It’s simple and fun. All Chapman has to do accept each addition with his character’s garbled, “That’s my thing…” The audience loves him for it! They know he’s getting put upon by his fellow players (literally by the end!) and they reward his acceptance and commitment with laughter.
The Johnsons‘ performances account for the majority of this site’s videos. Why? I’m their coach. That means A) I love them, B) their work often reflectsImprov As Improv Does Best characteristics and C) theirs are the recordings that are the easiest for me to get.
But I have been a bad coach lately and have missed their recent shows.
The team isn’t behold to the sequence of contributions – they allow their characters to react in-the-moment as inspired – but you can see the sequence is loosely maintained and it helps the overall flow. Improvisers clearly stick their character’s silos – Sarah’s corrections, Taylor’s obsession with killing Voldemort with a stick, etc. Improvisers play emotional characters – like Jesse’s gruff-voiced reactor. And the stage picture isn’t just a line or “bandshell of death.”
It’s a great example of a game that uses the tools of the Hey Everybody game but isn’t confined by them. Continue reading →
The Opening generates a lot of Details for them to inspire future scenes. The big jumps showcase individual’s humor and building on one another showcases their ensemble. It’s high energy and frenetic with focus still being shared.Continue reading →
In learning Tertiary Moves an improv student is taught that “the first move is trump” (a reference to card games not our shitty president). In practice this means that if the first tertiary move is a Walk-onthen the next tertiary move should also be a Walk-on to heighten the game at play.
While there are no mistakes in improv if you do two different tertiary moves that just requires more additional moves to make sense of the larger pattern.
If Player Three does a Walk-on, Player Four does a “We see,” and Player Five does a “Cut to,” while “success” is “possible” you can watch an audience fold its arms and legs, showing they have no faith in what comes next.
But experienced/aware improvisers can mix tertiary moves if they own them and their Triggers. So it is in this clip Continue reading →
In a Help Desk Game, the progression of the scenic games establishes the pattern, and that pattern’s evolving repetition serves to heighten a personal game or theme.
What’s just beautiful thinking about these comic strips as improv scenes using the Help Desk Dynamic, is how they get to call lights before they have to get to the punchline. By setting our expectations in the first interaction, WE – the reader or audience – laugh at following the second interaction in our own heads based on the first. Our Lizard Brain laughs at the recognition of the pattern – and that’s enough for your edit!
Patterns allow us to play confidently. Thanks for the illustrations, Jef and Tim!