Category Archives: advanced

Jul 23

Spider Furniture tertiary move example video

I get excited every time Alan Volmer and Jonathan Nelson start a scene together.  They’re able to create rich character with rich worlds expressed through rich reactions on a dime.

This scene begins beautifully, with Alan establishing some physical business and Jonathan establishing a Personal Game for himself.

When Alan references his prediliction for spider furniture (you’re just going to have to watch the clip), the resultant game threatens to take over all that’s been established.  But the strength of Alan and Jonathan’s characters prevails and Townsend and John’s heightening and support of the tertiary game makes this an enjoyable scene to watch from start to finish.

The Johnsons are: John Hilowitz, Jonathan Nelson, Townsend Hart and Alan Volmer.

Jul 6

Doubling & Tripling Down – Split-Screen Help-Desk Game example video

Not a super fan of a scene?  Don’t sweep it under the rug – you may want to forget about it but the audience may not be able to.  Better then to double down on it.  Use the Help Desk dynamic to heighten the interaction and turn a “not great” initial scene into the base of a beautiful run of collaborative pattern play.

That’s what The Johnsons do.


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Jul 6

Trusting and Committing – a 2 person scene video example

Boldly  choose.  Boldly commit.  Accept everything your scene partner says and does. Accepting doesn’t mean you have to like it, but you have to allow it to happen – and to repeat.

Commit. Push forward. And you’ll find yourself on the other end.

Stopping forward momentum to discuss, argue or otherwise conflict will kill you as all your scene’s (and the audience’s) focus is on “what do we not understand.” 

Commit. Believe and see. And you’ll kill it (rather than the other way around).


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Jul 6

Walk On, Walk Off – The Johnsons at the ballpark video example

Tertiary Player Good Faith Mantra – I will only enter a scene in progress to serve what has already been established.

If you’re entering a scene in progress, that scene is not about you. If you Walk On, you should only do so to heighten a reaction already perceived in the scene – feed a character’s personal game or characters’ scenic game.

And if you Walk On, Walk Off.

And if there’s one Walk On, one should be looking to do more. Be sure to find the rhythm of entering – don’t rush to be the 2nd Walk On, wait for the heigtening of the moment that proceeded the 1st. Make each other look good.

That’s what The Johnsons do.


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Jul 6

Phone Pimping – video example

Pimping. Fun.

The audience knows the improviser is being forced into a situation where s/he has to contribute. The power of the expectation – what is s/he supposed to deliver, what is s/he supposed to be knowledgeable of – and the power of the moment -confidently accepting the challenge/endowment – lends the best pimping moments a “it doesn’t matter what s/he does/says because his/her doing anything satisfies the tension of the expectation” postive reaction. 

Remember forever, though, setting expectations for your fellow improvisers goes against our grain. Pimping should be considered an advanced maneuver suitable ONLY when the expectation is ONLY that they say/do ANYTHING instead of SOMETHING SPECIFIC.

Jan 21

Forging an Organic Format: part one

I’m enamored by memories of the Chicago teams “People of Earth” and “American Dream.” Often an audience member remembers a show by the handful of great scenes it produced. These groups of talented improvisers created memorable shows because the scenes built on each other to create a singular experience.
This post aims to provide some guidance to groups that endeavor to perform memorable shows not just memorable scenes.

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