Big “THANK YOU” to those who submitted feedback on the site through the pop-up survey. ” It’s not super aesthetically pleasing” – I hear you. I have big hopes for this site’s redesign and at least a little hope of getting that redesign done this year. First step: Updating the Curriculum. Check!
GUS, the delightful and talented team from The Baltimore Improv Group, opens its sets these days by asking the audience for “Three non-geographic locations.” Asked to come up and lead a practice, I brought this exercise with me. We had a lot of fun with it. You will, too.
Have you ever been in The White House? Ever gone into space? Ever visited an old West saloon? No? Well have you ever seen a television show or movie about one of those locations that you felt was “relate-able”?
The audience relates to Characters and Relationships even in “unrelatable” circumstances. As improvisers, we can go to wackier and wackier places as long as we center our scenes in knowable characters and relationships. And, remember, we know our characters and relationships through their patterns of emotional behavior.
As an improviser, have you ever been suggested a location or activity you’re not personally familiar with and as a result you end up playing a character who is “new” to the location/activity or just openly inept?
When the audience is engaged with Characters and Relationships they care way less about the authenticity of your mime and/or details. It’s the old Back To The Future Versus The Matrix dynamic: Because we were invested in Doc and Marty as people, knowing that once 85 MPH was achieved the Flux Capacitor sent you back in time was all that we needed. Conversely, because The Matrix was mostly filled with unemotional characters, nerds ruthlessly attacked the world’s nitty gritty.
Bottom line: This exercise will allow your group to more confidently explore far off worlds by finding a connection in Character and Relationships.
Make a choice the moment you enter stage. Choose to feel. Feel something about something – an imagined object, mimed activity, and/or your scene partner. Allow both you and your scene partner to be dynamic.
Here’s the final scene from a class building out that progression and its value:
At its most dumbed down, “Game” is “the funny thing, done more.” Though what the “funny thing” is is subjective.
At once both more sophisticated and more corny, “Game” can focus on the repetition of the cause and effect of actions.Short Form‘s blessing and curse is that its rhythms connect so quickly (helped by being made explicit) – the audience is rigged to react to anticipation but the rigging can be too tight and become stale.
Aiming for an universal answer this site’s materials are predicated on the definition of “Game” as “a sequence of actions related by cause in effect, heightening in a progression through repetition.” Holds true for baseball and Monopoly alike.
Whiteboard; always whiteboard. Yes, “Whiteboard” is a verb.
Objective:Players entering a scene in progress should always seek to heighten the games already in play. Heightening those games with concentrated pattern mechanics will increase the impact of those tertiary moves.
One, the camera’s distance makes it hard for the viewer to really track the game in play.
Two, oh, man, looking for a drinking game? Watch me teach and drink every time I say, “Right.”
Three, My 3 Rules – like Kick The Duck, Red Rover – is a game played through iterations. With each iteration, students “get it” more and by the end are fully engaged in the mechanics and they’re laughing.
In the following post, I’m going to share some clips from that night’s video showing the iterative learning process. My hope is that it’ll serve as a teaching lesson, both through how I provide instruction between iterations and how students loosen up and learn as a result of the iterations.Continue reading →
Gretchen Glaeser introduced me to Zane Adickes‘ “Damn, they call it like they see it!” warm-up tonight. And, well, I see it as a damn fine warm-up.
Looking for an activity to practice individual silo-building through an emotional perspective as well as the pacing between individual contributions and group agreement? Try “They call it like they see it!”Continue reading →
One Person Scene. Two Person Scene. Three Person Scene. Four Person Scene. Five Person Scene. Six Person Scene. Five Person Scene. Four Person Scene. Three Person Scene. Two Person Scene. One Person Scene.
One Person Scene. One Person Scene. One Person Scene. One Person Scene. One Person Scene. One Person Scene. One Person Scene. One Person Scene. One Person Scene. One Person Scene. One Person Scene.
One Person Scene. Two Person Scene. Two Person Scene. One Person Scene. Two Person Scene. One Person Scene. Two Person Scene. One Person Scene. Two Person Scene. Two Person Scene. One Person Scene.
Space Jump is a crowd pleasing short-form improv game and a great tool for learning memory, focus, pacing and transformation edits.
Performers are: David Adams, Guy Chapman, Patrice Deveaux, Micah Head, Alan Hopkinson, Nick Lawton, Megan Lemay, Jillian MacDougall, Tim Magier, Curtis NunnallyContinue reading →