Humor, improvisation and own look
In the Sala Ars, Improv Sex has established itself as one of the most uninhibited and unpredictable proposals on the billboard. The assembly plays with pure improvisation and with the complicity of the audience. The show works especially because of its cast, a group of improvisational actors with a long career as Adrian Ridao, Carmen Lova, Ainere Ju, Roberto Garciain addition to Rocío Raval i Mary Rosetwo comedians who have paved the way in a sector where women continue to demand more space.
Rocío Raval, actress and improviser with long experience, is a regular presence at Sala Ars and also one of the promoters of the format ofImprov Sexwhich has been growing and consolidating over time. He explains that an improvisational show “is created from inputs that the audience gives us” and that, therefore, “we do the show together”. He explains that improvisation is not done like a conventional assembly: “It’s not rehearsed, it’s trained. We don’t have a script, just guidelines that can go somewhere or another.” Her journey in companies where she was often the only woman has led her to claim more visibility and to remember that humor can be an ally to advance this presence: “With humor, everything comes better”, she defends. For her, it is a tool that allows to open up spaces and naturalize a relief that still needs to be consolidated.
Maria Rosa arrives there from a multifaceted journey that includes music, circus, cabaret and improvisation. With projects like Shut up, you’re prettierthe festival that gave a voice to fifty comedians at the Molino and that subsequently settled at the Poliorama, has contributed to the visibility of a generation of comedians who demand stable spaces and real opportunities. From this experience, he still sees a basic inequality today: “Society pushes many young women not to be comedic; on the other hand, for men exposing themselves even gives them some recognition.” And he adds: “As comedians, we’ve had to row much harder than men to win over the public. When we’re scheduled, we don’t have that many options to make a mistake: if you make a mistake, you don’t come back.”
In this context, Improv Sex it offers a space where comedy is expressed naturally and without filters, and where both comedians can play with registers that often have no place in other formats. The assembly starts from immediacy, playfulness and quick response, and turns each function into a different piece. The involvement of the audience, the chemistry between the performers and the vitality of the format sustain a show that is lived in the present and consumed in the very moment it happens.
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