moved to New York City, where he became a very successful director and art director in both theater and film. During this period Martin returned to Chicago every summer to teach improv for his aunt's new school, Players Workshop, which acted as The Second City's unofficial training program. In 1984 Martin returned to Chicago semi-permanently and began to teach improv full-time at the Players Workshop, helping his aunt, Josephine Forsberg to develop the school. About that time, friend and colleague Sheldon Patinkin asked Martin to join the staff of the recently created The Second City Training Center, the theater's official improv training program. In 1985 Martin became its artistic director and led the development of the acting, writing and improvisation programs for the next 15 years, making it the biggest and most successful improv training program in the country. Martin became well known as a transformative and empowering teacher, who greeted his students with a hug and referred to The Second City as their home. He was not only an improv comedy teacher to them but also a life counselor and a father figure who helped to guide them to get in touch with their creativity and give up their restrictive ways of thinking.

Martin de Maat died on February 15, 2001 of complications from pneumonia. Always a very private person in the public eye, he never revealed his age. The Chicago Sun-Times published it in his obituary at "around 52." It also came as a shock to many that knew him that he had been living with AIDS for several years. After his death, he received many honors and memorials, especially in Chicago, New York and Los Angeles where many of his students and colleagues teach, direct and perform. At The Second City Training Center in Chicago in the early 2000s, an ongoing performance series was named in his honor, The de Maat Showcase. A plaque in his honor hangs on the wall at the training center.

In 2009, the de Maat Studio Theater was opened in his honor at The Second City in Chicago.

Some of Martin de Maat's students over the years include: Mick Napier, Chris Farley, Tim Meadows, Scott Adsit, Rachel Dratch, Sean Hayes, Tina Fey, and a young David Mamet.

Citações Martin de Maat

„The base of the work is one of individuals believing in themselves, trusting themselves in the moment and being accepting of themselves and the people around them. In order to improvise in front of an audience, you have to be accepting, involved in the moment and courageous.“

—  Martin de Maat
Context: The base of the work is one of individuals believing in themselves, trusting themselves in the moment and being accepting of themselves and the people around them. In order to improvise in front of an audience, you have to be accepting, involved in the moment and courageous. Those issues, when transferred over to general communication, makes the communication richer and helps in all areas of life.

„You know, it's simply recognizing you're not alone. I'm way out in theory here; it's the study of what the power is, the power in improvisation and why it changes lives.... I'm crazy about it, and that's why I've dedicated my life to the study of it. The power is love, if you want to know the truth. It's love and unconditional acceptance.“

—  Martin de Maat
Context: What happens in the ensemble work is that in a cooperative work, the power of communication in being with each other in acceptance and "yes, and"-ing each other, is that you as an individual start to believe in yourself because you begin to see yourself in the others' eyes. Your ensemble, your group, your team, your committee, is the one that's believing in you and you pull it together to do it for them. You know, it's simply recognizing you're not alone. I'm way out in theory here; it's the study of what the power is, the power in improvisation and why it changes lives.... I'm crazy about it, and that's why I've dedicated my life to the study of it. The power is love, if you want to know the truth. It's love and unconditional acceptance. You put yourself in a place of support, unconditional acceptance and love for who you are, the way you are and your uniqueness, and what you do is grow. You surround yourself with people who are truly interested in you and listen to you, and you will grow. And it doesn't take much to start advancing you, it doesn't take much of that support, it doesn't take much of that love and that care and you can do it. You can play act with people. You can be in a state of play together.

Publicidade

„The beginning of this work is just how to get people to remember how to play, to be in play. Once you're in play, you're in the moment. You're not judgmental, you're enjoying each other, you're accepting of everything that goes on; you're trusting yourself and just doing the game as best as you can.“

—  Martin de Maat
Context: The beginning of this work is just how to get people to remember how to play, to be in play. Once you're in play, you're in the moment. You're not judgmental, you're enjoying each other, you're accepting of everything that goes on; you're trusting yourself and just doing the game as best as you can. Your critical mind is gone, your analytical mind is not involved. Really, it's just the flow that goes on between human beings, the group the power of the ensemble. As with any ensemble, it is the team effort or the group effort that makes the individual grow or look good. That's what the center of this work is all about, what these games and exercises are all about... breaking down barriers between people, empowering the individual to believe in their own associations and ideas, uncovering the courage to create, the courage to communicate.

„That's what the center of this work is all about, what these games and exercises are all about . . . breaking down barriers between people, empowering the individual to believe in their own associations and ideas, uncovering the courage to create, the courage to communicate.“

—  Martin de Maat
Context: The beginning of this work is just how to get people to remember how to play, to be in play. Once you're in play, you're in the moment. You're not judgmental, you're enjoying each other, you're accepting of everything that goes on; you're trusting yourself and just doing the game as best as you can. Your critical mind is gone, your analytical mind is not involved. Really, it's just the flow that goes on between human beings, the group the power of the ensemble. As with any ensemble, it is the team effort or the group effort that makes the individual grow or look good. That's what the center of this work is all about, what these games and exercises are all about... breaking down barriers between people, empowering the individual to believe in their own associations and ideas, uncovering the courage to create, the courage to communicate.

„I think many of us go through our life not fully having permission to be who we are and what we're going to become.“

—  Martin de Maat
Context: I think many of us go through our life not fully having permission to be who we are and what we're going to become. Most of us are often looking for approval. We hate it when we're not approved of. It's that approval that has us in our minds worrying about what we're doing as we're doing it, trying to figure out whether or not it's appropriate or will be accepted. We walk through our lives like we're on our first date. Trying to see if we're appropriate and trying not to step on other peoples' toes... you know, cautiously, prophylactically, for fear of not being approved of. In this work, there's only approval.

„Let’s try and create scenes that are about something... About something deeper than this ashtray.“

—  Martin de Maat
As quoted in "Community Mourns the Death of Martin de Maat" by Lisa Lewis (2 March 2001) http://www.performink.com/Archives/obituaries/DemaatMartin3201.html

„You do not have the right to use this art form to feel inferior.“

—  Martin de Maat
As quoted by a former student "TJ" (23 March 2006) http://yesandblog.blogspot.com/2006_03_01_yesandblog_archive.html

„You are pure potential.“

—  Martin de Maat
Sign quoting de Maat near the entrance of The Second City Training Center

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