“Who do you tag out?” I’ve asked improvisers.
“Keep the Crazy,” some reply. Have more fun with a fun character. It’s a fine thought.
“Change the catalyst,” I say. The audience loves watching improvisers affected by imagined reality. When we heighten the reality we force the affected character into a heightened reaction. So when choosing who to heighten I think tagging out the catalyst is our best default.
But sometimes you change the Catalyst and keep the Crazy.
That’s what happened here:
I love Pattern Play. I love the way an ensemble, focused-outward on making each new move in the service of what they individually have seen come before, can make a group look like it has ESP.
I love “the moment.” I love the way an authentic reaction to a moment -that in no way could have been preconceived – can connect with an audience for a big laugh.
And I LOVE when concentrated pattern play incorporates “the moment” to be something uniquely Improv As Improv Does Best, connecting the ensemble and the audience in a previously-unknowable, perfectly-found moment.
“An ensemble of players gets on stage without previously rehearsed lines or blocking and acts out, making up the show as they go along. The audience understands that this show is constructed from nothing before their eyes. In these aspects, improvisational performance differentiates itself from any other performance medium.”
– Improv As Improv Does Best
I have three examples from my latest 301 Patterns & Games Showcase show.
Continue readingEmbodying 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.
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
I sat with across from an executive. It was a benign conversation – a check-in meeting. Neither of us was all that engaged. 
Looking down at his desk, I noticed he’d arrayed files on his desk in the order of a rainbow – Red, Orange, Yellow, Green, Blue, Purple (though Roy G. Biv forever, squad).
I didn’t say anything about it. But thinking about it led me to this exercise.
Looking to practice evoking emotions through engaging environment? The audience loves seeing improvisers “see” something on stage. They love seeing us enthusiastically accept what our fellow players imagine. And they love it when we invest emotionally in those imagined somethings.
Want an exercise that forces us to see something, say something and have that something matter to our scene partner? Keep reading. Continue reading
I love World Building in improvisation. With World Building in mind we can bring focus to our Organic Formats.
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
I’m wishy washy about improv class showcases.
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
It’s all about the Set move.
Remember: Anything’s an Offer.
A group of improvisers gather pre-show. They take off excess clothes. They empty their pockets. They ask about each other’s day.
One guy tells a story about an out-of-the-blue run-in with an old friend that happened that day.
Another improviser tells her own story about an even more random out-of-the-blue run-in with an even older friend.
And an organic warm-up is off running.
An improviser notices two of his compatriots are bent down tying their shoes so he mirrors them. A fourth follows. A fifth.
And an organic warm-up is off running.
An awkward group of improvisers gravitates into a pre-show circle, wanting to find something organic, not wanting to force anything. One guy starts mirroring another’s nervous hand wringing. A girl coughs so someone else does. Someone laughs. They all laugh.
And an organic warm-up is off running. Continue reading
I coach The Johnsons, so they’ve been steeped in a rich tea of group games. They know One Person Scenes. They know To The Ether Games. They know Help Desk Games. And they know Hey Everybody Games.
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.
Improv As Improv Does Best leverages in-the-moment collaborative discovery. And it’s extra special when the audience knows they’re “getting it” at the same time as the improvisers.
Take this example from The Johnsons.