Looking for a fun character-based Opening for your long-form improv format?
Try a Duologue or, like The Johnsons do, try several. Here are two examples –
And that knowledge makes them masters of the Organic Game.
And that unfortunately means sometimes they perform games that are hard for me to pick apart in a post in order to showcase the learnings. But this sucker’s a joyful exception.
Check it out.
Ask your troupe what they want to work on. A comment by Alan Volmer during a Johnsons rehearsal led to this move being added to the group’s bag of tricks.
THE BODY SNATCHER: A third player takes over either Player One’s or Player Two’s character. If Player Three chooses to take on Player Two’s character, for example, Player Two then exits.
The Johnsons hosted a BBQ and everyone came. But they spaced out their arrival to allow time to heighten the sequence between new entries. Check it out.
To clarify: That last line out of Jonathan is “I brought the hounds of hell.”
The Johnsons are: Scott Beckett, Shawn Hambright, Townsend Hart, John Hilowitz, Joe Mack, Jonathan Nelson, Jessi Schmale, Lauren Serpa and Alan Vollmer. Continue reading
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
Mirroring/repeating language, details and rules heightens a group’s work while keeping it cohesive.
INVOCATION – Players stand in a half circle. On the count of three, a “god” appears before them that they will worship in three phases: First, they will describe it physically; “Oh, God, with your fowl beak.” Second, they will address its less tangible qualities; “Oh, God, who tastes like everything.” Third, they will ask it to do unto them; “Oh, God, henpeck my enemies.”
• Be clear about what “it” is – don’t be vague for artsy sake; the sooner everyone knows what “it” is the sooner everyone can dig deep into the details
• Unite behind an emotional perspective on “it” – “what we hate about Microsoft” will collaboratively heighten faster than “what we know about Microsoft”
• Simplify with mirrored language – switching between phases is clearest when there’s a defining cadence to phase one (“Oh, God”) and a new cadence to phase two (“Sweet, Jesus).
• Callback – What does a detail from phase one signify in phase two and can be used for in phase three?
• Establish rules of reaction – Y follows X: “…who is never afraid,” “You’re a chicken who’s not chicken;” “…who never stops going,” “You’re a chicken who’ll always win at chicken.” I’m the guy who: said, “Eyes as red as flames” so I’ll say, “Heart as black as coal.”
• There are no mistakes – seek to fold in everything; don’t drop things that seem out of place
Performers are Becki Heckman, Ian Johnson, Suzi Makarem, Robert Nickles and Jordan Walker Continue reading
I’d’ve preferred they’d’ve never sat down, instead playing out being high on the job. It’s hard to keep a scene active while sitting down. Chairs are a privilege, not a right.
The Johnsons are Scott Beckett, Shawn Hambright, John Hilowitz and Jonathan Nelson.
The Johnsons have been working on building a more collective world in their long form performances.
One tool they’ve practiced is using their scene edits to establish and heighten an organic pattern progression.
And on January 16th, 2016 they did it on stage for the first time. Watch. Enjoy.
First time is random. Second time is purposeful. Third time is expected.