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
Personal Games are the focus of the base Mirror, Action, Object warm-up exercise. 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
Getting synced with your teammates is why we warm up. Give this activity a try!
Everyone in a circle. One by one, in no particular order, we enter the circle.
First we share our current mindset with the group. For example, “Tonight I’m feeling tired. I stayed up too late and woke up too early.”
“So, tonight I’m gonna…”
Second, we commit to bringing to stage a different energy than we’re currently feeling AND we make that energy incarnate with a character, sound, action, emotion, line of dialogue, etc. For example, “So, tonight I’m gonna go ape,” and I act like a gorilla, howl and beat my chest.
And “We’re with you!”
Third, everyone around the circle says, “We’re with you!” and mirrors your character, sound, action, etc. For example, we’re all acting like gorillas.
Then the next person goes. Repeat.
Simple. Easy. Quick. And it gives us a moment to let our fellow players into our heads and aware of our intentions. AND it gives us all a chance to show our commitment to enthusiastic agreement and collaboration.
Here’s an annoying song my baby likes: Herman The Worm
Here’s the thing… It makes for one fun group warm-up with echos of One Person, To The Ether, Help Desk and Hey Everybody game patterns. Give it a try! Continue reading
It’s all about the Set move.
Remember: Anything’s an Offer.
A group of improvisers gather pre-show. They take off excess clothes. They empty their pockets. They ask about each other’s day.
One guy tells a story about an out-of-the-blue run-in with an old friend that happened that day.
Another improviser tells her own story about an even more random out-of-the-blue run-in with an even older friend.
And an organic warm-up is off running.
An improviser notices two of his compatriots are bent down tying their shoes so he mirrors them. A fourth follows. A fifth.
And an organic warm-up is off running.
An awkward group of improvisers gravitates into a pre-show circle, wanting to find something organic, not wanting to force anything. One guy starts mirroring another’s nervous hand wringing. A girl coughs so someone else does. Someone laughs. They all laugh.
And an organic warm-up is off running. Continue reading
Looking for a fun improv warm-up with some character-building tools? Continue reading
As a warm-up exercise or a short-form performance game, Four Corners is a fun way to explore two person scenes and subsequent beats.
Check out this wonderful example from The Coalition Theater‘s class showcase. I am particularly fond of the players’ choice to enthusiastically agree and trust in the power of emotion alone when met with the suggestion of “Trump rally.”
Performers are Sheldon King, Cindy Nester, David Pratt and Britne Walker
“Welcome to Crappy Car Mountain.”
“The mountain’s top is held on with duct tape.”
“Cellophane bushes rustle in the wind.”
“This one side is a different color than all the rest of it.”
Looking for a fun warm-up to get your ensemble playfully building a world together? Here’s one! Continue reading
Vladimir Toma invents a heating device…
“Yah, so, this I call…vodka…”
The difference between one actor delivering all three of those lines and three improvisers delivering one of those lines apiece is huge in terms of audience reaction. When the audience sees that a player is accepting a choice given to them – as opposed to making their own choice in a vacuum – the audience will reward the attempt above the delivery. Forcing another improviser to own an endowment (aka pimping) can leverage improv as improv does best by emphasizing collaboration and minimizing the pressure on an individual to be clever.
It’s wonderfully counter intuitive. If I “pimp” another player into reciting the poem they just wrote, that other player may feel a lot of pressure to provide a clever/funny response. But, with the audience knowing the situation has been forced on the player, whatever the player commits to will be accepted. Improvisers need to feel that being forced into a corner is not confining, it’s freeing.
And, accepting a bizarre reality is more affecting than creating a bizarre reality.
This warm up exercise will make a team more comfortable forcing a situation on one another and more empowered being forced into an endowment. Continue reading
Nothing bugs me more than a scene where two improvisers meet stage center, stare only at each other and talk only to and about each other.
I get it. Your stage partner is truly the only other active element on stage with you. But, c’mon, show some imagination.
The audience likes to see us interact with things we imagine. The audience loves to see us care about things we imagine. The audience f*#king adores when what we imagine makes us feel.
If you and/or the ensemble you’re in and/or the ensemble you coach are having the tendency to do centerstage talking heads scenes then this warm-up exercise might be right for you.