The escalating pattern is fun but the commitment to emotion helps the pattern hit.
Listen for the laugh Adrienne gets just by reacting without words.
Note the key to the end is that Ben actually feels bad for his allergy to murder. The connection he makes between his allergic reaction and the dead bodies’ bloat is icing on the cake.
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.
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
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
A monologist shares a personal story. Ideally one recreating their emotions about a specific moment with rich details. Performers then replace the speaker on stage with a series of scenes inspired by the monologue. Ideally not just scenes reenacting the recollection but scenes that heighten the ideas of the monologue through new contexts. Maybe the monologist returns to relate another story; maybe not. If monologues separate the format into beats, ideally earlier scenes are referenced in later scenes.
That’s the Monologue-based Format.
LINC, the Legal Information Network for Cancer, puts up “Here’s Laughing At You, Cancer” annually as a fundraiser for their efforts to assist income-qualified individuals with legal and financial issues related to their cancer diagnoses (GREAT organization!).
And, yes, the show revolves around monologists sharing stories related to their cancer. Then the performers create scenes based on those monologists. Funny scenes.
And it works. Check it out.
The show’s monologists in order of appearance are: Jim Guy, Lulú de Panbehchi, Keisha Harris and Ann Hodges
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.