Embodying the Environment. We can be set pieces. We can be crowds. We can be animals. We can be inanimate. Bottom line, we can flesh out the stage picture as Tertiary Players without adding to the dialogue.
Check out this great example of players assuming the role of what other players were seeing on a screen.
A “Blackout” is a short scene with one big punchline. In sketch, or in improv with a tuned-in booth operator, the lights would go out on stage after the punchline, designating the end of the scene and earning the name “blackout.”
Blackouts are fun. They can help vary the pacing of a long-form show. They can be great when it’s clear there’s not going to be a bigger laugh beyond the first big punchline, but even if there is life beyond the punchline it can be enjoyable to cut the scene “early” so you can bring it back later. Will Hines and I had a scene where, in crossing stage, he asked if I had “a roll of quarters in my pants.” I did, I removed it and that was the end of the scene. Later in the show he asked if I was smuggling a zucchini in my pants; again, I was. Repeat.
I really love this Blackout from Horse Apples’ District Indie Improv Fest Show. Joey Trankills it by being authentic. Truth is he doesn’t believe he can whistle; that’s honest frustration in his “no” to my question. And the audience believes him. So when he tries – and he legitimately tries because, again, he doesn’t think he can – and, lo and behold, he succeeds!, the surprise is also genuine. Honest, in-the-moment, shared with an engaged audience, emotionally reactive… that’s improv as improv does best, folks.
There’s more than one way to draw a straight line.
Both scenes work in an improv context. No doubt. But I prefer the second iteration.
The second scene is more dynamic. Yes, both Bobs are altered by scene’s end and both scenes progress, but in the second scene Bob’s change is clearly delineated to establish a rhythm and to set expectations for heightening repetition with the audience.
In a long-form improvisational performance that is not a “mono-scene” there is a need to be able to communicate that one scene is ending and another is beginning. An “Edit” is that move communicating a change in scenes. At its core, a “successful” edit need only clearly communicate that transition, but beyond that there are myriad ways to execute an edit. Continue reading →