Tag Archives: warm

Sep 22

Jokestapositon, a warm-up

Everyone in a circle.dinge berry jersey

Starting Player starts with a Self Contained Emotional Statement through the filter of being a “crazy” character-type (a pirate, a monster, a nun.. see nonMECE list HERE.). For example, (proudly) “The full moon’s rising and with it my transformation.”

The Player to their right interacts through the lens of a “normal” character-type one affiliated with a “normal” location (a checkout gal at a supermarket, a bum in a bench, a trader in a Wall Street pit… see Life for MECE  list.). For example, (proudly) “We have a 24 hour concierge for whenever you need to stay or fetch.” Continue reading →

May 6

Build Your Own World exercise

“World Building” is a noble pursuit in long form improvisation.  It can focus our creativity to try to link our scenes to a single location, time or conceit.  The Chicago-based People of Earth, for example, placed all of their scenes on the same train. Horse Apples set an entire long-form in a future where everyone had bionic limbs. The audience adores this organic world building.

It can therefore feel like a gift to receive a suggestion like “Star Wars” from the audience.  I mean, c’mon, what improv nerd isn’t itching to do their own Blue Harvest?

But it’s a trap.

While it can be tempting to recreate a well-known property on stage, doing so often has us focused on premises and gimmicks over emotion.  Think about the last time you saw an improviser bring a well-known character or actor to stage – Were they emotionally invested and vulnerable to the moment?  Too often we’re too focused on our impression to set up the patterns of emotional behavior triggered by active elements that are the core of Improv As Improv Does Best.

But we can expand from a suggestion like “Star Wars” to build a world wholly our own. Want to try it?  Continue reading →

Mar 4

News Reel… endowment warm-up

newsreel_logo2

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 →

May 29

My Three Rules – a pattern warm-up

MY THREE RULES – Everyone in a circle.  Here are my three rules.

  • Rule #1: To pass to your right or left, you turn to that person and say their name.
  • Rule #2: To return the pass right back to the person who just spoke to you, say YOUR name.
  • Rule #3: To pass to any player other than the players on your direct left or right, you lock eyes with that person and – in a character voice – say their name.

Have a player start with one of the rules. Guaranteed, the first time they play, they’ll use “my rules” but will not be thinking at all about establishing any rules for when to deploy each move. Continue reading →

Jul 25

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 →