“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.
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.
I started my Twitter account to drive folks to my site. David Pijor told me what I needed to do on Twitter was get “conversation going.” So #ToTheEtherTuesday and #WordAssociationWednesday were born as conversation starters.
And I like them as improv pattern practice.
Obviously they rely on more on text than emotion and are near-devoid of physicality. And obviously contributors have time to craft their response, as opposed to having to follow in-the-moment in improv.
But – learn rigidly to play loosely! Text-concentrated patterns can get heady; through Twitter we can focus on our head so as to make it a better partner to heart and body when on stage.The extra time for thoughtfulness when playing Twitter games hones in-the-moment thoughtful reactions.Continue reading →
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.”
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.