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
Looking for a fun character-based Opening for your long-form improv format?
Try a Duologue or, like The Johnsons do, try several. Here are two examples –
Looking for a fun improv warm-up with some character-building tools? Continue reading
Vladimir Toma invents a heating device…
“Yah, so, this I call…vodka…”
The difference between one actor delivering all three of those lines and three improvisers delivering one of those lines apiece is huge in terms of audience reaction. When the audience sees that a player is accepting a choice given to them – as opposed to making their own choice in a vacuum – the audience will reward the attempt above the delivery. Forcing another improviser to own an endowment (aka pimping) can leverage improv as improv does best by emphasizing collaboration and minimizing the pressure on an individual to be clever.
It’s wonderfully counter intuitive. If I “pimp” another player into reciting the poem they just wrote, that other player may feel a lot of pressure to provide a clever/funny response. But, with the audience knowing the situation has been forced on the player, whatever the player commits to will be accepted. Improvisers need to feel that being forced into a corner is not confining, it’s freeing.
And, accepting a bizarre reality is more affecting than creating a bizarre reality.
This warm up exercise will make a team more comfortable forcing a situation on one another and more empowered being forced into an endowment. Continue reading
Don’t solve problems in improv. If there’s a fire on stage we want to throw gas on it, not water.
A lot of group games start with problem statements. “We need to…” “Let’s figure out…” “Brainstorm time!” The problem with problems is that when we’re focused on working up a solution we too often deprioritize emotional in-the-moment reactions which in improv are always more powerful that clever dialogue.
Hey Everybody mechanics keep us focused on heightening patterns of emotional behavior, helping us to exacerbate problems instead of alleviating them.
Want proof? Watch this.
Check out this Two Person scene performed by Shaheen Ali and Christopher May. In it the performers weave patterns of emotional behavior to link characters, relationships and environment in a sustainable scene. Enjoy!
Jive Turkey is Chris Ulrich and Joe Randazzo. They’ve been working on a two-man format where all the worlds connect.
There’s certainly a through-line of a plot here – finding one character’s spouse, trying to have a threesome with said spouses, etc. – but what I like here is that the worlds are more connected by emotional characters and their words than by the plot.
“Buh-duh, buh, buh, buh,…”…enjoy it!
Want to see a Monoscene? Here’s a good one.
Greg Tindale, Jordan Hirsch, Amanda Hirsch and Sean Murphy of the Washington, DC based group Hijinx took one suggestion and built a great work of character and relationships out of it. Check it out.
Looking for an exercise to help with creating characters and embracing endowments? Here’s one for you.
Boldly choose. Boldly commit. Accept everything your scene partner says and does. Accepting doesn’t mean you have to like it, but you have to allow it to happen – and to repeat.
Commit. Push forward. And you’ll find yourself on the other end.
Stopping forward momentum to discuss, argue or otherwise conflict will kill you as all your scene’s (and the audience’s) focus is on “what do we not understand.”
Commit. Believe and see. And you’ll kill it (rather than the other way around).