Just imagine.
I bet this video is cleaner than your imagination. In fact, this example group game runs on so much enthusiasm and support it’s (almost) downright wholesome.
Player are: Shahenn Ali, Teddy Armstrong, Amber Hendrix, Jesse Hill, Meredith Hughes, Laura Kelly and Christopher May
Continue reading
Don’t solve problems in improv. If there’s a fire on stage we want to throw gas on it, not water.
A lot of group games start with problem statements. “We need to…” “Let’s figure out…” “Brainstorm time!” The problem with problems is that when we’re focused on working up a solution we too often deprioritize emotional in-the-moment reactions which in improv are always more powerful that clever dialogue.
Hey Everybody mechanics keep us focused on heightening patterns of emotional behavior, helping us to exacerbate problems instead of alleviating them.
Want proof? Watch this.
A solid Hey Everybody example. Watch it. What do you notice?
1. Repetition is heightening. Laura didn’t need to do anything more than repeat “I’m a North Carolina State Mom” to get a laugh at the start of the second pass of the game. In fact, the audience also laughs with a sense of relieved release – it has been made clear to them that the sequence they witnessed is being made into a pattern. With the rigid repetition they know they’ve been here before and they’re along for the ride.
Continue reading
“A Massage Convention’s an HR hotbed.” –> “If OSHA says this is wrong, I don’t want to be right.”
With Hey Everybody mechanics in our back pocket we can confidently jump into chaos knowing that all we need to do is each stick and heighten our individual perspectives while collectively sticking to the order of individual contributions. With these tools we harness the power of the chaos, enabling it to swell and pop.
We can relax, too, in the knowledge that every player doesn’t need to nail it; they just need to participate. Especially in that first pass, what’s most important is just for each player to say/do something, anything. And if “anything” is too broad and therefore crippling then we remember that we can always align and agree with one another as well.
Watch this example. Note how the first pass gets established – who agrees with whom, who has a different perspective, who doesn’t speak. How many different perspectives would you say are in play among these 7 improvisers?
Check out this Two Person scene performed by Shaheen Ali and Christopher May. In it the performers weave patterns of emotional behavior to link characters, relationships and environment in a sustainable scene. Enjoy!
Do you want to see some Harold‘s performed?
Here are two performed by The Coalition Theater’s Fall 2015 Long Form Performance class conducted back to back nights.
Player are: Shahenn Ali, Teddy Armstrong, Amber Hendrix, Jesse Hill, Meredith Hughes, Laura Kelly and Christopher May
Harold #1
Harold #2
I am immensely proud of this show and the group that created it. It comes from The Coalition Theater’s Fall Patterns and Games Class.
In a Patterns and Games, success and failure hinged on the collective performance of the group. And…this class succeeded. Watch them all support each other through a performance that runs the gamut of games – rubric and organic, shorter and longer, lots of folks and few folks. The show is well paced, varying the use of moves from scene to scene. Most importantly, as you can see, the group clearly had a lot of fun performing in it. And the audience loved it.
When improvisers follow each other, committing to taking the next step together, confident they’ll find whatever end together, the audience leans in, along for the ride. That’s improv as improv does best. Especially impressive given the size of the group, the level of collaboration shown here by a 301 class is alone worth the watch. Enjoy!
Players are: Gerard Antoine, Sarah Berday-Sacks, Kevin Clatterbuck, Michael Farmer, Patrick Gaskill, Zachary Mann, Shannon Rodriguez, Hannah Rumsey, Max Senu-Oke, Geoff Stone, Vince Sunga, Carter Tait and Elliot Wegman
When building Group Games, trust simplicity as The Coalition’s Big Bosses did in this To The Ether game.
Why? When a pattern is this clearly established and heightened you can reach the point where you don’t even need to finish the sequence before the audience is laughing uproariously, having completed the pattern in their own head.
Personal Game – how you react to who you are, where you are or what you’re doing
* I love cake; when I eat a piece I’m overcome with joy and I sigh involuntarily
Scenic Game – how you react to who your scene partner is, what your scene partner is doing or how your scene partner is acting
* Greg is my hero; when he criticizes me I’m destroyed and flagellate myself
* We are scared of ghosts; when we hear a noise we freak and run around
The games represent a pattern of behavior established through evolving rules. Establishing and leveraging these games A) enable players to react through rather than think through scenes and B) engage the audience, letting them know our characters through their patterns of emotional behavior and care about them.
The clip embedded below shows the 1A, 2A and 3A scenes from a Harold in succession. It shows how, instead of just following plot through the beats, one character’s emotional behavior – in this case, Matt Newman’s reaction to learning that people close to him are sleeping together – can be heightened through scenarios beyond the initial scene’s. It also shows how the responsibility for initiating subsequent beats is not on Matt, but on his fellow players who’ve been watching from the wings – this helps avoid rehashing the initial scene.
To learn more about the who, what and how behind heightening a scene with subsequent beats, READ THIS.