Tonight pre-show The Coalition taught me three new warm-up games. I loved them. I don’t know who came up with them but thank you whoever you are.
Here’s the evolving list of Warm-up exercises.
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.
Aaron Grant once took the stage across from me, making eye contact but planting his feet firmly just beyond the stage right wing. I mirrored him on stage left. He mimed the classic flirtatious fishing move. I played his fish but broke his line bashfully, the stage’s distance remaining between us. I danced as someone with a club; he played my seal. He loaded his heart into a gun and shot it at me. I loaded my heart into a mortar and launched it at him. He shot me with a bazooka of love. I put love in a centrifuge and then in a bomb that erupted in a mushroom cloud of hearts. He built and climbed into a B-52 bomber than rained love upon me. We both stood up from the rubble and traced out hearts to one another. Never a word was spoken.
How does one teach Silent Games? Read on! Continue reading
Friends, it’s 2018! Luckily all the bad stuff from 2017 has been tidied up nicely and we have a brand new start!
Well,… how about updated improv curricula in lieu of world peace and universal sanity? Continue reading
The first scene of a show starts in a train; the rest of the show exists in that same train.
The first scene of a show starts with Little League players. The next scene focuses on the parents in the stands. The next scene focuses on the players’ siblings hanging out in the parking lot.
The first scene of a show introduces a reality wherein people shield their improper thoughts from heaven with an umbrella. The next scene shows angels using the same umbrellas to shield them from God’s view. And later we see God himself hiding his own self-doubt under an umbrella.
In our efforts to build worlds though we mustn’t lose sight of Improv As Improv Does Best, which relies at its core on heightening established Personal and Scenic Games. So how’s about we build worlds around our patterns of emotional behavior?
Here is a series of exercises I ran to that purpose… Continue reading
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
“World Building” is a noble pursuit in long form improvisation. It can focus our creativity to try to link our scenes to a single location, time or conceit. The Chicago-based People of Earth, for example, placed all of their scenes on the same train. Horse Apples set an entire long-form in a future where everyone had bionic limbs. The audience adores this organic world building.
It can therefore feel like a gift to receive a suggestion like “Star Wars” from the audience. I mean, c’mon, what improv nerd isn’t itching to do their own Blue Harvest?
But it’s a trap.
While it can be tempting to recreate a well-known property on stage, doing so often has us focused on premises and gimmicks over emotion. Think about the last time you saw an improviser bring a well-known character or actor to stage – Were they emotionally invested and vulnerable to the moment? Too often we’re too focused on our impression to set up the patterns of emotional behavior triggered by active elements that are the core of Improv As Improv Does Best.
But we can expand from a suggestion like “Star Wars” to build a world wholly our own. Want to try it? Continue reading