The first time it’s random.
The second time it’s purposeful.
The third time it’s expected.
This progression informs how we build collaboratively in improv, be it in service of a pattern of emotional behavior, a relationship dynamic, a group game, or forging an organic format.
What is necessary to elevate a random occurence into a shared experience? It requires that second move – the choice to make the first move matter.
Derek Sivers gets it.
Ask your troupe what they want to work on. A comment by Alan Volmer during a Johnsons rehearsal led to this move being added to the group’s bag of tricks.
THE BODY SNATCHER: A third player takes over either Player One’s or Player Two’s character. If Player Three chooses to take on Player Two’s character, for example, Player Two then exits.
The Johnsons hosted a BBQ and everyone came. But they spaced out their arrival to allow time to heighten the sequence between new entries. Check it out.
To clarify: That last line out of Jonathan is “I brought the hounds of hell.”
The Johnsons are: Scott Beckett, Shawn Hambright, Townsend Hart, John Hilowitz, Joe Mack, Jonathan Nelson, Jessi Schmale, Lauren Serpa and Alan Vollmer. Continue reading
Player One stands rigidly on stage, stroking an imagined object on his right wrist and says, “I love my shield.”
Player Two enters stage, stares agog at the imagined shield and says, “Wow-wie! That is one awesome shield.”
The question for you is: If you were told to enter the scene as the third player to establish a group game, what would you do?
A Coalition show called Strange Bedfellows pairs an actor with one half of a script with an improviser who ad libs their half. I had the honor of performing one night in the improviser’s role.
And I have never been more terrified pre-show.
In a typical show, I have at least one improv partner. I can relax in the uncertainty of improvisation knowing that, whatever happens, my partner(s) will support my choices, I’ll support theirs and any direction we go together will be successful. In this show, I can’t trust my scene partner to support my choices; they’re tied to their lines. They could be directly working against me.
Other improvisers who had done the show encouraged me to “just make a choice.” But “a choice” can be anything: a limp, a pirate accent, a yo-yo. My anxiety wasn’t calmed by the advice.
My calm came from realizing that I didn’t need to treat this any different than any other scene. And to succeed in any scene all I had to do was Feel and React.
Two Sides of the Same Two Person Scene Coin
“More of this makes me feel more.”
Here’s an example of a Tag-out from The Johnsons. Notice how they leverage the Help Desk dynamic, repeating/heightening the sequence of dialogue.
I’d’ve preferred they’d’ve never sat down, instead playing out being high on the job. It’s hard to keep a scene active while sitting down. Chairs are a privilege, not a right.
The Johnsons are Scott Beckett, Shawn Hambright, John Hilowitz and Jonathan Nelson.
The Johnsons have been working on building a more collective world in their long form performances.
One tool they’ve practiced is using their scene edits to establish and heighten an organic pattern progression.
And on January 16th, 2016 they did it on stage for the first time. Watch. Enjoy.
First time is random. Second time is purposeful. Third time is expected.
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Hey Everybody game mechanics allow a group to build a focused direction out of disparate parts. They are so named because, though they have wider applications, they are useful to a player in navigating a scene initiated with a rush of players to the stage.
When Townsend Hart starts The Johnsons‘ group game with “Emergency meeting,” we get a rush of players to the stage. Now, instead of quickly establishing a sequence in which every player gets to contribute in the scene’s early goings, this particular Hey Everybody game starts off in the call and response category of initiator as facilitator that I caution against – Townsend speaks, then Scott speaks, then Townsend again. The danger here is that with the initiator interjecting between each other player’s comments, it can take a long time to get through players, which can seem stilted. And an audience’s eyes start to drift to s/he who hasn’t contributed yet, which can both be distracting.
How do The Johnsons surmount this potential obstacle? Watch.
Mikael Johnson, Jason Saenz and I are Best Friends. And our Best Friends format is one of my favorite.
This show was the only show we taped. And while it isn’t our best, it’ll suffice to document our Slideshow Opening and our Three Character Format.
Enjoy “Drunk Camping.”
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Be careful changing a scene’s reality.
In improv we’re building something out of nothing. So if improvisers make a choice on stage they’re moving forward and to negate that choice threatens to stall that forward motion as they scramble to justify the contradiction. Not only do contradictory choices disrupt the scene for the improvisers, it erodes the audience’s willingness to engage in the scene – if the players aren’t seeing eye to eye, what hope does the audience have to understand what’s going on?
Admittedly, a contradictory choice can get a laugh – but if in the aftermath of that choice the scene is compromised you have to ask yourself whether that laugh was worth it?
Now, if you’re on stage and a scene’s reality is changed on you, here’s what you do: Don’t justify or explain away the contradiction; Embrace it. Commit to heightening both sides of the contradiction, allowing them to coexist. If we confidently accept both realities the audience can relax and buy in as well.
Check out this example –