Invocation exercise

Mirroring/repeating language, details and rules heightens a group’s work while keeping it cohesive.

INVOCATION – Players stand in a half circle. On the count of three, a “god” appears before them that they will worship in three phases: First, they will describe it physically; “Oh, God, with your fowl beak.” Second, they will address its less tangible qualities; “Oh, God, who tastes like everything.” Third, they will ask it to do unto them; “Oh, God, henpeck my enemies.”
• Be clear about what “it” is – don’t be vague for artsy sake; the sooner everyone knows what “it” is the sooner everyone can dig deep into the details
Unite behind an emotional perspective on “it” – “what we hate about Microsoft” will collaboratively heighten faster than “what we know about Microsoft”
Simplify with mirrored language – switching between phases is clearest when there’s a defining cadence to phase one (“Oh, God”) and a new cadence to phase two (“Sweet, Jesus).
Callback – What does a detail from phase one signify in phase two and can be used for in phase three?
Establish rules of reaction – Y follows X: “…who is never afraid,” “You’re a chicken who’s not chicken;” “…who never stops going,” “You’re a chicken who’ll always win at chicken.” I’m the guy who: said, “Eyes as red as flames” so I’ll say, “Heart as black as coal.”
• There are no mistakes – seek to fold in everything; don’t drop things that seem out of place

Performers are Becki Heckman, Ian Johnson, Suzi Makarem, Robert Nickles and Jordan Walker Continue reading

Filtering Emotion Through Relationship exercise

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

Pass “Yes” Around acceptance exercise

PASS “YES” AROUND – A player points at / makes eye contact with another player who accepts by saying “Yes.” The accepted player walks across the circle to stand in the place of the player who said “Yes.” The player who said “Yes” points at / makes eye contact with another player who says “Yes” so they can exchange physical position. And repeat.
Choose and accept – don’t waste time worrying, over-thinking or obsessing about looking silly

Hot Spot bold choice exercise

HOT SPOT (Singing or Monologue) – Players stand in a circle. One player enters the center and begins singing or telling a true, personal story. In no particular order, players enter to take the place of the player in the center to sing a new song or tell their own story.
Hesitate and miss your connection – While players should be encouraged to inspire their moves based on what preceded it, players that wait too long over-thinking their move’s connection is going to miss their chance to enter.
Just start – A player needn’t know all the words to the song or how the story is going to end to enter the circle. Just get out there and start, and commit to continuing confidently.
Focus outward and support your fellow player – don’t be in your head thinking about what you’re going to do while a player is standing in the circle suffering through what they’re doing. Make them look good. Smile at them. Sing along.

Freeze, Thank You bold choice exercise

FREEZE, THANK YOU – Two players assume frozen positions on stage. From the wings, another player says, “Freeze,” confidently enters, taps a player on the shoulder to indicate that they should go to the wings, and assumes a new frozen position in relation to the remaining player.
Confidence sells – Don’t worry about making “sense” with your stage picture. Whatever you do confidently appears purposeful.
Acceptance is the easiest choice – Mirroring is a great default. Whatever Player One does, if Player Two also does it, too, it appears purposeful.
Take inspiration from others – Mirror exactly what they do. OR, complementary mirror what they do (she’s banging a drum; I’ll air guitar). OR, contrast – without opposing – what they do (he’s stretching; I’ll make myself small).

Yes And exercises

Agreement is a cornerstone of improvisation. We’re on stage creating something out of nothing. If I create one thing out of the ether then we have something. We want to build that something up and out; we don’t debate the validity of something made up.

Agreement is the improviser’s mantra: “Yes, And.” It’s not Yes “cereal” And “aliens.” Yes, “This porridge is cold,” And “it’s been sitting on the counter for a week.”

We can’t share one mind, but we can make it look like we do if we’re each making a concerted effort to unify all that’s been laid down in a collective direction. Through agreement we can minimize the amount of “stuff” on stage which facilitates focused collaborative building.

“YES, AND” STORY – Everyone stands in a circle. A player starts a story: “Billy loved his turtle.” Starting with the player to the initiator’s left, the group builds the story sentence by sentence, literally saying “Yes, and…” to begin each contribution: “Yes, and Billy and his turtle did everything together.”
Collaborate – a group all heightening a few ideas will reach greater heights than will a group of individuals all focused on their own ideas.
Think back, not forward – the story doesn’t need to get anywhere it just needs to explore where it is. Instead of thinking “What’s next,” think “How can I elaborate on what was just said?”
Callback as Acceptance – referencing what has already been established can be more than any one player’s hilarious new idea. Make each other look good by embracing each other’s details.

I WANT TO SEE, 1, 2, 3 – Everyone stands in a circle. One player begins with “I want to see…” (“an elephant”/ “world peace”). In no set order, players build on this desire with “Yes, and…” (“Yes, and an Asian elephant”/ “Yes, and people making love not war”). After 3 “Yes, and” additions, a player wipes the slate with a brand new “I want to see…” statement.
Share the air – Hesitators, contribute! Stage hogs, give someone else a chance!
Build in one direction – After “Yes, and an Asian elephant,” the group should stay focused on an Asian elephant instead of getting less specific (“Yes, and a big elephant”) or specific in another direction (“Yes, and a carnivorous elephant”).

TWO LINE OFFER AND “YES, AND” SCENES – students form two lines, one on either side of the stage. The player at the head of the stage left line enters stage and makes a statement about who they are, where they are or what else is on stage (“I love being a lumberjack”/“I hate this museum”/“That’s a scary rock”). The player at the head of the stage right line enters and delivers a “Yes, and…” statement (“Yes, and killing trees is awesome”/ “Yes, and the art looks and smells like poop”/ “Yes, and it just moved closer to us”). That’s it. Then the players move to the end of the opposite line.
• Players can drop “yes, and” as long as they still embrace and build on each other’s contributions
• Players can have more than one line each
Force agreement – “yes, and” keeps us from arguing, denying, negotiating, etc.
Force choices – there’s no room for questions in “yes, and.” “Yes, and” demands that we add information to the scene.
Repetition alone is heightening – “Yes, and I am also afraid of that rock” is perfectly acceptable. The agreement should be prioritized over cleverness. “Yes, and” me, too is great collaborative building.

Conversation Party channeling self exercise

CONVERSATION PARTY – Players stand on stage in multiple groups of two or three people. Players are “at a party” as themselves, speaking as themselves to other who are also themselves. The teacher conducts focus from one conversation to the next.
Be specific – You don’t have to try so hard to be funny. You just have to be specific. The surprise inherent to improvisation is made even more satisfying when we’re specific in-the-moment.
React – The audience reaction of “I would have said that,” or “I know a woman who would have said that,” is such a satisfying response for any performance medium. In improvisation, that power is compounded as the audience knows that your reaction was “your” reaction in-the-moment.
Connect – don’t just sit in your head waiting for your next turn to speak, listen to what’s going on around you, let it seep in and affect you.
Juxtapose – we don’t have to discuss our differences or negotiate out one “truth.” A party group who loves cats standing next to a group that loves dogs doesn’t need to engage in a fight. The audience sees both groups and wants both heightened next to each other.

21 warm-up

21 – The group (without teacher) huddles in a tight circle and together counts to 21 with players contributing one number at a time. If two people speak at once, the group must start over.
• Breathe; Don’t rush to speak; Share focus.
• We are walking backward, making each subsequent step based on the trajectory laid down behind us
• Don’t rush to 21, just build each move on top of the one before it
• Don’t emphasize failure; there are no “mistakes” on stage, only what happens
• The audience only knows you’ve “messed up” if you tell them you have