Breaking The Plane definition

Breaking the Plane – Players define where their characters are in relation to each other by choosing where to “look” for that character.

Using this ability, there are so many different cool ways for us to fracture our improv stage – enabling new heights, depths, distances, and other spatial relationships.

For example, in a baseball scene, rather than throwing the ball across the stage to each other, Player A throws the ball toward the audience, as if Player B is in that direction from Player A.  Player B, standing parallel to player A, then receives the ball from the audience.

As mentioned in the video above, Breaking the Plane allow multiple scenes of great expanses to happen side-by-side Split-Screen style to facilitate a Help Desk type game.

Another example is a scene in which a woman looks out her bedroom window and talks to a man on the street below. Rather than trying to convey this physical scenario while looking at each other across the (level) stage, the woman faces out to the audience and looks downward as she talks (as if the man is in a hole in the stage), and the man faces the audience but looks up as he speaks, as if the woman is in the ceiling of the theater. 

Similarly, an improviser can watch his fellow player go up a tall winding staircase by watching the ascent while the ascending player is really standing on the same level stage. We can bang on the ceiling above us to be answered by our stomping on the floor below us.

We can build a whole building with each of us standing side-by-side.

There’s so much we can do!

Climb a building like Adam West’s Batman and Robin did, with players Breaking the Plane to act like people in the building.

Stand side-by-side climbing individual ladders, Breaking the Plane to indicate relative heights.

And of course there’s this old “approaching the bar” chestnut. Never stare directly at each other over a counter for a transaction ever again!

Hey Everybody, come to the bar, to the table, to me (“Got tickets! Who needs tickets?” “Popcorn, get your popcorn!” “Students, attention on me.”)

Rather than be confined to a set-less stage, “breaking the plane” allows improvisers to create a more interesting stage picture. Try something out of this world!

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Spider Furniture tertiary move example video

I get excited every time Alan Volmer and Jonathan Nelson start a scene together.  They’re able to create rich character with rich worlds expressed through rich reactions on a dime.

This scene begins beautifully, with Alan establishing some physical business and Jonathan establishing a Personal Game for himself.

When Alan references his prediliction for spider furniture (you’re just going to have to watch the clip), the resultant game threatens to take over all that’s been established.  But the strength of Alan and Jonathan’s characters prevails and Townsend and John’s heightening and support of the tertiary game makes this an enjoyable scene to watch from start to finish.

The Johnsons are: John Hilowitz, Jonathan Nelson, Townsend Hart and Alan Volmer.

Doubling & Tripling Down – Split-Screen Help-Desk Game example video

Not a super fan of a scene?  Don’t sweep it under the rug – you may want to forget about it but the audience may not be able to.  Better then to double down on it.  Use the Help Desk dynamic to heighten the interaction and turn a “not great” initial scene into the base of a beautiful run of collaborative pattern play.

That’s what The Johnsons do.


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Trusting and Committing – a 2 person scene video example

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).


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Walk On, Walk Off – The Johnsons at the ballpark video example

Tertiary Player Good Faith Mantra – I will only enter a scene in progress to serve what has already been established.

If you’re entering a scene in progress, that scene is not about you. If you Walk On, you should only do so to heighten a reaction already perceived in the scene – feed a character’s personal game or characters’ scenic game.

And if you Walk On, Walk Off.

And if there’s one Walk On, one should be looking to do more. Be sure to find the rhythm of entering – don’t rush to be the 2nd Walk On, wait for the heigtening of the moment that proceeded the 1st. Make each other look good.

That’s what The Johnsons do.


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Phone Pimping – video example

Pimping. Fun.

The audience knows the improviser is being forced into a situation where s/he has to contribute. The power of the expectation – what is s/he supposed to deliver, what is s/he supposed to be knowledgeable of – and the power of the moment -confidently accepting the challenge/endowment – lends the best pimping moments a “it doesn’t matter what s/he does/says because his/her doing anything satisfies the tension of the expectation” postive reaction. 

Remember forever, though, setting expectations for your fellow improvisers goes against our grain. Pimping should be considered an advanced maneuver suitable ONLY when the expectation is ONLY that they say/do ANYTHING instead of SOMETHING SPECIFIC.

Blind Following – video example

Don’t let why keep you from following how. You don’t have to decipher what you just saw, you just have to repeat and heighten it.

And I so love when The Johnson’s do something like this that I have to showcase it even if the video cuts off the width of the stage show.  I’m sorry – it’s improv; you had to be there.

On a smaller scale…

effortless…

purer(?)

Click and Watch This: Kids Boldly Following