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 classic 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
“I love opium.”
It’s a fine line between a character evoking a plot and a character reacting to their reality. A very fine line. But I believe that attention to that line can mean the difference between a scene where improvisers force a sequence of events dependent on an audience’s satisfaction with a resolution and a scene where characters are engaged in the moment of their reality with an audience reacting to – and investing in – a character’s consistency regardless of “sense.”
The following is a series of exercises geared toward prioritizing characters in-the-moment over improvisers setting-up-situations-to-be-negotiated. Continue reading
A wonderful conceit about Seinfeld, explicit in the meta-dealings with Jerry’s and George’s sitcom pitch within the sitcom, was that it was a “show about nothing.”
Yet of course the truth is that, while maybe an episode is not be driven by plot, it is about “something” – every episode revolves around the way known characters react to “something.” Continue reading
Friends, it’s 2018! Luckily all the bad stuff from 2017 has been tidied up nicely and we have a brand new start!
Well,… how about updated improv curricula in lieu of world peace and universal sanity? Continue reading
I sat with across from an executive. It was a benign conversation – a check-in meeting. Neither of us was all that engaged.
Looking down at his desk, I noticed he’d arrayed files on his desk in the order of a rainbow – Red, Orange, Yellow, Green, Blue, Purple (though Roy G. Biv forever, squad).
I didn’t say anything about it. But thinking about it led me to this exercise.
Looking to practice evoking emotions through engaging environment? The audience loves seeing improvisers “see” something on stage. They love seeing us enthusiastically accept what our fellow players imagine. And they love it when we invest emotionally in those imagined somethings.
Want an exercise that forces us to see something, say something and have that something matter to our scene partner? Keep reading. Continue reading
Everyone in a circle.
Starting Player starts with a Self Contained Emotional Statement through the filter of being a “crazy” character-type (a pirate, a monster, a nun.. see nonMECE list HERE.). For example, (proudly) “The full moon’s rising and with it my transformation.”
The Player to their right interacts through the lens of a “normal” character-type one affiliated with a “normal” location (a checkout gal at a supermarket, a bum in a bench, a trader in a Wall Street pit… see Life for MECE list.). For example, (proudly) “We have a 24 hour concierge for whenever you need to stay or fetch.” Continue reading
“Silver.” “Eclipse.” “Model.”
Not a Word Association that would pass muster. How does the second move build on the first? How does the third Cement the pattern?
What’s the progression? Continue reading
I love World Building in improvisation. With World Building in mind we can bring focus to our Organic Formats.
The first scene of a show starts in a train; the rest of the show exists in that same train.
The first scene of a show starts with Little League players. The next scene focuses on the parents in the stands. The next scene focuses on the players’ siblings hanging out in the parking lot.
The first scene of a show introduces a reality wherein people shield their improper thoughts from heaven with an umbrella. The next scene shows angels using the same umbrellas to shield them from God’s view. And later we see God himself hiding his own self-doubt under an umbrella.
In our efforts to build worlds though we mustn’t lose sight of Improv As Improv Does Best, which relies at its core on heightening established Personal and Scenic Games. So how’s about we build worlds around our patterns of emotional behavior?
Here is a series of exercises I ran to that purpose… Continue reading
I’m wishy washy about improv class showcases.
On the one hand, if the point of going through classes is to learn to do performance-ready-level improv, then it seems sadistic to make 101 students “put it up on its feet.”
But on the other, nothing informs an improviser like improvising and all it entails – collaborating to build something out of nothing in-the-moment before a live audience. And so practice in front of a live audience should be part of each course.
So the in-between place becomes preparing each class for a performance that showcases – in grand improv style – all that they learned in class, on top of everything they’ve learned before, within bounds that keep them from stumbling into unknown territory.
Here are examples of how to do it…from 101 to 401… Continue reading
Learn rigidly. Play loose.
The Johnsons are the most dyed-in-the-wool Improv As Improv Does Best group there is. Makes sense. I coach them.
They were taught the contents of this website. They learned the mechanics of spontaneous collaboration. But the desire has never been for them to conform to one style of improv as dictated by their lessons. Rather the goal is always providing tools unique improvisers can utilize to enhance their personal approach.
The Johnsons are at their best when they Continue reading