Tag Archives: improv

Jun 7

Keep It Simple: Feel & React

A Coalition show called Strange Bedfellows pairs an actor with one half of a script with an improviser who ad libs their half.  I had the honor of performing one night in the improviser’s role.

And I have never been more terrified pre-show.

In a typical show, I have at least one improv partner. I can relax in the uncertainty of improvisation knowing that, whatever happens, my partner(s) will support my choices, I’ll support theirs and any direction we go together will be successful.  In this show, I can’t trust my scene partner to support my choices; they’re tied to their lines. They could be directly working against me.

Other improvisers who had done the show encouraged me to “just make a choice.” But “a choice” can be anything: a limp, a pirate accent, a yo-yo. My anxiety wasn’t calmed by the advice.

My calm came from realizing that I didn’t need to treat this any different than any other scene.  And to succeed in any scene all I had to do was Feel and React.

EmotionReaction

Two Sides of the Same Two Person Scene Coin

“More of this makes me feel more.”

 

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Jun 1

Four Corners video example

As a warm-up exercise or a short-form performance game, Four Corners is a fun way to explore two person scenes and subsequent beats.

Check out this wonderful example from The Coalition Theater‘s class showcase.  I am particularly fond of the players’ choice to enthusiastically agree and trust in the power of emotion alone when met with the suggestion of “Trump rally.”

Performers are Sheldon King, Cindy Nester, David Pratt and Britne Walker 

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May 24

High Jobs Tag-out example

Here’s an example of a Tag-out from The Johnsons. Notice how they leverage the Help Desk dynamic, repeating/heightening the sequence of dialogue.

I’d’ve preferred they’d’ve never sat down, instead playing out being high on the job. It’s hard to keep a scene active while sitting down.  Chairs are a privilege, not a right.

The Johnsons are Scott Beckett, Shawn Hambright, John Hilowitz and Jonathan Nelson.

Mar 4

News Reel… endowment warm-up

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USSR 1730…

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 →

Jan 28

Mirror, Action, Object an exercise in personal active stakes

Nothing bugs me more than a scene where two improvisers meet stage center, stare only at each other and talk only to and about each other.

I get it. Your stage partner is truly the only other active element on stage with you. But, c’mon, show some imagination.

The audience likes to see us interact with things we imagine. The audience loves to see us care about things we imagine. The audience f*#king adores when what we imagine makes us feel.

If you and/or the ensemble you’re in and/or the ensemble you coach are having the tendency to do centerstage talking heads scenes then this warm-up exercise might be right for you.
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Jan 19

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.
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Jan 7

Ocean/Pool Contrasting Reality group game

Be careful changing a scene’s reality.

In improv we’re building something out of nothing. So if improvisers make a choice on stage they’re moving forward and to negate that choice threatens to stall that forward motion as they scramble to justify the contradiction. Not only do contradictory choices disrupt the scene for the improvisers, it erodes the audience’s willingness to engage in the scene – if the players aren’t seeing eye to eye, what hope does the audience have to understand what’s going on?

Admittedly, a contradictory choice can get a laugh – but if in the aftermath of that choice the scene is compromised you have to ask yourself whether that laugh was worth it?

Now, if you’re on stage and a scene’s reality is changed on you, here’s what you do: Don’t justify or explain away the contradiction; Embrace it. Commit to heightening both sides of the contradiction, allowing them to coexist. If we confidently accept both realities the audience can relax and buy in as well.

Check out this example –


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