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The difficult role of the master of ceremonies
The master of ceremonies plays a very important but also a very delicate
role.
Thanks to him, contests which until then had been informal began to look
like true ceremonies. Improvisers must scrupulously follow his
directives.
The master of ceremonies during a
contest in St-Jean-de-Luz: Andoni Egaña and Sebastian Lizaso listen
attentively - November 2004 (photo: S. Dabadie)
The advantage is that improvisers no longer have to rack their brains
trying to "find" a subject, although sometimes the contest can look like a
very difficult exam which improvisers do not always appreciate.
They have to abide by the demands of the master of ceremonies who asks
them to sing two or three verses on the same subject.
Sometimes two verses are not enough to say everything, sometimes a third
verse is too long because everything has already been said!
The role of the master of ceremonies also involves varying the
subjects by proposing, for example, an amusing subject after a serious
subject, so that the contest is as balanced as possible. But making this
changeover is not an easy task.
Sometimes, the master of ceremonies’ lack of experience undermines the
improvisers and the quality of the contest suffers because of this. To
compensate this risk, several studies have been carried out. It appears that
a master of ceremonies is not necessary in all contests ... But improvisers
are now used to having one. To solve this problem, we should follow the
example of Teodoro Hernandorena, Joxe-Mari Aranalde, Juan-Mari Lekuona,
Joxe-Mari Iriondo, Michel Labeguerie and Michel Itzaina who, amongst others,
have been or still are excellent masters of ceremonies. Also, just like with
improvisers, the "job" of a master of ceremonies is something that you
learn.
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EUSKAL KULTUR ERAKUNDEA - INSTITUT CULTUREL BASQUE
ICB - B.P. 6 - 64480 UZTARITZE - USTARITZ - TÉL. 00 33 5 59 93 25 25 - COPYRIGHT © 2003 EKE - Tous droits réservés- Legal notices
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The guides
You will be accompanied throughout this site by improvisers. During your
visit: click on their photos to discover what they have to say.
Xalbador
"After the war, when Ernandorena began to look for improvisers locally,
he contacted me. He took me to the championship he had organised in
Saint-Jean-de-Luz.
I went with Iriarte and Zubikoa, from Banka, but I have to admit that I
didn’t know any of the others there.
It was also on this occasion that I met our dear Mattin, Etxahun and the
late Errexil.
That day in Saint-Jean-de-Luz was very important for me, and I’m not
ashamed to say that it was thanks to Ernandorena that the Basque Country
discovered us, Mattin and myself. What’s more, it’s with him that we went to
Paris".
Amets Arzallus
"The first competition I took part in was the Gipuzkoa inter-school
championship. I was 8 years old.
We sung there because there was no-one to else to represent the Northern
Basque Country, that’s why we set up a group in Hendaye. There were three of
us: Sustrai Colina, my sister and myself. We sang in front of an audience in
Beasain.
We didn’t know what stage fright was at that time. And if we were
successful, it was because it was an amusing situation: there we were, three
small children singing with 14 year olds …
The following year, when I was 9, we sang again and we got as far as the
final. That was in Donostia.
I don’t think we realised what we were doing. We moved up a rung and we
competed with the adults"
Sustrai Colina
"I began to improvise at the age of 8, and when I was 12 I gave it up
before taking it up again when I was 15 in Hendaye. A new group had been
formed, with a new teacher, and we also started going to Oiartzun.
Now that’s where we have our group and we go there regularly. We’ve
always had a really good group and that’s the only way to develop an
improvisation school. Improvisation is a pretext.
It’s not an essential part of life, so if you haven’t got a group which
motivates you, it’s easy to give up. I can’t remember our first public
performance, but I don’t have a bad memory of it, it didn’t traumatise me
and that’s very important. When you’ve suffered doing something, you don’t
want to continue. Nowadays, more than fright, I feel the adrenalin. And
adrenalin is necessary. Too much relaxation isn’t good for improvisation.
Your reflexes let you down and, just like being over nervous is bad, if
you’re too relaxed you just freeze up.
So nerves are a good thing before starting until you face the audience. I
like that that vertigo. It’s an intense moment"
Miren Artetxe
"I remember the first time I performed in front of an audience. I was
eleven years old, it was in Arrasate, in the final of the Basque Country
inter-school championship.
I went up on to the stage wearing shorts … I was nervous, but, I didn’t
feel any pressure at all. For me, improvisation has always been a game and
I’ve never really apprehended it. I was more ashamed afterwards when the
verses I’d improvised were read out!
It was a wonderful experience which could actually have been quite
traumatising: at the age of eleven to suddenly find yourself in front of an
audience, having to improvise verses, when that’s something you’ve never
done before, in a championship, and being judged, also knowing that it’s all
going to be published in the press … But in the end, the audience was very
generous. Perhaps too generous. Until that time they’d always seen me as a
girl, and a little girl at that, and that was enough for them. I must admit
that, on the one hand, it suits me for them not to be too critical, but on
the other hand, it’d be better if everyone was judged in the same way.
I won several prizes: in the inter-school championships, in the Northern
Basque Country the Xenpelar prize and in September 2004 the Lizardi prize.
The only one I’m really proud of is the last one. When I won it I said to
myself: you really deserve this one!. It’s the first time I’ve ever
really accepted winning an award"
Patxi Iriart
"I remember the first time I improvised. I don’t know when it was, but I
had to greet Sustrai Colina.
We were very young and they had an improvisation session. Although we had
prepared beforehand, I was really frightened.
There were three friends with me, and they also had to do the same thing
with the other improvisers present, and that was very difficult. Luckily you
get used to it and eventually you take great pleasure in it.
Every year we take part in the inter-school championship reserved for the
under 18’s. An eliminatory round was held in the Northern Basque Country and
two or three of us made it into the final.
I have taken part regularly and it’s never easy"
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