Your scene partner initiates, telling you, “You’re terrible.” Does that make you sad? Does that make you angry?
What if your scene partner is just “some stupid kid”? Maybe he says, “You’re terrible” and you just laugh; “Yeah, okay, I’m terrible.”
Making a choice about a relationship and relative status can help inform reactions and enable active emotions that elevate scenes. Here’s an exercise to help. Continue reading
Looking for an exercise/warm-up that will engage your group in tapping emotions between characters and leveraging those emotions in heightened subsequent beats? Continue reading
Looking for an exercise/warm-up that will engage your group in tapping personal emotions and leveraging those emotions in heightened subsequent beats? Continue reading
Objective: To build scenes by exploring and heightening committed perspectives.
Objective: To play with strong emotional perspectives that evoke strong emotional reactions and drive strong emotional scenes.
Improvisation: Making it up as you go along.
A group of players gets on stage without previously rehearsed lines or blocking and acts out. 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.
Improvisation then is at its best when it leverages its monopoly on spontaneous collaboration before a live audience. When a group of individuals creates something out of nothing together on stage before their eyes, the audience sees magic. When improv is as improv does best, it is magic. Magic. “How’d you all do that?” Continue reading
THE SELF CONTAINED EMOTIONAL STATEMENT
How do you start an improv scene? My answer was forged from the perspective of giants’ shoulders.
Mick Napier, of The Annoyance Theater, says we start with just one thing.
– Assume a posture.
– Grab an object.
– Start a motion.
– Engage your environment.
– Embody a character.
What do you do with that one thing? Expand, says Napier. Discover through “if this
than what” extrapolation. Build that one thing out, or draw a line to another point of the
The direction I believe you should expand to – the scene start structure most conducive to
good improvisation – is the Self-Contained Emotional Statement.
It can be as simple as:
– I love it here.
– I hate the arts.
– I’m uncomfortable.
The Self-Contained Emotional Statement aligns you with an emotional perspective. It’s a solid foundation on which to build the possibilities. Continue reading
YES, GOOD IMPROVISATION REQUIRES A GROUP. AND, WE AGREE.
A great improvisational performance requires both a group and an audience.
It’s the collaborative building that makes improvisation exciting. The ability to riff is dependent on having something to riff off of. The definition of riffing demands that there be an “accompaniment” or “exchange.” Sure, a single improviser can riff off an audience like a stand-up comedian can. But rarely is there enough audience input to require that a performer relinquish control of the show. To my mind, performers who put up “one person improvised shows” are playing with themselves in front of a crowd – and the inappropriate connotation is intended.
Improv as improv does best requires a group. Two people. Three people. The over-flowing stage of a festival improv jam. You need people to play with. You need people to riff off of.
Creating something out of nothing with a group of people in front of a live audience is hard. There are more people on stage for the audience to watch and listen to. There are more opinions about what’s happening and what needs to happen. More things breed less focus.
The more people you’re playing with, the clearer you have to be. When initiating with the Self-Contained Emotional Statement, the individual serves the scene’s clarity by concentrating on specificity and brevity. When there’s more than the initiator on stage (and there should be), continuing to serve the scene’s clarity relies on Agreement.
How do you focus a Ten Person game?
Step right up. Step right up.
I want to ride the roller coaster.
You’re too short to ride this ride.
See the two-headed boy for two dollars.
I’m afraid of clowns.
I ate too much cotton candy.
Where can I buy beer?
I’m on mushrooms.
Don’t miss Smash Mouth at the amphitheater.
Hey, baby, want me to win that whale for you?
We have ten different perspectives. We didn’t build with collective agreement to focus ten players into a One, Two or Three Person scene.
We have ten different perspectives on ten different things. While we’ve expanded the environment of a carnival, we Continue reading
When we whine that we don’t want to do group game work anymore, we ask, “Can we just do some two person scenes?” We want to breathe. And we equate “two person scene” with “time to breathe up top.” There’re just two of us; there’s less impetus to force our voice into the scene. We’re free to discover the scene without fear of hijack.
We can walk up to center stage to face our partners, careful not to make any sudden moves, meet them eye to eye – chests turned out slightly to the audience – and in our round, enunciated theater voices negotiate the reality of the scene. “Well, if I am your lawyer then I need to know why you’re in the pokey in the firsty place.”
What happened to the Self Contained Emotional Statement? Where’d your patterns go? “But…uh…we’re doing two person scenes now.”
There are many approaches to two-person scenework. I prefer to do two-person improv as improv does best. Continue reading