Foreign Dubbing – a warm-up for playing with expectations

Repetition of relationship mechanics (“This” then “That”) establishes expectations for the audience.  These expectations can be played to and against for fun effect.

Looking for a warm-up to practice playing with expectations? Try Foreign Dubbing!

Performers are: David Adams, Guy Chapman, Patrice Deveaux, Micah Head, Alan Hopkinson, Nick Lawton, Megan Lemay, Jillian MacDougall, Tim Magier, Curtis Nunnally Continue reading

Build Your Own World exercise

“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

Organic Warm-ups

It’s all about the Set move.organic
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

Sustainable Set – The Johnsons Cover Coldplay

Learn rigidly. Play loose. Wall Turkey

The Johnsons are the most dyed-in-the-wool Improv As Improv Does Best group there is. Makes sense. I coach them.

They were taught the contents of this website. They learned the mechanics of spontaneous collaboration. But the desire has never been for them to conform to one style of improv as dictated by their lessons. Rather the goal is always providing tools unique improvisers can utilize to enhance their personal approach.

The Johnsons are at their best when they Continue reading

Invocation exercise

Mirroring/repeating language, details and rules heightens a group’s work while keeping it cohesive.

INVOCATION – Players stand in a half circle. On the count of three, a “god” appears before them that they will worship in three phases: First, they will describe it physically; “Oh, God, with your fowl beak.” Second, they will address its less tangible qualities; “Oh, God, who tastes like everything.” Third, they will ask it to do unto them; “Oh, God, henpeck my enemies.”
Lessons:
• Be clear about what “it” is – don’t be vague for artsy sake; the sooner everyone knows what “it” is the sooner everyone can dig deep into the details
Unite behind an emotional perspective on “it” – “what we hate about Microsoft” will collaboratively heighten faster than “what we know about Microsoft”
Simplify with mirrored language – switching between phases is clearest when there’s a defining cadence to phase one (“Oh, God”) and a new cadence to phase two (“Sweet, Jesus).
Callback – What does a detail from phase one signify in phase two and can be used for in phase three?
Establish rules of reaction – Y follows X: “…who is never afraid,” “You’re a chicken who’s not chicken;” “…who never stops going,” “You’re a chicken who’ll always win at chicken.” I’m the guy who: said, “Eyes as red as flames” so I’ll say, “Heart as black as coal.”
• There are no mistakes – seek to fold in everything; don’t drop things that seem out of place

Performers are Becki Heckman, Ian Johnson, Suzi Makarem, Robert Nickles and Jordan Walker Continue reading

Editing Thematically – The Johnsons 1.16.16

The Johnsons have been working on building a more collective world in their long form performances.

One tool they’ve practiced is using their scene edits to establish and heighten an organic pattern progression.

And on January 16th, 2016 they did it on stage for the first time.  Watch.  Enjoy.

First time is random. Second time is purposeful. Third time is expected.
Continue reading