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.
We want to avoid conflict, debate and negotiation in our improv scenes. The audience knows we’re making it up – building something from nothing – they don’t want to see us arguing over imagined reality; they want to see us react to an accepted reality.
What’s the best way to avoid arguing? Acceptance! Agreeing to a conflict-laden declaration is the easiest way to ensure a scene’s forward momentum.
So want a warm-up that’ll engage those Acceptance muscles? Continue reading
Whatever we have to say on an improv stage can be spun into gold with enthusiastic agreement.
So we shouldn’t feel like we have to deliver some killer creative line to start a scene.
We should remember, in fact, that what we bring authenticity – what we care about – however mundane – is rich fodder for an improv scene.
So, looking for a warm-up that has players accessing and caring about their daily minutiae that also highlights the fun of immediate enthusiastic support? Continue reading
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
Getting synced with your teammates is why we warm up. Give this activity a try!
Everyone in a circle. One by one, in no particular order, we enter the circle.
First we share our current mindset with the group. For example, “Tonight I’m feeling tired. I stayed up too late and woke up too early.”
“So, tonight I’m gonna…”
Second, we commit to bringing to stage a different energy than we’re currently feeling AND we make that energy incarnate with a character, sound, action, emotion, line of dialogue, etc. For example, “So, tonight I’m gonna go ape,” and I act like a gorilla, howl and beat my chest.
And “We’re with you!”
Third, everyone around the circle says, “We’re with you!” and mirrors your character, sound, action, etc. For example, we’re all acting like gorillas.
Then the next person goes. Repeat.
Simple. Easy. Quick. And it gives us a moment to let our fellow players into our heads and aware of our intentions. AND it gives us all a chance to show our commitment to enthusiastic agreement and collaboration.
Everyone in a circle.
Starting Player starts with a Self Contained Emotional Statement through the filter of being a “crazy” character-type (a pirate, a monster, a nun.. see nonMECE list HERE.). For example, (proudly) “The full moon’s rising and with it my transformation.”
The Player to their right interacts through the lens of a “normal” character-type one affiliated with a “normal” location (a checkout gal at a supermarket, a bum in a bench, a trader in a Wall Street pit… see Life for MECE list.). For example, (proudly) “We have a 24 hour concierge for whenever you need to stay or fetch.” 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
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
Looking for a fun improv warm-up with some character-building tools? Continue reading