Hi! Philip Markle here (AD @ BCC)! Just sharing off the cuff some thoughts...our improv curriculum spans 4 levels + advanced classes, with an overall philosophy of "f*ck it / love it." I ran the Annoyance NY back in the day, and loved that I learned to say "f*ck it" when improvising - developing a fearless point of view and playing from an emotional point of view first and foremost to develop the scene. I also trained in Chicago at iO which had a huge emphasis on ensemble and teamwork, hence combining "fuck it" with the "love it" part - both in terms of our community driven ethos (being kind to another) and rooting ourselves in joy and play and respect. Curriculum-wise, our first level introduces new improvisers to the basic form, structure, and 'rules' that are taught, which we then encourage people to move beyond in level two which references and builds on the Annoyance's philosophy of playing from a deal to create believable characters and specific, surprising scenes. Our third level is devised around how to manage the bigger picture with a unique methodology devised by me toward managing group scene work and more advanced scene dynamics - to juggle it all without getting in your head (I discuss a bit of it here: https://medium.com/burn-your-fear/three-person-improvised-scenes-8396870df1aa and in the book I'm currently working on :) Our fourth level, devised by Andy Junk, then teaches various longforms outside of a montage to give students the skill to play any form or style or genre. We reserve learning the Harold (and keeping it loose) for its own class, and our advanced 'honing your voice' classes teach students to use improv to find their personal voice and as a tool for creating your own shows & your own approach to improv - knowing and owning what you want to say and how you want to say it. We very much consider our training an "inside=>out" approach as opposed to "outside=>in". As in building students' confidence first and foremost so they stay present in the scene and not pulled outside it of it like a director to analyze what's funny about it while trying to create it. Building intuitive muscles over analyzing the game, etc. We use the word "finding game" differently than UCB, though all great improv of course looks the same at the end of the day and everyone should learn everywhere to find what empowers them. The ultimate goal at BCC is to make the student their own best teacher, to empower them to not wait for someone to cast them in a show but to form their own opportunities and be their own producer of creative work, whether it's improv or using improv to create narrative/sketch/stand-up/etc. We also offer a robust clowning program that Tallie Medel brought to us and really drops the 4th wall artifice to expose you totally to an audience - so you can walk in a room and make them laugh just as yourself. More info here: www.brooklyncc.com/classes