Playing From Emotion class w/ video

Make a choice the moment you enter stage. Choose to feel. Feel something about something – an imagined object, mimed activity, and/or your scene partner. Allow both you and your scene partner to be dynamic.

Here’s the final scene from a class building out that progression and its value:

And here’s the class’ outline with video of me teaching it. Continue reading

Find “Game” by Feel

Mmmm…what do these have in common?

When asked for a desired focus for a scheduled coaching session, a Duo sent me the following:

Mainly character stuff, fleshing them out versus building out more plot. Getting better at finding and sticking to the game of the scene.

What follows is some didactic and exercises that filled two hours.

DIDACTIC: How do You think about “Game” in improv?

Acknowledged ad nauseam here on Improv As Improv Does Best, the idea of “Game” gets thrown around a lot in improv.

At its most dumbed down, “Game” is “the funny thing, done more.” Though what the “funny thing” is is subjective.

At once both more sophisticated and more corny, “Game” can focus on the repetition of the cause and effect of actions. Short Form‘s blessing and curse is that its rhythms connect so quickly (helped by being made explicit) – the audience is rigged to react to anticipation but the rigging can be too tight and become stale.

Aiming for an universal answer this site’s materials are predicated on the definition of “Game” as “a sequence of actions related by cause in effect, heightening in a progression through repetition.” Holds true for baseball and Monopoly alike.

Regardless of definition, “Game” needs Emotion.  Continue reading

Foreign Dubbing – a warm-up for playing with expectations

Repetition of relationship mechanics (“This” then “That”) establishes expectations for the audience.  These expectations can be played to and against for fun effect.

Looking for a warm-up to practice playing with expectations? Try Foreign Dubbing!

Performers are: David Adams, Guy Chapman, Patrice Deveaux, Micah Head, Alan Hopkinson, Nick Lawton, Megan Lemay, Jillian MacDougall, Tim Magier, Curtis Nunnally Continue reading

Carpool – an emotional matching warm-up exercise

Looking for an emotional matching warm-up?  Try Carpool!

If we agree, we can just be; we don’t have to explain or defend.  Have fun just being emotional together, trusting that your commitment to the same emotion is all the context for your relationship that’s needed.

Performers are: David Adams, Guy Chapman, Patrice Deveaux, Micah Head, Alan Hopkinson, Nick Lawton, Megan Lemay, Jillian MacDougall, Tim Magier, Curtis Nunnally Continue reading

Here’s The Deal. Yes, And. I Know, Right? warm-up

We want to avoid conflict, debate and negotiation in our improv scenes. The audience knows we’re making it up – building something from nothing – they don’t want to see us arguing over imagined reality; they want to see us react to an accepted reality.

What’s the best way to avoid arguing? Acceptance! Agreeing to a conflict-laden declaration is the easiest way to ensure a scene’s forward momentum.

So want a warm-up that’ll engage those Acceptance muscles? Continue reading

Hype People warm-up

Whatever we have to say on an improv stage can be spun into gold with enthusiastic agreement.

So we shouldn’t feel like we have to deliver some killer creative line to start a scene.

We should remember, in fact, that what we bring authenticity – what we care about – however mundane – is rich fodder for an improv scene.

So, looking for a warm-up that has players accessing and caring about their daily minutiae that also highlights the fun of immediate enthusiastic support? Continue reading

Mirror, Action, Object’s Scenic add-on

Personal Games are the focus of the base Mirror, Action, Object warm-up exerciseMAO1 Engaged in either how they feel about themselves, how they feel about what they’re doing, or how they feel about a mimed object, players build progressions of emotional reaction triggered by active endowments. As examples: A player loves his outfit, and as he scans himself toe to head he grows more and more impressed with himself (Mirror). A player grows more insane with every monotonous saw stroke. A player becomes more and more vain with every bite of the apple.

This add-on expands the warm-up to practice Scenic Games as well.  Continue reading

Silent Games

Aaron Grant once took the stage across from me, making eye contact but planting his feet firmly just beyond the stage right wing. I mirrored him on stage left. He mimed the mimeclassic flirtatious fishing move. I played his fish but broke his line bashfully, the stage’s distance remaining between us. I danced as someone with a club; he played my seal. He loaded his heart into a gun and shot it at me. I loaded my heart into a mortar and launched it at him. He shot me with a bazooka of love. I put love in a centrifuge and then in a bomb that erupted in a mushroom cloud of hearts. He built and climbed into a B-52 bomber than rained love upon me. We both stood up from the rubble and traced out hearts to one another. Never a word was spoken.

How does one teach Silent Games? Read on! Continue reading