GUS, the delightful and talented team from The Baltimore Improv Group, opens its sets these days by asking the audience for “Three non-geographic locations.” Asked to come up and lead a practice, I brought this exercise with me. We had a lot of fun with it. You will, too.
Have you ever been in The White House? Ever gone into space? Ever visited an old West saloon? No? Well have you ever seen a television show or movie about one of those locations that you felt was “relate-able”?
The audience relates to Characters and Relationships even in “unrelatable” circumstances. As improvisers, we can go to wackier and wackier places as long as we center our scenes in knowable characters and relationships. And, remember, we know our characters and relationships through their patterns of emotional behavior.
As an improviser, have you ever been suggested a location or activity you’re not personally familiar with and as a result you end up playing a character who is “new” to the location/activity or just openly inept?
When the audience is engaged with Characters and Relationships they care way less about the authenticity of your mime and/or details. It’s the old Back To The Future Versus The Matrix dynamic: Because we were invested in Doc and Marty as people, knowing that once 85 MPH was achieved the Flux Capacitor sent you back in time was all that we needed. Conversely, because The Matrix was mostly filled with unemotional characters, nerds ruthlessly attacked the world’s nitty gritty.
Bottom line: This exercise will allow your group to more confidently explore far off worlds by finding a connection in Character and Relationships.
At its most dumbed down, “Game” is “the funny thing, done more.” Though what the “funny thing” is is subjective.
At once both more sophisticated and more corny, “Game” can focus on the repetition of the cause and effect of actions.Short Form‘s blessing and curse is that its rhythms connect so quickly (helped by being made explicit) – the audience is rigged to react to anticipation but the rigging can be too tight and become stale.
Aiming for an universal answer this site’s materials are predicated on the definition of “Game” as “a sequence of actions related by cause in effect, heightening in a progression through repetition.” Holds true for baseball and Monopoly alike.
I started my Twitter account to drive folks to my site. David Pijor told me what I needed to do on Twitter was get “conversation going.” So #ToTheEtherTuesday and #WordAssociationWednesday were born as conversation starters.
And I like them as improv pattern practice.
Obviously they rely on more on text than emotion and are near-devoid of physicality. And obviously contributors have time to craft their response, as opposed to having to follow in-the-moment in improv.
But – learn rigidly to play loosely! Text-concentrated patterns can get heady; through Twitter we can focus on our head so as to make it a better partner to heart and body when on stage.The extra time for thoughtfulness when playing Twitter games hones in-the-moment thoughtful reactions.Continue reading →
I love “the moment.” I love the way an authentic reaction to a moment -that in no way could have been preconceived – can connect with an audience for a big laugh.
And I LOVE when concentrated pattern play incorporates “the moment” to be something uniquely Improv As Improv Does Best, connecting the ensemble and the audience in a previously-unknowable, perfectly-found moment.
“An ensemble of players gets on stage without previously rehearsed lines or blocking and acts out, making up the show as they go along. The audience understands that this show is constructed from nothing before their eyes. In these aspects, improvisational performance differentiates itself from any other performance medium.”
One, the camera’s distance makes it hard for the viewer to really track the game in play.
Two, oh, man, looking for a drinking game? Watch me teach and drink every time I say, “Right.”
Three, My 3 Rules – like Kick The Duck, Red Rover – is a game played through iterations. With each iteration, students “get it” more and by the end are fully engaged in the mechanics and they’re laughing.
In the following post, I’m going to share some clips from that night’s video showing the iterative learning process. My hope is that it’ll serve as a teaching lesson, both through how I provide instruction between iterations and how students loosen up and learn as a result of the iterations.Continue reading →
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.
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 →