Agreement is a cornerstone of improvisation. We’re on stage creating something out of nothing. If I create one thing out of the ether then we have something. We want to build that something up and out; we don’t debate the validity of something made up.
Agreement is the improviser’s mantra: “Yes, And.” It’s not Yes “cereal” And “aliens.” Yes, “This porridge is cold,” And “it’s been sitting on the counter for a week.”
We can’t share one mind, but we can make it look like we do if we’re each making a concerted effort to unify all that’s been laid down in a collective direction. Through agreement we can minimize the amount of “stuff” on stage which facilitates focused collaborative building.
“YES, AND” STORY – Everyone stands in a circle. A player starts a story: “Billy loved his turtle.” Starting with the player to the initiator’s left, the group builds the story sentence by sentence, literally saying “Yes, and…” to begin each contribution: “Yes, and Billy and his turtle did everything together.”
• Collaborate – a group all heightening a few ideas will reach greater heights than will a group of individuals all focused on their own ideas.
• Think back, not forward – the story doesn’t need to get anywhere it just needs to explore where it is. Instead of thinking “What’s next,” think “How can I elaborate on what was just said?”
• Callback as Acceptance – referencing what has already been established can be more than any one player’s hilarious new idea. Make each other look good by embracing each other’s details.
I WANT TO SEE, 1, 2, 3 – Everyone stands in a circle. One player begins with “I want to see…” (“an elephant”/ “world peace”). In no set order, players build on this desire with “Yes, and…” (“Yes, and an Asian elephant”/ “Yes, and people making love not war”). After 3 “Yes, and” additions, a player wipes the slate with a brand new “I want to see…” statement.
• Share the air – Hesitators, contribute! Stage hogs, give someone else a chance!
• Build in one direction – After “Yes, and an Asian elephant,” the group should stay focused on an Asian elephant instead of getting less specific (“Yes, and a big elephant”) or specific in another direction (“Yes, and a carnivorous elephant”).
TWO LINE OFFER AND “YES, AND” SCENES – students form two lines, one on either side of the stage. The player at the head of the stage left line enters stage and makes a statement about who they are, where they are or what else is on stage (“I love being a lumberjack”/“I hate this museum”/“That’s a scary rock”). The player at the head of the stage right line enters and delivers a “Yes, and…” statement (“Yes, and killing trees is awesome”/ “Yes, and the art looks and smells like poop”/ “Yes, and it just moved closer to us”). That’s it. Then the players move to the end of the opposite line.
• Players can drop “yes, and” as long as they still embrace and build on each other’s contributions
• Players can have more than one line each
• Force agreement – “yes, and” keeps us from arguing, denying, negotiating, etc.
• Force choices – there’s no room for questions in “yes, and.” “Yes, and” demands that we add information to the scene.
• Repetition alone is heightening – “Yes, and I am also afraid of that rock” is perfectly acceptable. The agreement should be prioritized over cleverness. “Yes, and” me, too is great collaborative building.
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