Introduction.............................................................................................................................................................................3 1 What Is Improvisation!.........................................................................................................................................................4 2 Rules.....................................................................................................................................................................................5 The History of The Rules....................................................................................................................................................5 ear ear ear......................................................................................................................................................................! "rea#in$ The Rules.............................................................................................................................................................

% 3 Ho& to Improvise...............................................................................................................................................................1' (art )ne* +o ,omethin$!..................................................................................................................................................1' (art T&o* -hec# )ut What .ou +id................................................................................................................................14 (art Three* Hold on to What .ou +id...............................................................................................................................15 The /a$ic of Improvisation..............................................................................................................................................10 4 1What 23out /y (artner!1.................................................................................................................................................14 Ta#e -are of .ourself irst...............................................................................................................................................14 Ta#e -are of .our (artner................................................................................................................................................14 5istenin$ to .our (artner..................................................................................................................................................1! What If I 2m the (artner6.................................................................................................................................................1! 5 -onte7t and ,cenes.............................................................................................................................................................21 -onte7t..............................................................................................................................................................................21 ,cenes................................................................................................................................................................................22 0 -ommon (ro3lems.............................................................................................................................................................20 Too /uch 87position........................................................................................................................................................20 Tal#in$ Too /uch.............................................................................................................................................................20 9ustifyin$...........................................................................................................................................................................24 (ausin$..............................................................................................................................................................................2% "ailin$ on a (oint of :ie&................................................................................................................................................2% 4 /ore Than T&o (eople in a ,cene.....................................................................................................................................31 Three;(erson ,cenes.........................................................................................................................................................31 8nterin$ ,cenes.................................................................................................................................................................32 our;< ive;< ,i7;< and T&enty;(erson ,cenes..................................................................................................................35 ! 2dvanced Improvisation....................................................................................................................................................3! )pposite -hoices...............................................................................................................................................................3! ,pecificity..........................................................................................................................................................................3% (ull )ut=(ull "ac# In.........................................................................................................................................................3% -urve "alls........................................................................................................................................................................4' Reachin$ for an )3>ect......................................................................................................................................................41 (ersonal )3>ects and /annerisms.....................................................................................................................................42 (ersonal :ariety of 8ner$y...............................................................................................................................................43 % 2dvice and ?uidelines for Improvisers..............................................................................................................................40 Talent.................................................................................................................................................................................40 The -oncept of Trainin$...................................................................................................................................................40 /en and Women...............................................................................................................................................................40 The (erfect 2ctor..............................................................................................................................................................44 2uditionin$ ?uidelines for Improvisers............................................................................................................................5' -ommon (atterns..............................................................................................................................................................52 ,ummary............................................................................................................................................................................53 1' Improvisation and he ,econd 5a& of Thermodynamics..................................................................................................54 irst 5a& of Thermodynamics..........................................................................................................................................54 The ,econd 5a& of Thermodynamics...............................................................................................................................55 The Thermodynamics of Improv.......................................................................................................................................50 11 87ercises to +o at Home..................................................................................................................................................5! +ada /onolo$ue...............................................................................................................................................................5! Word 2ssociation..............................................................................................................................................................5! ?i33erish...........................................................................................................................................................................5! ,olo -haracter ,&itches....................................................................................................................................................5% -haracter Intervie&...........................................................................................................................................................5% ,tyles and ?enres in a Hat.................................................................................................................................................5% ,ound to +ialo$ue.............................................................................................................................................................0' 8nvironment......................................................................................................................................................................0' "ody (arts.........................................................................................................................................................................0' "rea#fast............................................................................................................................................................................0' )3>ect /onolo$ue.............................................................................................................................................................01 ,cene..................................................................................................................................................................................01 1

,cene &ith 8motional ,hift...............................................................................................................................................01 ,cenes of ,tatus ,hift........................................................................................................................................................02 Hei$htenin$.......................................................................................................................................................................02 Read a -haracter from a (lay )ut 5oud...........................................................................................................................02 ilm +ialo$ue...................................................................................................................................................................03 Write an Improvised ,cene...............................................................................................................................................03 ,on$s.................................................................................................................................................................................03 -ountin$ to )ne Hundred.................................................................................................................................................04 +ance.................................................................................................................................................................................04 @otes on ?ood 2ctin$.......................................................................................................................................................04 @on; iction ,ummary.......................................................................................................................................................04 87ercise.............................................................................................................................................................................05 12 2nnoyance........................................................................................................................................................................00

Introduction
ItAs stran$e that IAm &ritin$ this 3oo#. I &asnAt supposed to. ,ince I &as a #id< IAve loved math and the sciences. rom the time I &as in second $rade I al&ays #ne& I &ould 3e a veteri narian. 1If your do$ is sic#< >ust call /ic#<1 &as a si$n I had al&ays ima$ined outside of my office. Then one ni$ht in hi$h school I sa& a play. I canAt remem3er the name of it< 3ut I do remem3er the effect it had on me. I #ne& that althou$h I loved science so much< there &as a part of me that &anted to 3e up there on that sta$e. I &ent to that play the very ne7t ni$ht< and I &as even more astonished. The actors &ere movin$ in the e7act same places on sta$e as they had the ni$ht 3efore! I had no ideaBI thou$ht they >ust memoriCed the lines and #ind of moved a3out &herever they &antedBI didnAt #no& it &as practiced that much. DWhile I &as in hi$h school< you didnAt $o to rehearsalE you &ent to play practice.F I decided that I &anted to have a $o at this thin$< so I auditioned. /y first role &as ?rumio< in The Taming of the Shrew. I &ent on to do several more plays in hi$h school< and arrived at Indiana Gniversity &ith a stron$ desire to 3e a veterinarian and a conflictin$ desire to 3e on sta$e. It didnAt ta#e that lon$ to discover that the latter &ould &in my heart. I 3e$an auditionin$ and performin$ in play after play< and eventually s&itched my study to theater. I did indeed love the rush of performin$. ,oon< thou$h< I 3ecame a little 3ored. @ot &ith the performin$< 3ut &ith the rehearsin$. I felt li#e the rehearsals &ere the same thin$ over and over. I &as pretty selfish 3ac# thenE I &anted the feelin$ I $ot &hen I performed &ithout the repetitious &or# of the rehearsals. (erformin$ &ithout rehearsals< &as there such a thin$6 ThatAs &hen I pic#ed up a 3oo# called Something Wonderful Right Away, 3y 9effrey ,&eet. It &as a collection of intervie&s of people involved in somethin$ called improvisation. 2s the title states< you could create somethin$ &onderful ri$ht a&ay. To me< that meant all the fun &ithout the rehearsin$. 2 friend of mine< +avid /ac@erland< and I decided to form an improv $roup< never havin$ seen or performed any improvisation. D/ay3e +avid had< IAll have to as# him.F We created a $roup called 1+u33letaHue1 and performed for full houses for nearly four years. Improvisation 3ecame my passion< and I moved to -hica$o to pursue it. I studied and performed every&here I could. It &as in this study that I learned for the first time a3out all of the intricacies of improvisation* forms< rules< scenic structure< and &hatnot. It &as also at this time that I 3e$an to form my o&n point of vie& in re$ard to &hat ma#es improvisation &or# or not. That is in this 3oo#. I didnAt really #no& any of this in colle$e< &e &ere >ust #ind of making it up as we went along. ,o many years later< here I sit. IAm not a veterinarian< althou$h my love for math and science remains to this day. I thin# you mi$ht notice that in this 3oo#. Ironically< as a director< I no& value the the ater and rehearsin$ more than ever. ThereAs certainly value in somethin$ &onderful ri$ht a&ay< and an eHual yet different value to somethin$ &onderful not ri$ht a&ay. This 3oo# is for those that have a desire to improvise scenes 3etter. I truly hope it helps. 1If your scene is sic# ...1

1 What Is Improvisation!
What the hell is improvisation6 ,hall I ta#e the lon$ road or the short road6 IAll ta#e the short oneB&ho has time6
Improvisation is getting on a stage and making stuff up as you go along.

ThatAs it. .ou didnAt #no& &hat you &ere $oin$ to say or do and no& you find yourself movin$ a3out and tal#in$ &ithout any real #no&led$e of &hat you are $oin$ to do ne7t. 2maCin$ly simple< astoundin$ly difficult B for adults. Improvisation is used around the $lo3e as a means to &rite material< a tool in trainin$ actors< and as a performance product in and of itself. Improv troupes around the &orld force reasona3ly nice people to pay to see the latter. It is for those people that I &rite this 3oo#. Improv comes in the shape of $ames D&hich I &onAt discuss laterF< scenes< lon$ forms< monolo$ues< son$s< and reeCe Ta$. It can 3e funny on purpose or not funny on purpose. Iuite often< unfortunately< it is not funny on not purpose. I rec#on thatAs &hat this useless 3oo# is all a3out. Why useless6 "ecause &hen it comes do&n to it< you can read a3out it until your teeth fall out< 3ut youAll only $et 3etter 3y doin$ it. +oin$ it. +oin$ it. ?iven that I truly 3elieve that youAll only $et 3etter 3y doin$ it< I hope to provide some tric#s and $uidance to help $et you there. Ready6

2 Rules
If youAve ever spent one second in an improv class< youAve pro3a3ly come across The Rules. I must discuss them first< in order to uncondition your 3rain. 5etAs see if I can list a fe& of them ri$ht no&. 1. 2. 3. 4. 5. 0. 4. !. %. 1'. +onAt deny. +onAt as# Huestions. +onAt dictate action. +onAt tal# a3out past or future events. 8sta3lish &ho< &hat< &here. +onAt ne$otiate. +onAt do teachin$ scenes. ,ho&< donAt tell. ,ay 1yes<1 and then say 1and.1 +onAt tal# a3out &hat you are doin$.

There are others< 3ut ten is such a pretty num3er* ten commandments< ten rulesByou #no&. Rules< rules. 2 list of rules. Rules of improvisation. There they are< and theyAre in a list< and they loo# $ood< and they even seem to ma#e sense. ,o &hy am I so snitty a3out them6 "ecause I donAt 3elieve they &or#. That is< The Rules do not help one improvise &ell. 2s a matter of fact< I 3elieve that they help one not improvise &ell. They are destructive. 2nd &hy do I 3elieve this6 I &ill tell you no& in e7cruciatin$ detail.

The History of The Rules

In the 3e$innin$< there &as an improv scene< and it &as $ood. In the 3e$innin$< there &as a $ood improv scene. It &as a mir acle. It &as playful and vi3rant and en$a$in$ and funny. It had a &himsical< ma$ical Huality that &as immeasura3le. Those &ho &itnessed it &ere amaCed at &hat they sa&. They said thin$s li#e< 1That &as craCy! Those $uys &ill do anythin$!1 and 1)h my ?od< do you remem3er &hen they did this or that61 and 1That &as funny.1 Those &ho performed the miraculous scene stepped off the raised platform astonished. They too &ere amaCed. It &as as if somethin$ had ta#en over their thou$hts and actions. They had 3een im3ued &ith the ,pirit of Improvisation. 8ach &ord uttered forth &as affirmed 3y the lau$hter of those &ho &itnessed the scene. It felt $ood. Trance;li#e. 2t its end< they si$naled each other &ith a hi$h;five< a smile< a pat on the shoulder< and a tentative hu$. When as#ed a3out the scene< later< they replied< 1It &as cool< it >ust happened<1 and 1I donAt even remem3er &hat &e did.1 It &as a miracle. It truly &as immeasura3le. We lau$hed< &e cried< it &as a damn $ood scene. 2s time scrolled on< others attempted to repeat the e7perience of a $ood improv scene< 3ut they fell short. Their scene &as listless and uninspired. It seemed to $o slo&. While they &ere performin$< they really &anted to do somethin$< 3ut for some reason they &ere rendered immo3ile. While they &ere doin$ the scene< they thou$ht hard a3out doin$ it< 3ut nothin$ seemed to help. The scene $re& 3orin$ and they #ne& it. They didnAt &ant it to 3e 3orin$< 3ut it &as. The lon$er and harder they thou$ht a3out it 3ein$ 3orin$ and not 3ein$ 3orin$< the more it &as more and more 3orin$. They &ere in a trap that they had created and they #ne& it and they thou$ht a3out that. They also thou$ht a3out ho& the o3serversBthe audienceB must 3e 3ored< too< and ho& they ou$ht to do somethin$ ri$ht no& and they tried to do somethin$ 3ut they didnAt do anythin$ and that &as 3ad and they thou$ht a3out that and they thou$ht a3out thin#in$ a3out that. While they &ere performin$ the scene they thou$ht even more a3out &hat they &erenAt sayin$ 3ut &anted to say. They thou$ht a3out &antin$ to say somethin$ smart and fun 3ut they didnAt say anythin$ and then they did say somethin$ and it &as 3orin$ and they thou$ht it &as stupid and they thou$ht the audience thou$ht it &as stupid and they thou$ht a3out that< too. 2nd then they thou$ht< 1)J< no& IAm really $oin$ to do somethin$<1 and they didnAt< a$ain< and they thou$ht that &as 3ad so they thou$ht a3out it and realiCed it &asnAt $ood to 3e thin#in$ a3out that< and they thou$ht a3out that and thou$ht a3out ho& they &ould li#e to stop thin#in$ a3out that and they didnAt. Then they thou$ht 1It &ould really 3e $reat if the li$hts &ent out<1 and the li$hts didnAt and they thou$ht that &as 3ad. The operator of the li$hts thou$ht it &ould 3e $ood if the li$hts &ent out< too< 3ut couldnAt thin# of a place to stop the scene and #ept thin#in$ that somethin$ &ould happen 3ut nothin$ did< and thou$ht may3e he should ta#e the li$hts out no& any&ay and didnAt and tried a$ain and didnAt and thou$ht that &as odd.
5

/ean&hile< the audience &as thin#in$ that they &ished the performers &ould do somethin$ and they didnAt and the audience thou$ht a3out ho& 3ored and uncomforta3le they &ere. inally< after si7 hours Dt&o minutesF< the li$ht person could ta#e no more and really thou$ht heAd 3etter do somethin$ so he thou$ht a3out ta#in$ the li$hts out and he tried and almost did< 3ut didnAt and tried a$ain and nearly did< 3ut not< and then he did< and it felt 3ad and he thou$ht a3out that 3ut it &as over. The performers didnAt thin# the scene &ent very &ell. @either did the audience. It &as the first 3ad improv sceneE there &ere more to follo&. )ver time< more and more scenes &ere improvised< a fe& $ood and a lot 3ad. The $ood ones &ere >ust $ood. )h< they &ere funny* 1+id you see that< &asnAt it amaCin$ craCy &o& theyAll do anythin$ I &as lau$hin$ so hard donAt #no& &hy ha ha ho& do they do that funny funny $ood time $reat time ha.1 The $ood scenes &ere 3eyond measure. They &ere merely &onderful. Who has time to analyCe &hen youAre lau$hin$ so hard< and &ho really &ants to6 Why 3other thin#in$ a3out somethin$ amaCin$ &hen you >ust &ant to sit 3ac# and en>oy it6 /ay3e later youAll analyze the $ood scene in specific detail 3y descri3in$ it as 1amaCin$<1 and 1craCy<1 and 1out there.1 /ay3e not. /ay3e ma$ic is 3est left alone. /ay3e. The 3ad scenes< ho&ever< &ere not 3eyond measure. Indeed< they &ere and are a3out measure. 2s a matter of fact< 3ad improvisation depends on measurement and thin#in$. In a 3ad improv scene everyone from the li$ht $uy to the audience to the performers themselves is thin#in$. The audience has time to thin# 3ecause theyAre so damn 3ored. 2fter a &hile< those &ho &ere forced to endure &atchin$ innumerous 3ad improv scenes 3e$an to notice thin$s. They &ere in the mindset to thin# and analyCe so< naturally< critical o3servation yielded critical results. (atterns of 3ehavior 3e$an to emer$e in many of the 3ad improv scenes they &atched. It seemed that in many of the 3ad improv scenes the participants often denied the reality of the other player. )ne player &ould 3rin$ forth a plausi3le truth re$ardin$ the location or the playersA relationship to one another and the other player &ould refute that reality. In other 3ad improv scenes< the players &ould as# fruitless Huestions that seemed to stifle the action and prevent the scene from movin$ for&ard. )ften a 3orin$ scene &ould have one of the players merely tellin$ the other player &hat to do< or tal# a3out events in the past and=or in the future. ,everal of the 1&hen &ill this 3e over1 scenes too# place in an am3i$uous location &ith am3i$uous activities and relationships. In the middle of potentially $ood scenes< one of the players &ould often 3e$in to ne$otiate the sale of a $ood or service< or parta#e in teachin$ the other player a s#ill. ,till other 3ad scenes relied on tal#in$ a3out a su3>ect< instead of portrayin$ that activity as if it &ere happenin$ at present in that locale. ,ome players in 3ad scenes &ent so far as to merely tal# a3out &hat they &ere doin$. These thin$s< and others< &ere attri3utes o3served in the 3ad< 3orin$< 1&hen &ill the li$hts $o out61 scenes. .ep indeedy< there &as truly a correlation 3et&een a 3ad improv scene and certain specific 3ehavioral attri3utes. /ost 3orin$ scenes contained at least one if not more of these patterns. Time after time these patterns &ere confirmed< as more and more people shared the o3servation. 2nd as is often the case< &hen a phenomenon is o3served repeatedly< a hypothesis is formed* Certain o served patterns of ehavior K ad s!ene. 1It seems that every time a 3ad improv scene happens< the same patterns of 3ehavior sho& up. ,o< perhaps< if &e could >ust $et rid of the 3ad 3ehavior< a $ood scene &ill materialiCe.1 2nother hypothesis &as formed* "ot !ertain o served patterns of ehavior # mysterious good s!ene. 1If &e can $et the improvisers to stop 3ehavin$ that &ay< then surely a $ood scene &ill emer$e!1 If &e can $et them to stop as#in$ Huestions the scene &ill move for&ard. Tell them not to deny and they &ill 3e proactive. @o more teachin$ scenes or ne$otiatin$ 3eats or dictation of action or tal#in$ a3out future or past events and then< yes then< Dyes andF then< a $ood scene &ill sho& up. If you eliminate the 3ad< the $ood &ill ma$ically appear. 15et us accumulate a list of these ne$ative 3ehavioral patterns and announce them.1
0

We shall call these The Rules of improvisation. ,eems to ma#e sense. ,eems to ma#e sense. (ro3lem. (ro3lem. The pro3lem is that the hypothesis is untrue. .es< there is a correlation 3et&een 3ad scenes and specific 3ehavior< 3ut it is not causal. The 3ehavior is conseHuential. ,cenes that are 3ad to 3e$in &ith often yield such 3ehavior< 3ut the 3ehavior itself does not cause the scene to 3e 3ad. -orrelation does not necessarily eHual causality. There is a correlation 3et&een o3>ects released from the top of 3uildin$s and o3>ects that fall to the $round< 3ut the 3uildin$s do not cause the o3>ect to fall< $ravity does. D)r &arped space if you ta#e a relativistic vie&.F )ne mi$ht notice that &hen the sales of 3icycles increase< so does the num3er of 3oatin$ accidents. +oes ridin$ 3icycles cause 3oatin$ accidents6 @o< thereAs a third varia3le that causes 3oth. ItAs called summer. ,omethin$ else causes 3orin$ scenes< 3ut often 3orin$ scenes sho& up &ith the 3ehavior that eventually shaped The Rules of improvisation. D,o &hat causes a 3ad improv scene6 ThatAs for later.F The ironic thin$ a3out all of this is that the literal 3ad moves noticed in 3ad scenes sho& up nearly as often in &onderful scenes. D,cenes &ith &onder* I &onder &hy they &or#6F That is to say< in $reat scenes there are many Huestions and players tellin$ stories of the past and &hatnot< 3ut they $o lar$ely unnoticed. (eople are usually too 3usy lau$hin$ or 3ein$ in a&e to notice such thin$s* >ust havinA fun< you #no&. 8very once in a &hile a Huestion or the &ord 1no1 is cau$ht 3y someone &atchin$ a $ood scene< and itAs chal#ed up as an e7ception< &ith little further e7planation. /ay3e someday youAll 3e $ood enou$h to 3rea# a rule and 3e an e7ception. /ay3e this afternoon. @o& for even more fun. @ot only do I 3elieve that the aforementioned 3ehavior Dthat &hich does not adhere to The RulesF does not cause 3ad scenes< I do 3elieve that the teachin$ of 13ehavior that adheres to The Rules1 can cause 3ad scenes. /y hypothesis &ould read* $earning rules !an !ause ad improvisation. Why< &hy6 "ecause the &orst part a3out rules is that people remem3er them. )ften a3ove and 3eyond anythin$ else. It satisfies and stimulates the left 3rain. )h< for a list. 1There they are< all num3ered and listed. I can remem3er that. I &ill remem3er that. I &ill remem3er The Rules of improvisation. Ho& could I not6 2fter all< they are The Rules.1 They stic# to the 3rain li#e $lue. They help you thin# a3out stuff. Why< you canAt help 3ut thin# a3out The Rules. TheyAre all memoriCed in your head. TheyAre 1in your head.1 D187cuse me< ho& do I $et Aout of my headA61F The Rules< The Rules* $ot Aem all6 Thin# a3out them< Acause you donAt &ant to 3rea# one< thin# lon$ and hardB "ow improvise, play% ?ood luc#. .es. ThatAs &hy IAm not a 3i$ fan of The Rules. They help people thin# in a particular &ay< and that &ay of thin#in$ is often death to $ood improvisation. IAve &atched those damn Rules scre& people up for years< and I donAt mean that for years< IAve seen The Rules scre& people up. Individuals &ho can thin# of nothin$ else on sta$e 3ut The Rules< &anderin$ around po&erlessly for years< thin#in$ and measurin$ and 3ein$ very careful not to 3rea# The Rules< all the &hile &onderin$ &hy they are not improvin$. Improvisin$. 5eft 3rain analytical heaven. @ot very much fun. @ot much fun to 3e on sta$e &antin$ to do somethin$< all the &hile thin#in$ a3out not doin$ somethin$< such as as#in$ a Huestion. @o $ood time in &antin$ to listen to your partner &hile thin#in$ a3out not teachin$ her. 5ittle po&er in &antin$ to 3rea# out &ith a &ild character and not Huite doin$ so 3ecause youAre thin#in$ a3out not tal#in$ a3out an event in the future. WhatAs more< IAve seen hundreds of scenes that donAt violate any of The Rules of improvisation that ma#e me yearn for naptime. What the . . . 6 ,cenes that en$a$e in all of The Rules of improvisation and the scenes are still 3orin$ as hell6 )h yeah< 3elieve you me* &roper e'e!ution of The Rules in an improv s!ene does not ne!essarily yield a good improv s!ene. urthermore< "ot reaking any of The Rules does not ne!essarily yield a good improv s!ene.
4

Rules themselves are irrelevant to $ood improvisation< 3ut thin#in$ a3out them is not.

Fear Fear Fear

Whether irrelevant or not< the 3ehavior e7hi3ited in 3ad scenes e7ists. Where does this 3ehavior come from6 Why do 3ad scenes al&ays seem to sho& up &ith the same o3serva3le patterns6 ear fear confusion confusion fear thin# thin# thin#Bfear. 8ach day &e adult humans &al# around >ust tryin$ to $et throu$h the day. Ho& the hec# do &e do it6 We protect ourselves. )ur consciousness. )ur thin#in$. We can thin#< &e can choose< and &e can act 3ased on that choice. ThatAs &hat &e humans do. 8arly humans 3e$an to remem3er thin$s and ma#e choices 3ased on &hat they memoriCed. It &as to their advanta$e to do so. I can ima$ine the mind of a human ha3ilis five million years a$o< thin#in$< 1Hmmm< every time I $o do&n that path that other $uy thro&s a roc# at my head and calls my &oman names. Today< havin$ remem3ered that information< I &ill $o do&n this other path to $et home to the tree.1 It &as an advanta$e for this $uy to remem3er this information and act on it. Those that had this selective advanta$e survived over those that did not. Those that remem3ered not to $o do&n that path didnAt $et roc#s thro&n at their heads and survived 3etter. Those that didnAt remem3er &ent do&n that path and< sure enou$h< $ot a roc# thro&n at their head. They eventually died off< so consciousness survived as the natural selective advanta$e. We humans thin#< so &e survive 3etter. Humans &ho thin# &ell survive 3etter than those &ho do not. We constantly protect ourselves and advance ourselves &ith our a3ility to thin#. We rely on it for everythin$. If< as a child< I 3rea# the $ara$e &indo&< I must thin# of e7actly &hat IAm $oin$ to say to /om so that she &ill protect me from +ad. If IAm $oin$ to as# /ary to the prom< I must thin# a3out &hat IAm $oin$ to say in order to protect myself from appearin$ foolish and to succeed in o3tainin$ the date. If I &ant to $et the >o3< I must consider the intervie& 3eforehand and thin# of every possi3le Huestion I could 3e as#ed and every possi3le ans&er I can provide. If I am to present a sales proposal< I must carefully consider all possi3le o3>ec; tions and thin# a3out ho& to overcome them. It has 3een the same thin$ for millions of years. (eople fear thin$s so they thin# of &ays to prevent an un&anted outcome. ,o &hat the hell does this have to do &ith improvisation6 IAll surely tell you no&. Improvisers carry seven million years of human consciousness on sta$e &ith them every time they improvise a scene. 2nd they do &hat humans should do< the thin$ that humans do in every other situation in their lives* They carefully consider all possi3le scenarios and thin# a3out &hat they &ill do so that they &ill remain safe and do and say the appropriate thin$s. This #ind of thin#in$ is &hat has 3ecome #no&n in improv land as 1in your head.1 ItAs a measured &ay of thin#in$ that has one consider< stop< reconsider< thin#< loo#< stop< consider< o#ay< thin#< stop< thin#< consider< &ait< stop< thin#< etc. Gnfortunately< $ood improvisation has nothin$ to do &ith safety or appropriateness. D2s a matter of fact< itAs Huite the opposite.F When this &ay of thin#in$ is 3rou$ht into the improv scene< the audience and the performers ali#e soon discover that it is 3orin$. The audience didnAt pay t&o dollars to see adult humans thin# and consider options around them. ThatAs &hat they &atch and participate in all dull;day;lon$. They &ant to see people play and play hard. Thro& caution Dthin#in$F to the &ind DoutF. Really play. If improvisers arenAt truly playin$ then they are 1thin#in$ a3out.1 If fear has them thin#in$ in this &ay at the 3e$innin$ of the scene< they are sure to discover that their scene is 3orin$ from the audienceAs perspective. The conseHuence of that realiCation is more fear and confusion. That is to say< &hen the scene starts to $o a&ry< and the performer and audience ali#e 3oth discover this early on< the improviser $ets scared and confused. What do human adults do &hen they are scared and confused6 +efend and protect. When in a situation that is scary and confusin$< human adults &ill often as# Huestions in order to $et information to protect themselves. They may see# false po&er 3y dictatin$ action to others< or see# manufactured status 3y teachin$ others ho& to do somethin$ and=or 3y sayin$ no to anotherAs proposal or idea. )ne &ho is scared and confused mi$ht try to $ain control of her situation 3y >ustifyin$ &ho she is< &hat sheAs doin$< and &here sheAs doin$ it. )ne &ho is fri$htened to do somethin$ ri$ht no& may recount a past event< or tal# a3out an event that may happen in the future< or ne$otiate a proposition. )ne that terrified may even desperately attempt to fi$ure out &hatAs $oin$ on so much< he literally starts tal#in$ a3out &hat he is doin$. ear 3e$ets thin#in$. Thin#in$ 3e$ets protective 3ehavior.
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(rotective 3ehavior is noticed as patterns in 3ad improvisation. (atterns of 3ehavior 3ecome rules. The Rules of improvisation* remem3er them &ell.

Breaking The Rules

1+onAt you have to #no& The Rules first 3efore you can 3rea# them61 IAve 3een as#ed that Huestion a fe& hundred times. ItAs usually a student &ho has already spent L2<05! on improv classes. D(eople li#e to >ustify their e7penses.F I &ish I could provide comfort< 3ut unfortunately the ans&er is 1@o.1 I do not 3elieve one must learn The Rules in order to 3rea# them. Why learn ho& not to do somethin$ in lieu of learnin$ ho& to do somethin$6 Why improvise &ith the 3a$$a$e of inactive thin#in$6 In electricity< if I learned and practiced ho& not to &ire an outlet< I &ould die. In s#ydivin$< if I learned and practiced ho& not to open a parachute< I &ould die. In lion tamin$Byou $et my contrived point. Well< IAve seen many a scene die &ith the thin#in$ and practice of The Rules. Why not learn ho& to improvise and let the ne$ative 3ehavior associated &ith The Rules disappear as a conseHuence6 2$ain< in the form of an eHuation*
Adheren!e to The Rules does not e(ual a good s!ene. Thinking a out The Rules !an e(ual a ad s!ene. The Rules of improv are irrelevant to good improv.

If so< then &hy do The Rules persist in improv trainin$ decade after decade6 I &ish I had an ans&er to that. )h< as a matter a fact I do. irst< 3ecause as I stated 3efore< The Rules seem to ma#e sense. In an a&ful scene< The Rules loo# li#e the reason the scene is 3ad< so it seems lo$ical to d&ell on them. ,econd< $ood scenes are a dra$ to tal# a3out and many people &ouldnAt even #no& &hat to say. IAve seen soooo many instructors &atch a 3ad scene and chal# it up to 1too many Huestions1 or 1tal#in$ in the future.1 IAve seen as many< after a $ood scene< say D&ith a half;lau$hF< 1?reat< thatAs ho& itAs done< t&o more.1 ThatAs ho& what)s done6 I canAt really 3lame them thou$h. It ma#es sense to discuss The Rules in re$ard to a 3ad scene< 3ut it doesnAt feel ri$ht to 3rea# do&n a $reat scene. ,tudents and teachers ali#e love to satisfy their left 3rain and analyCe that &hich failed< 3ut no3ody li#es to mess &ith ma$ic.

3 How to Improvise
Part One: Do Something!
or ?odAs sa#e< do somethin$. 2nythin$. ,omethin$. 2t the top of an improv scene< do somethin$. (lease< do it for yourself. +o yourself a favor and >ust do somethin$. .ou see< thereAs this $uy you #no&< nice enou$h fello&< and heAs al&ays tal#in$ a3out &hat heAs $oin$ to do someday. He has 3i$ plans< and if heAs in The "usiness< then he tal#s a3out a screenplay heAs $onna &rite or a thin$ heAs $oin$ to shoot on video or an idea he has for an improv form. If heAs not in The "usiness then he tal#s a3out &hat heAs $onna do at &or# or to his house or some scheme he has for this or that. He tal#s endlessly in $reat detail of the necessary steps he &ill ta#e to someday e7ecute his master plan for &hatever he &ill do and spea#s of all of the re&ards he &ill $ain once he does this thin$. /ay3e you #no& this $uy for t&o or three years and 3e$in to notice that he doesnAt really carry out anythin$ he tal#s a3out doin$. (erhaps you 3e$in to la3el him as a 1tal#er1 or 1full of it.1 /ay3e as he spea#s of his ne7t scheme you 3e$in to thin# to yourself< 1I &ish this $uy &ould stop tal#in$ a3out it and >ust do it.1 2nd as time $oes 3y< you see this $uy at parties and notice that you are doin$ a little 3it to avoid him. When he catches you and en$a$es you in conversation< you 3e$in to o3serve that you are 3ored &ith his 1someday I &ill do this1 tirade. 2s a matter of fact< you start loo#in$ around the room at other people #inda hopin$ someone &ill rescue you from this person 3ecause you are so 3ored. There he is a$ain tal#in$ a3out somethin$ heAs $onna do< and you #no& that itAs never $onna happen and it 3ores the hell out of you to have to listen to it a$ain. T&o &ee#s later he catches you &al#in$ do&n the street and no&< as he approaches< you actually $et a little an$ry on the inside. .ouAre still nice 3ut you feel as if your time is 3ein$ &asted. .ou &ant nothin$ more than to release yourself from this $uy &ho never does anythin$ 3ut tal#s endlessly a3out &hat heAs $oin$ to do someday. .ou &ish he &ould >ust do somethin$< anythin$< and stop tal#in$ a3out it. This is the &ay your audience feels &hen you donAt do somethin$ in an improv scene. They are 3ored< distracted< and a little an$ry that someone &ho isnAt doin$ anythin$ is &astin$ their time. .ouAre not li#e the $uy a3ove< thou$h< &ho is tal#in$ out loud a3out doin$ somethin$ and then not doin$ it. @o< your conversation is silentE itAs all in your head. ThatAs &here the tal#in$ is $oin$ on. or the audience< thou$h< it may as &ell 3e out loud. They still have to &ait for the conversation to 3e over. They are still &aitin$ and thin#in$< 1I &ish some3ody &ould do somethin$.1 They donAt $ive a damn &hat you are thin#in$ a3out< they >ust &ant you to do somethin$. They< the audience< donAt even reHuire a specific thin$ that they &ant you to do. They >ust &ant you to do somethin$B anythin$. 1(lease< some3ody do somethin$.1 They donAt even #no& &hat 1do somethin$1 means. They only #no& that nothin$ is $oin$ on and they are 3ored and have 3een $iven the opportunity to thin# and that the thin$ they are thin#in$ is< of course< 1+o somethin$.1 (erhaps< in that scene< you are thin#in$ the same thin$.

But what do I do?

Who $ives a damn6 That you do somethin$ is far more important than what you do. 2t the top of an improv scene< in the first crucial moments< it is far more important that you do somethin$ than &hat it is you actually do. 2nd &hy is this6 Why is it important to $ive little credence to &hat you do as lon$ as you do somethin$ at the top of an improv scene6 I &ill tell you* It &ill snap you out of your head. 2nd thatAs half the 3attle. It &ill allo& you to ma#e a choice out of po&er as opposed to fear. It &ill eliminate the mere t&o seconds Dor lessF that it &ill ta#e you to start tal#in$ yourself out of the scene. It &ill put you in a 1I donAt #no& &hat IAm doin$ 3ut IAm doin$ it any&ay1 mode of 3ein$. This is the first step to playin$< and itAs po&erful and fearless and 3old and unapolo$etic< and it has you start a scene 1out of your head<1 &hich is< of course< the 3est &ay to stay out of your head. It ma#es that sudden snap and >olt to the irrational< &here $ood improvisation is housed< and allo&s you to...

Take care of yourself first!

2t the top of an improv scene< in the very 3e$innin$< ta#e care of yourself first. ThatAs ri$ht< 3e very selfish at the top of your scene. +o somethin$< anythin$ for yourself first. .ouAll have plenty of time to 1support your partner1 later. Too many scenes have $one to hell 3ecause at the very 3e$innin$ of a scene an improviser thin#s
1'

a3out their partner first. 2nd &hat do they actually do6 They may stare at their partner &ith a $lass in their hand and say 1,o<1 or 1Hey<1 &aitin$ for and allo&in$ their partner to initiate the scene. .our partner may 3e doin$ the same thin$< 3ein$ courteous and allo&in$ you to ma#e the first move. /ay3e they say< 1WhatAs up61 T&o people on sta$e starin$ at each other and &onderin$ &hoAs $oin$ to ma#e the first move. T&o people 3ein$ nice to each other and allo&in$ the other to start doin$ somethin$. In that short amount of time< t&o humans have created themselves as po&erless and thin#in$ entities &ho are &aitin$ for one or the other to do somethin$< all in the name of courteousness and=or support for their partner. Who has time6 The audience is &aitin$. They donAt care a3out your support. They care a3out &hat you do. What you do no&. The $rand irony is that the times IAve felt most supported in an improv scene is &hen my partner too# care of herself first. When my fello& player selfishly ma#es a choice< any choice< at the top of the scene< I feel very supported. I feel supported 3ecause no& IAm on sta$e &ith a po&erful< playful person &ho isnAt afraid to ta#e a chance. IAm on sta$e &ith a fearless individual< and not someone in her head< rendered speechless 3y fear< and &aitin$ for me to do somethin$.
I feel very supported 3y po&er< very unsupported 3y fear. The 3est thin$ you can do to support me in an improv scene is to ta#e care of your o&n deal first. If you donAt ta#e care of yourself< ho& the hell are you $oin$ to ta#e care of me6 D,till seem selfish6 )f course< thatAs &hy &eAll revisit this later.F /a#in$ that stron$ move at the top also allo&s you to...

Declare a position in the scene.

+eclare a position. ,imply< selfishly ta#e a position in the scene. What does this mean6 It could mean a lot of thin$sE itAs all in the conte7t of >ust doin$ somethin$. It doesnAt even have to involve &ords. ItAs >ust< &hat is your deal6 WhatAs your deal $oin$ to 3e in the scene6 What card are you $oin$ to play6 8very scene has a deal. ,ome people say this is 1What the scene is a3out1 or 1The $ame of the scene.1 8very $reat scene you can thin# ofBimprov or &rittenBhas a deal* &hat itAs a3out< a $ame< &hat itAs centered in< etc. )ften that comes &ith the conver$in$ points of vie& of each improviser. The points of vie& could 3e in a$reement or notE itAs irrelevant. /ay3e itAs that your character spea#s in one;&ord responses< or inflects up&ard at the end of a sentence< or is >ealous of everythin$< or hops &hen he spea#s< or sin$s or hits herself every time somethin$ is as#ed of her. /ay3e itAs >ust a slice;of;life character scene< in &hich the respective deals are the characters themselves. Whatever. It doesnAt matterE it could 3e anythin$.

Your deal is your personal road map for the scene.

.our deal is your $uide and you create it. Whatever it is Dand it >ust doesnAt matter &hatF< it has a far 3etter chance of emer$in$ as a result of a 3old choice at the very top of the scene than it does if you &ait for it. ItAs all still >ust playin$< 3ut &hat are you $oin$ to play &ith when you play6 .ou have to create it< 3ut &hat it is doesnAt matter. ThatAs the tric#y part. Initiatin$ somethin$ for yourself< not carin$ a3out &hat it is< realiCin$ the po&er of >ust doin$ it and catchin$ up with &hat you did later. It defies lo$ic. It is fun. 2nd most of allB ItAs e7citin$ for the audience. It doesnAt leave them &aitin$ for you to do somethin$ someday. It catches them off $uard and tells them that this isnAt $oin$ to 3e one of those scenes &here &e ease into it and thin# throu$h it. 2 stron$ declaration at the top tells them that you are ready and thereAs no time to thin#. @o time for them< and no time for you. ThatAs e7citin$. ThatAs vital. ThatAs stron$. ThatAs playful. I remind you< &hen &e &ere #ids &e didnAt thin# a3out ho& &e &ere $oin$ to play or &hat &e &ere $oin$ to do< &e >ust made a move and cau$ht up &ith it later. 1,o &hen the li$hts come up< do I scream61 @o. .ou may< 3ut you certainly donAt have to. When I say anything, 1 mean anythin$. Iuite often &hen &e spea# of power and old and immedia!y, &e thin# of freneti! and loud energy. It doesnAt have to 3e. The snap I spea# of in the 3e$innin$ of the scene can come in many forms. It could 3e a Huiet 1Hmmm1 or a su3tle o3servation or a &ord or a shift in 3ody &ei$ht. It is literally anythin$. .ouAll #no& &hen youAve made a move and created somethin$ for yourself. .ouAll #no& &hen it feels $ood and youAve snapped into somethin$. .ou mi$ht 3e a little scared< 3ut you &onAt care in a &onderful &ay. 2nd thatAs a &orld of difference.
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Here I am< descri3in$ the indescri3a3le. 9ust #no& that declarin$ your position in a scene is a move to protect yourself first. It doesnAt even have to involve &ordsE it could 3e anythin$.

A Word A out "o Words

"e careful. Too many improvisers donAt say somethin$ at the top of a scene not out of choice< 3ut out of fear. 2nd &hile itAs true that pro3a3ly only one improviser &ill initiate the scene &ith &ords< it doesnAt hurt for you to condition yourself to do so. Words are the scary part of improvisation. In the &ords you &ill reveal your sense of humor< your intelli$ence< your values< etc. .ou &ill have many &onderful silent scenes as &ell< 3ut scenes &ith &ords &ill dominate. Whether somethin$ &e say &ill 3e perceived as funny=intelli$ent=clever is &hat $ets us in our heads most of the time. The more importance you place on &hat you say< the more you &ill thin# a3out it< and the less you &ill 3e a3le to say &ords that are funny=intelli$ent=clever. Iuite the contrary< &hen you spend your time thin#in$ a3out tal#in$< &hat eventually does come out of your mouth is Huite stupid< nearly prehistoric. If youAve 3een in a scene and after&ard you felt li#e an idiot< li#e you said stuff you &ould never say in real life< IAll 3et my poc#et &atch you spent a $reat deal of time in the scene thin#in$ a3out sayin$< or thin#in$ a3out &hat to say< or thin#in$ of somethin$ to say and then decidin$ not to< and you $ot to a point &here you felt li#e you had to say somethin$< and &hat you produced &as stupid. ,o< if after all that thin#in$ &hat you come up &ith is so a&ful< you mi$ht as &ell say anythin$ ri$ht off the top< even if you donAt #no& &hat youAre sayin$. 2nd most of the time itAs not &hat you say any&ay< itAs ho& you say it. /ore on that later. /a#e sense6 1 hope not.

+ra

ing an , -e!t at the Top of the S!ene

?ra33in$ an o3>ect at the top of an improv scene can 3e a &onderful thin$< and it can also 3e a death sentence. I &as told 3y many to $o to my environmentBto $ra3 an o3>ect at the 3e$innin$ of the scene. 2nd in my pleadin$ &ith you to >ust do anythin$< $ra33in$ an o3>ect certainly Hualifies. Then &hy the possi3le death sentence6 ItAs ho& you $ra3 the o3>ect. )h< listen carefully. If thereAs nothin$ 3ehind Dnot anythin$ 3ehindF reachin$ for and holdin$ that o3>ect< then itAs merely a stall so you can thin# more. IAll say it a$ain. ,ometimes $oin$ for an o3>ect ri$ht off the top is $reat< 3ut sometimes itAs an e7tension of thin#in$ your &ay throu$h a scene. ,i7 million and three times I have &atched improvisers reach for the o3li$atory o3>ect and stand there and hold it &hile they thin# of somethin$ to say for t&enty;three seconds. They did do somethin$ at the top< 3ut there &as nothin$ $oin$ on< no deal. ThatAs &hy I stress the how. The li$hts come up* 2n improviser $ra3s a pointer< aims at a 3lac#3oard &ith a sneer and says in a "ritish accent< 1Interestin$ lotion." 2nother scene< another improviser. 5i$hts up* The improvi ser $ra3s a cup< loo#s at it< loo#s at her partner< loo#s at the cup a$ain, and after ei$ht seconds comes up &ith 1,o< ho&As it $oin$61 ItAs the difference 3et&een the sun and (luto. The first improviser had somethin$ $oin$ on. 8ven if he didnAt #no& &here he &as $oin$< the o3>ect &as an inte$ral part of the sceneAs initiation. The second improviser $ra33ed her o3>ect as a crutch Dand often it really is a cupF< and held it &hile she con tinued to thin# a3out &hat her partner &as doin$ and &hat she &as $oin$ to say< etc. I &ould rather improvise my scene &ith the first improviser. 2n o3>ect at the top can 3e a &onderful tool< or a horri3le safety< dependin$ on ho& you use it in your initiation.

&re!on!eiving Ideas
1-an I thin# of the Aanythin$A IAm $oin$ to initiate 3efore the scene starts61 )r< in other &ords< is it o#ay to preconceive an idea in an improv scene6 Is it o#ay to 3e 3ac#sta$e thin#in$ of somethin$ you are $oin$ to 3rin$ to a scene 3efore you $et a su$$estion or 3efore the li$hts come up6 /y possi3ly surprisin$ ans&er to these Huestions is a Hualified yes. I say yes 3ecause I #no& that improvisers are $oin$ to do it any&ay. Is it cheatin$6 In the empirical sense< yes< it pro3a3ly is. If improvisation is truly $ra33in$ a su$$estion from an audience Dor notF< and truly
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ma#in$ it up as you $o alon$< then I suppose preconceivin$ an idea is defyin$ the pure improv scene. "ut< li#e I said< youAre pro3a3ly $oin$ to do it more than once DI #no& I haveF< so there may as &ell 3e an honest discussion a3out it. irst of all< let me see if I can list the different shades involved in the preconception of an improv initiation. ,omeone &ho thin#s of all the 3eats of the scene 3eforehand and attempts to force their partner into their scenario ,omeone &ho thin#s of a 1funny1 line and decides that theyAd li#e to s&ay the scene in a &ay that &ill allo& them to $et that line in ,omeone &ho chooses a favorite character< no matter &hat the su$$estion< that has &or#ed in the past ,omeone &ho chooses an emotional state< such as 1IAm $oin$ to 3e sad in this scene.1 ,omeone &ho creates a first line 3eforehand and e7ecutes that line at the start of the scene

I thin# these are all the thin$s one could do 3efore and as the scene 3e$ins. 5etAs honestly ta#e these one 3y one and see if &e can see &hat &or#s 3est. IAll offer a little o3servation=opinion of each.

&re!on!eiving the .eats

2 pitfall of many 3e$innin$ improvisers* They come up &ith a $rand idea< an actual arran$ement of 3eats< and attempt to manipulate the scene to fit those 3eats. This is an e7treme 3urden on the improviser and his victim< the partner in the scene. In this method< one is attemptin$ to &ei$h every possi3le varia3le in the scene and adapt it to the 3eats in his head. It is rarely successful< if success eHuals havin$ an interestin$ and=or funny scene. Too much left;3rain 3a$$a$e to 3rin$ to a scene. 2ctually< I donAt #no& if itAs ever 3een successful 3ecause I donAt thin# itAs ever really 3een done< not at least &ithout a discussion &ith the partner 3eforehandBand even then itAs a huge roll of the dice. Too many thin$s happen in a scene. ItAs silly to try to improvise a scene &hile remem3erin$ 3eats< educate your partner to these 3eats< maintain a character< adapt the 3eats to the audience su$$estion and $iven location< force your partner to $o do&n the path youAve chosen< and all the &hile ma#e it loo# li#e youAre 1ma#in$ it up on the spot.1 Why 3other6 "e$innin$ improvisers do this 3ecause they really need the left;3rain control 3efore they improvise. They feel they need the safe construct of a preconceived idea. Those &ho are ne& to improv also havenAt yet learned that improvisationAs success does not lie in premise< 3ut in the audienceAs perception of relationship created throu$h point of vie& or character or some other deal. (reconceived 3eats* (ractice this< and you are practicin$ the devilAs &or#.

/or!ing a /unny $ine

Have fun. While the improviser is 3usy thin#in$ of ho& to find a &ay to say that line< thereAs a scene $oin$ on. If she is successful at some point in 3lurtin$ out the line< it's usually inappropriate and stic#s out li#e a sore thum3 and is the opposite of very funny.

0sing a Chara!ter That Always Works /or 1ou

This is done all the time. ThereAs a &ell of characters each improviser has and they use them 3ecause they #no& they &ill al&ays $et lau$hs. 2nd they doBfor a &hile. ,oon the &ell runs dry. ,oon could 3e t&o months or five years< dependin$ on the improviser. The characters are still in the &ell< 3ut for some reasons the lau$hs $o a&ay. This is a very common middle phase for improvisers. -haracter ener$ies start to lose steam. Thin$s that al&ays &or#ed no& rarely do. In this phase somethin$ Huite interestin$ happens to improvisers. They either decide that they are not very $ood and leave improvisation< or they persevere and learn that improvisation is not a3out e7ecutin$ five $ood
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characters on a re$ular 3asis< 3ut decidin$ that one does not have a finite 1num3er1 of characters. The &ell is not empty after all. It contains an infinite num3er of characters. These characters are 3ased on every life e7pe; rience theyAve ever had< everythin$ they feel a3out the &orld< and everythin$ theyAve ever seen. Improvisers only have to do anythin$ in the 3e$innin$ of the scene< and those characters &ill find them. Then a &orld opens up and improvisers no lon$er thin# of the fe& characters they rely on< 3ut thin# of themselves as improvisers &ho can do< or at least try< any character. ,tran$e thin$Bafter a &hile those first five characters usually sho& up a$ain in their improvisation< 3ut no& they are much more vital and funny 3ecause they are not used out of safety 3ut out of novel< po&erful choice.

Choosing an 2motional State .eforehand

I donAt mind this one. 2n emotional state su$$ests nothin$ of the content of the scene. If any emotional state is as $ood as another and it doesnAt affect lo$istical considerations in the scene< then &hy not6 It< as everythin$< depends on the conte7t in &hich the improviser is choosin$ the emotion. If you are $ettin$ ready to do a scene and you decide to play that sad person that you al&ays play successfully< then youAre pro3a3ly no 3etter off than in the previous e7ample Dprechoosin$ a characterF. If you decide youAre $oin$ to play the scene an$ry 3ecause youAll have more control< then you ris# the same traps as in the e7amples of preconceivin$ 3eats=lines. /ay3e you al&ays choose an emotion 3ecause youAre afraid to do other&ise. Then youAre improvisin$ from a construct of safety and it isnAt the most po&erful position you can 3e in. If< on the other hand< you are doin$ a lon$ form and notice that youAve played three scenes in a ro& &here youAve 3een the 1lau$hin$ $uy<1 and decide to create variety &ith a different emotional state< then $ood for you and $ood for the sho&. )r if you notice that you have found yourself in a rut playin$ an$ry ener$ies and decide that you &ant to $ro& as an improviser &ith another choice< then really $ood for you. If you have to thin# of somethin$ to do 3efore you improvise a scene< an emotional state is pretty harmless and &ide open and can 3e a po&erful startin$ point. +epends on &hy youAre choosin$ it.

Thinking of a $ine to Start the S!ene

2ll humans &ho are or &ho have improvised have done this. I certainly have. I donAt #no& anyone &ho hasnAt. ,o am I sayin$ that everyone &ho has ever improvised in the history of improvisation has done this at one time6 .es< yes I am. It &ould 3e $reat if all scenes &ere as pure as the driven sno& 3ut they are not. Improvisers do thin# of lines 3efore their scenesE I see# to loo# at ho& they do that. If an improviser thin#s of the line< 1I am a ro3ot and you are my ro3ot father and to$ether &e are $oin$ to eliminate humans so that our 3rothers and sisters from the 2ndromeda ?ala7y can ta#e over the planet and our leader is on our space phone no&< so &hy donAt you tal# to him and tell him more a3out the plan &hile 1 &atch<1 then there is pro3a3ly trou3le a;3re&inA. Too much informationE little room for discovery in the scene. 2 lot more po&er &ould come from a sad< 1,o< youAre here.1 Gnfortunately< it ta#es a &hile for an improviser to $et this. It also ta#es a &hile for an improviser to learn ho& to e7ecute a first line &ithout it appearin$ contrived and preconceived. 8ven if you 3ecome proficient at presentin$ that first line< you have to 3ecome as proficient at lettin$ it $o if your partner initiates the scene and it doesnAt Huite fit into the conte7tual scheme of the line in your head. )h< youAll learn to respond to the initiation &hile #eepin$ the flavor of your first line intact and sometimes it &ill even loo# 1improvised.1 )ver time< youAll learn that droppin$ your preconception is as $ood as adaptin$ it to the initiation< and then< if youAre luc#y< youAll learn that not havin$ a first line at all is as< if not more< effective than havin$ a preconceived first line in the first place. In an improv scene it is far more important that you do somethin$ than what you do.

Part Two: Check Out

hat !ou Di"#

2fter you do somethin$ at the top of the scene< after youAve made a real choice< ta#e half a second to chec# out &hat you did. Immediately after you do somethin$< assess &hat you created. 5etAs say the li$hts came up on sta$e and you loo# out over the audience and &ithout thin#in$< ya&n and initiate the line< 12h< ,aturdays.1 ThatAs a start of an improv scene. .ouAve succeeded in the first step* .ou too# care of yourself 3y initiatin$ and you had somethin$ $oin$ on 3ehind it Dseemin$ly 3ored or tired as evidenced 3y the ya&nBitAs somethin$F. @o& &hat6
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@o& &hat the hell do you do6 The li$hts came up and you are improvisin$ and you said 12h< ,aturdays.1 What do you do no&6 IAll tell you &hat some improvisers do. ,ome improvisers mi$ht thin#< 1Why did I say that61 or 1WhatAs my partner doin$ no&61 or 1What am I $oin$ to say ne7t61 or 1That &as 3orin$<1 or 1Why did I say itAs ,aturday61 or 1Why am I loo#in$ out over the audience< is this a &indo&61 or 1That didnAt &or#<1 or a host of other thin$s li#e that. ,ometimes 3y the time the improviser has $one throu$h those thou$hts the partner is respondin$ in the scene< or already did. ,o &hat am I su$$estin$6 This. To chill out and merely chec# out &hat you didBin a real literal &ay. 5i#e< 1)h< I >ust said A2h< ,aturdaysA #indaA 3ored and IAm loo#in$ out.1 ThatAs it. ThatAs all. (eriod. @o speculation< no self;>ud$ment< no see#in$ ans&ers to Huestions< no &orryin$ a3out &hat ifs. /erely assessin$ &hat you literally created. 1What did I >ust do6 )h.1 Why, why, why3 "ecause youAve >ust created your characterAs road map to the scene. ThatAs &here it lies. The move you >ust made. In &hat you >ust did. ThatAs &here the deal is for you and your character. The very first thin$ you said or did from your characterAs point of vie& lies in that moment< and IAm as#in$ you to ta#e one half second to merely chec# out &hat that &as. What did you literally >ust create6 )h that< very &ell. 2 lot of improvisers create somethin$ at the top of the scene and have no idea &hat the hell they >ust created. IAve seen it so many times and so have you. 2n improviser &ill say somethin$ at the top of a scene< the very first line< and $et a lau$h. 2fter the lau$h su3sides< that improviser says somethin$ else. The second line lies flat. ItAs disappointin$ to the audience and ?od. In fact itAs almost an$er;invo#in$< 3ecause itAs o3vious from the improviserAs second line that he didnAt $et the deal 3ehind his first lineE that is< he didnAt #no& &hat he &as doin$. 5iterally< such improvisers do not #no&;&hat;they;are;do;in$. -reate 3oldly in the first moment< then chec# out &hatAs up. ?ood improvisers do this &ithout even realiCin$ it sometimes. It's automatic. /a#e an intuitive self; appraisal that has nothin$ to do &ith &orryin$ or &onderin$ &hat is $oin$ to happen ne7t. /erely that you did somethin$ and &hat it &as. @otice there is no why in that statement. Who cares &hy you did somethin$6 /ost of the time in improvisation as#in$ Dor ans&erin$F &hy you did or said a particular thin$ is a form of >ud$ment and measurement that &ill $et you in your head. ItAs only important that you did it. Ho& a3out howl .es< yes. 4ow is everythin$ in improvisation. Ho& people do somethin$ in improvisation is most of the reason people lau$h at improvisation. The line 1?oat is $ood eatinA1 may or may not 3e funny in and of itself. "ut did you say it as a southerner< someone 3ored< someone &ho stutters< someone &hoAs scared< someone &ho >umps every time ay a sentence< someone &ith a nervous tic6 Ho&< ho&< ho&6 Words are of little impact &hen not filtered throu$h the how. The ho& comprises everythin$ from emotion to state of 3ein$ to character to character attri3ute to intonation to physical score to point of vie&. The ho& is your deal in the scene< the ma$ical road map for the character< created instantaneously< ac#no&led$ed thereafter< and played< I said played< furiously.

Part Three: Hol" on to

hat !ou Di"#

Hold on to &hat you ac#no&led$ed yourself doin$ and ho& you did it< and do it more< in every &ay possi3le and at every opportunity. +o not let $o< and passionately ma#e more of it. "e possessed &ith &hat you created and ho& you are doin$ it. In The Wizard of ,z, +orothy must passionately hold on to the notion of $oin$ 3ac# to Jansas. 4ow she does this is in an inno!ent way. ,he must never &aver from that innocent desire. ,he can have lots of thin$s happen to her in that scenarioBpoppy fields< &itches< and flyin$ mon#eysB3ut her innocent desire must $ro& stron$er and stron$er. The Tin /an must al&ays &ant a heart< the 5ion coura$e< and the ,carecro& a 3rain. They must never chan$e< for if they do the movieAs all 3ut over. This is all so true in improvisation< as &ell. The only difference is that you are creatin$ the entire +orothy on the spot. It is perhaps the tric#iest part of improvisation* Han$in$ on to &hat &e create and hei$htenin$ it< or ma#in$ more of it. There are a fe& reasons I 3elieve this is hard for people. M WeAre too nice.
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We have a 3elief that 3y drivin$ our point of vie& home in a scene &e are railroadin$ our fello& player. This 3elief mi$ht 3e true if you didnAt use simple $ive;and;ta#e communication and yelled continu; ously. "ut simply holdin$ on to your creation and hei$htenin$ it is not rude< itAs e7pected! ?ood improvisers &ant their partners to create a po&erful character or point of vie& and stic# to itBnot for them to tiptoe around and 3e polite and fiCCle their character and $ive in. In improvisation< this #ind of nice is not nice< itAs &ea#. M We reach our fear threshold. We $o for a 3it on a particular tre#< fear &e canAt $o anymore< and $ive in on our point of vie& 3y apolo$iCin$ for it or 3y sayin$ &e &ere >ust #iddin$ or 3y many other &ays IAll chirp a3out later. .ou feel li#e &hat you are doin$ isnAt &or#in$ and &onAt &or# so you find a &ay to $ive up. M We thin# &eAve run out of thin$s to do. 1ThereAs no &ay I can #eep findin$ &ays to e7hi3it this character and its point of vie& in the scene. 2ll the possi3ilities are e7hausted.1 2ll I can say to that is that the possi3ilities are endless. .ou could improvise for an hour &ith that character if you had to. I #no& 3ecause IAve seen and done it. When improvisers do the same thin$ over and over in a scene and feel loc#ed in that thin$< all they thin# is< 1This isnAt &or#in$< IAd 3etter try somethin$ else.1 ItAs the somethin$ else that is #ey. Instead of chan$in$ your entire character and its point of vie&< create somethin$ else in the scene the character can react throu$h. 1 say through and not to< 3ecause everythin$ in an improv scene must 3e filtered throu$h characters. M We thin# that different is funny. "e$innin$ improvisers often thin# that different is funny. 1/ust al&ays 3e different< do somethin$ different. If I create this one character< it must chan$e its mind all the time< or chan$e the reality< or deny the reality< or Huestion the partners 3ehavior< and thatAs &hat &ill 3e funny.1 )uch. The funny of improvisation comes from the choices one ma#es as a character in the relationship &ith another character< not s&itchin$ up the character or relationship or the partner. 2l&ays hold on to the thin$ that you discover you created. Hell< you created it< so hold on to it for dear life. @ot only hold on< 3ut also hei$hten it and e7ploit it for all it is &orth. +orothy &ants to $et 3ac# to Jansas. "ut she canAt stand around sin$in$ 1)ver the Rain3o&1 for t&o hours. ,he has to $et on the yello& 3ric# road and e7perience some &ild and e7citin$ adventures alon$ the &ay. @o matter the interestin$ o3stacle< she must filter the e7perience throu$h her un&averin$ desire to $et home and her undyin$ innocence. ,ame &ith improvisation< 3ut you create your o&n +orothy< yello& 3ric# road< &itches< and flyin$ mon#eys< never tal#in$ a3out why thereAs a road or even an )C< >ust acceptin$ and e7periencin$ it< never ever $ivin$ up your desire to $et home to Jansas< and never ever defilin$ your innocence. That is the play in improvisation. -reatin$ a thin$ out of thin air< ac#no&led$in$ &hat it is and how it does &hat it does< ma#in$ 3old choices from &ithin that thin$< and filterin$ everythin$ else that comes your &ay throu$h it< as &ell.

The $agic of %m&ro'isation

The ma$ic of improvisation doesnAt happen 3ecause you did or did not follo& rules. (erhaps youAve already e7perienced it. 8ither 3y choice or happenstance< IAll 3et you had a $reat character that couldnAt say a &ord &ithout $ettin$ affirmation from the audience Dusually a lau$hF. .ou &ere in a Cone< totally out of your head< and hittin$ every line and action. What you &ere doin$< if you thin# a3out it DitAs hard to 3ecause it &as a $ood sceneF< is improvisin$ from a character or point of vie& that &as never violated Dyou didnAt 3ailF 3ut &as e7ploited for all it &as &orth. 8verythin$ that came out of your mouth &as funny 3ecause it &as filtered throu$h that character or disposition you created. It feels li#e ma$ic. It &as really your choice at &or#. ,omethin$ you created. ,omethin$ you reco$niCed. 2nd somethin$ you played.

10

4 "What About M !artner!"

2t this point< &hat IAve descri3ed may appear to 3e a very selfish &ay to improvise. Improvisers are told< 1,upport your partner1 from the moment the scene starts and throu$hout. I #no& I &as al&ays told that< from the very first improv class I ever too#. 2nd here I have you creatin$ somethin$ for yourself first and then assessin$ &hat it is and holdin$ on to your o&n initiation and hei$htenin$ it. Where does the partner come in6 What happened to all that feel;$ood improv support6 It loo#s li#e you are ta#in$ care of yourself first. Indeed< that is e7actly &hat 1 recommend.

Take Care of !ourself First#

If the first thou$ht in your head &hen you approach an improv scene E 1,upport your partner1 and thatAs &hat you hold to 3e most important< then I as# . . .
What are you supporting them with3

2re you supportin$ them &ith thou$hts a3out supportin$ them6 ThatAs very nice 3ut not very supportive. ItAs so easy to say< 1,upport your partner.1 IAve heard it for years* 1/a#e your partner loo# $ood.1 "ut &hat the hell does it mean6 +o you say nice thin$s to them< do you u3er;a$ree< do you pat them on the head< offer them a chair< ru3 their shoulders6 @o< the most supportive thin$ you can do is $et over your pasty self and selfishly ma#e a stron$ choice in the scene. Then you are supportin$ your partner &ith your po&er< and not your fear. If you &ant to support your partner in an improv scene< $ive them the $ift of your choice. I only feel supported 3y my partners if they ma#e a move< if they do somethin$. If they >ust stand there and loo# at me thin#in$ a3out supportin$ me< I am a3solutely unsupported. The more po&erful a choice they ma#e< the more I am supported. 1,upport your partner1 is a t&o;penny phrase that Huite often ma#es improvisers &ea#. ItAs in the realm of 1IsnAt improvisation a nice nice fantasy land &here everyone is ma$ical and nice and supportive61 ThatAs all nice. "ut it ma#es for improvisation &here people constantly acHuiesce their po&er and never ma#e a move. IAll say it a$ain. .ou &ant to support your partner6 +o somethin$ no&. TheyAll feel supported< 3elieve me. They &ill also 3e $rateful. @o one li#es &ea# panderin$< especially your audience. T&o people ma#in$ stron$ choices is nothin$ 3ut supportive. 2fter a $reat scene< improvisers donAt feel &onderful 3ecause they &ere in the scene thin#in$ the &ords 1,upport my partner.1 They &ere in the space they created< listenin$ to their partner and filterin$ every &ord or action response throu$h the character or point of vie&. 2nother &ay you can support your partner is to #eep your o&n choice intact once youAve made it. 2dhere to and hei$hten the character or point of vie& that you have created. .ou do neither yourself nor your partner $ood if you create somethin$ and then s&itch up< 3ail< chan$e your mind out of fear< or drop an initiation youAve made in the scene. ,tic# to the po&erful choice you have created and you &ill most definitely support your partner.

Take Care of !our Partner#

1What a3out my partnerAs function in the scene< ho& can I support that61 ?od 3less. What a3out your partnerAs creation6 irst of all< no3odyAs function arrives 3y ma$ic. It is the result of the choices made 3y all parties on sta$e. .our partnerAs function is all that they initiate and all that they respond to in response to your choices. "oth functions are mutually carved throu$h a series of DhopefullyF po&erful choices. (oints of vie& arrive as a result of these choices< and thus form &hat the scene is a3out< or the relationship< or the $ame of the scene< all of &hich are Huite often the same thin$s. or e7ample< as a result of your choices Dor choices you have 3oth madeF in the scene< your partnerAs character is an$ry at your character DletAs say your character is lau$hin$ at himF. .ou can support your partnerAs point of vie& 3y ma#in$ him an$rier< there3y addin$ fuel to the fire of your partnerAs point of vie& and helpin$ him to hei$hten his character. /ost of the time thou$h< you are doin$ this 3y
14

simultaneously hei$htenin$ your o&n point of vie& Dyour character lau$hs at everythin$ your partnerAs character doesF. The more your character lau$hs at everythin$ his character does< the an$rier your partnerAs character 3ecomes. That is the relationship of this scene. That is &hat this scene is a3out. That is the $ame of this scene. It &as arrived at throu$h individual choices reco$niCed in self and partner< and hei$htened 3ecause 3oth parties are a&are of &hat each created. This is improv support.

(istening to !our Partner#

Listen.

DTo me no&.F 2nother one of the many thin$s IAve 3een told that is paramount to $ood improvisation is listenin$. @o& surely IAm not $oin$ to refute that< am I6 15istenin$ to your partner on sta$e has $ot to 3e important in $ood improvisationBit >ust has to 3e.1 Well it is< I $uess< 3ut in my opinion merely listenin$ has little value. .ou have to #no& how to listen. Why do &e listen6 Is it to 3e polite6 When I &as told to listen in an improv scene I >ust had to as# myself &hy. The ans&er seems o3vious at first< 3ut is it6 Why is >ust listenin$ important6 I &asnAt sure< 3ut &hat I &as sure a3out &as merely 3ein$ told to listen &asnAt very helpful to me in improvisation. It &as very passive and $ot me in my head. I certainly learned to shut up and listen to my partner< and I $uess it &as no3le< 3ut it rendered me passive and motionless on sta$e. It &as another opportunity to thin#< to $et in my head. 5istenin$ didnAt help me at first. 2fter a &hile< after I learned for myself to create a character or point of vie& to arm myself in a scene< listenin$ 3ecame a different thin$. I listened so that I could respond to operative information my partners supplied for me and filter it throu$h my o&n character in the scene. 1 listened so it &ould help shape &hat I &as $oin$ to do and say in the scene. 2h< it came 3ac# to me a$ain. 5istenin$ $ave me another tool< allo&ed me more ammunition to pour into &hat I had created. Truly< merely listenin$ is not enou$h. I listen to $ain valua3le opportunities to say or do somethin$ relevant throu$h my characterAs voice< &hen I respond. ThatAs &hy I listen. )h ?od< so selfish a$ain. IsnAt listenin$ an altruistic act and canAt it remain as such6 +onAt you listen 3ecause itAs nice and itAs $ive;and;ta#e and $ive;and;ta#e is $ood in improv and all of that6 ,ure< 3ut &hat does it leave me6 5i#e it or not< improvisation is choices made 3y individuals< and individuals need to #no& &hat to do. /erely listenin$ tells me nothin$ of &hat I have to do. 5istenin$ as a &ay to respond to $iven information throu$h my character is a &hole different thin$.

hat %f % )m the Partner*

That is to say< &hat if I am the one not initiatin$< 3ut respondin$ in the scene6 IAve tal#ed a lot a3out >ust doin$ somethin$ at the top of the scene and ma#in$ a stron$ initiation ri$ht off the top &ithout thin#in$ and catchin$ up &ith it later. "ut &hat if someone 3eats me to it6 Half the time that &ill happen. Ho& do I respond and #eep my o&n thin$ to$ether in the scene6 Well< itAs damn near the same thin$ as initiatin$ the scene in the first place< &ith a couple more tools to 3oot. If your partner initiates the scene< presuma3ly &ith &ords< 3efore you do< do this* irst of all< protect yourself in the scene even thou$h you say no &ords. 8ven thou$h you donAt initiate< snap into a character or point of vie& or at least an emotional disposition at the very top< ri$ht &hen or sli$htly 3efore the li$hts come up. Then you have your armor for the scene< even if your partner literally initiates the content &ith &ords. @o&< &hen you respond to your partner< you already have somethin$ to respond throu$h. )nce a$ain< not respond to< 3ut respond through. 2nd &hat that somethin$ is< is &hatever you &ant it to 3e. If you do this< youAve already &on half the 3attle in respondin$ in an improv scene* .ouAve ta#en care of yourself first< re$ardless of &hether you &ere the first to say somethin$ in the scene. The other fifty percent of the 3attle in respondin$ in an improv scene is &hat most people &orry one hundred percent a3out* 1What &ords do I use &hen I respond in an improv scene61 ,imple 3ut hard.
0se words that a!knowledge your partner)s initiation and adhere to your point of view or !hara!ter. 1!

HereAs &hat that means. 5etAs say your partner cheerfully initiates the line< 1This letter is for you!1 5etAs also say that at the top of the scene you have snapped into a 3ored disposition. 2 response that &ould for&ard the scene mi$ht 3e an indifferent shru$ and the &ords< 1(ut it on the ta3le< IAll open it later.1 This response adheres to the point of vie& youAve already created silently &hile also ac#no&led$in$ your partnerAs initiation. It #eeps you stron$ and allo&s you to no& filter everythin$ that happens in the scene throu$h the space of 13ored1 or 1indif; ferent.1 2nother possi3le response< maintainin$ 13ored<1 mi$ht 3e a tired< sarcastic< 1)h< let me open it< itAs pro3a3ly the s&eepsta#es<1 or 1?reat< more 3ills<1 or 1(ro3a3ly >ust another residual chec#.1 I provide all of these e7amples to allo& you to realiCe you have many options in ac#no&led$ement of the reality of your partners su$$estion< and that once a$ain< itAs not as important what you say as lon$ as you filter it throu$h your point of vie&. With your &ords< you can a$ree to open the letter or not< &ho cares6 2s lon$ as you ac#no&led$e the reality of the letter< and the &ords come from the 3ored space you created at the top of the scene< the rest doesnAt really matter. ,ome mi$ht say that to not open the letter is to re>ect your partnerAs su$$estion or that itAs 3loc#in$ the scene. I say no. It depends on &hat the character &ould do. ,ome characters &ouldnAt open the letter. )thers &ould. In some cases< hei$htenin$ of character and there3y hei$htenin$ of relationship is achieved to a $reater de$ree 3y a characterAs decision not to do somethin$ as opposed to doin$ it. This may 3e difficult to $rasp 3ecause of the concept of yes* 1,ay yes to everythin$.1 I say thatAs fine if you &ant to live in the ma$ical fantasy land of 1Improv is a love;fest and everythin$ is as $ood as pie.1 "ut a $ood< a $ood< a $ood improviser &ill let the character do the tal#in$< even if the tal#in$ happens to 3e a3out the refusal to act on somethin$. The most important thin$< in my opinion< in respondin$ in an improv scene is to respond out of your characterAs voice and ac#no&led$e your partnerAs initiation as reality* a$reein$ &ith the circumstances your partner declares< 3ut not feelin$ li#e you have to say yessy yes to everythin$ they say. What happens if you find yourself &ithout a character at the top of the scene6 If you find that &hen the li$hts come up< you have not made a choice of &hat your particular deal is 3efore your partner initiates< $et somethin$ Huic#. I mean Huic#. )ther&ise< you ris# $ettin$ into a measured state and findin$ yourself in your head. ,ay somethin$ and snap into somethin$. IAm not tal#in$ frenetic< IAm >ust sayin$ you have a $reater chance of findin$ po&er for yourself if you respond Huic#ly< any &ay you can. Improvisers &ho have made a stron$ character choice at the top of a scene can really ta#e their time 3efore respondin$. or e7ample< the same 3ored character from a3ove< $ettin$ the initiation 1This letterAs for you<1 could slo&ly turn< $aCe< roll his eyes< loo# a&ay< loo# 3ac#< si$h< and slo&ly say< 1?reat< another letter from my dear mother.1 His response is not fear;and;confusion;filled silence< itAs offerin$ the !hoi!e of silence 3efore respondin$. Gnfortunately< most silence 3efore a response is not choice in improvisation. ItAs someone that has no $ame and they are silent out of fear and not po&er. ,o if you find yourself in that space< I su$$est respondin$ Huic#ly &ith somethin$ >ust to snap you out of your head a 3it. .ou may do o#ay &ith no initial choice and four seconds of silence 3efore you tal#< 3ut in my 3oo# you increase your chances of a $ood scene if you respond and ac#no&led$e Huic#ly. IAm often as#ed in class< 1What if 3oth my partner and I have initiated at the same timeB&ho responds61 If you are in the rare scene &here that occurs< follo& throu$h &ith &hat you have created< hold on to it< and then respond. It is even more rare that 3oth of you &ould respond at the same moment. If you &ere una3le to hear your partnerAs initiation 3ecause you &ere 3oth spea#in$ at the same time< restate &hat you initiated. HereAs another little tric# in respondin$ to an initiation in an improv scene. Ta#e on the other personAs character. Respond as the character or point of vie& that they have created. What6 ,ounds li#e cheatin$. @o< not at all. 5etAs say your partner initiates a scene slumped over and in a $ravelly voice holds out his hand and says< 1?ot a Huarter61 )3viously< a homeless person &antin$ money. @inety percent of improvisers &ould ta#e on the persona of a 3usinessperson passin$ 3y and $o &ith the o3vious choice of 3ein$ indi$nant and say< 1?et a >o31 or &hatever. Ima$ine another choice* In the same voice and same posture you immediately respond &ith 1@o< do you61 @o& you have a scene 3et&een t&o homeless people. .ou are already in an ali$ned space.
1%

2nother e7ample* In a "ritish accent your partner initiates< 1@ice donAt you thin#61 Without a 3lin#< you respond< also in a hi$h;status "ritish dialect< 1,o lovely. Tea61 @o& you have a scene &ith t&o "ritish people. The audience is not thin#in$< 1That $uy stole the other $uyAs character.1 @o< they are thin#in$< 1)h< a scene 3et&een t&o "ritish people.1 ItAs a $reat &ay to immediately ac#no&led$e your partnerAs su$$estion and for&ard the scene. .our partner doesnAt mind< either. ItAs affirmin$ to have someone ta#e on your ener$y and it feels $ood to immediately snap into the same a$reed;upon space of 3ein$. .ou donAt &ant to do that every time you do a scene< 3ut itAs a $reat thin$ &hen the ri$ht conte7t D&hich youAll #no& &hen you see itF comes up. Ta#in$ on your partnerAs character could also include his &ants and needs< movement< and rhythms. /y idea of supportin$ your partner in improvisation is not &aitin$< 3ut choosin$ and doin$. /aintain and hei$hten your choice and you &ill support your partner in the 3e$innin$< in the middle< and throu$hout the scene.

2'

" #onte$t and %cenes

,o letAs assume you succeeded in creatin$ a stron$ space for yourself at the top of the scene and so has your partner. The 3e$innin$ of the scene &as met &ith play and no& you have t&o points of vie& or characters on sta$e even if theyAre the same or not. .ou have the ma#in$s of a $ood scene. @o& &hat6 I 3elieve IAve already mentioned that youAll &ant to hold on to &hatever it is that youAve created< for sure. @o& you >ust have to play it for all itAs &orth. .ou have all the tools 3efore you< to up your chances. What does playing it mean6 It means ma#in$ more of that &hich you have already created. It means realizing the !onte't that has 3een created< playin$ within that conte7t< and all the &hile ma#in$ surprising choices. -onte7t is everythin$. @ot >ust in improvisation< 3ut in everythin$. 5etAs ta#e a 3i$ loo# at conte7t.

Conte+t
-onte7t is everythin$ in everythin$. What theB6 It is the frame for all $reat &or#s and the unspo#en credo of everyday livin$. 5et me e7plain. Human 3ein$s cannot function unless they are provided conte7t for livin$. Human 3ein$s cannot o3serve unless provided conte7t. Human 3ein$s cannot en>oy unless provided conte7t. 2ll of life has many conte7ts. 2ll $ood movies< 3oo#s< plays< or son$s have conte7t. 2ll $ood improvisation has conte7t. 2n a$reed;upon road map for livin$. -onte7t affects all thin$s. 2m I 3i$ on conte7t6 .ou 3et. -onte7t allo&s a human 3ein$ to #no& &hat to e7pect. It is necessary in life and in a scene. In life< surprises &ithin a conte7t 3ecome theatricalE in improvisation< surprises &ithin a conte7t usually result in lau$hter. 5etAs tal# a3out conte7ts in life< first. 2 school is an institution for learnin$. -hildren $o there daily. There are teachers and 3oo#s and chal#3oards and chairs and &e all #no& that. We all #no& &hat to e7pect from the conte7t of school. 2dd a clo&n. 2 clo&n comes to school. It is still school< 3ut it is a special day &here a clo&n is comin$ to a classroom to entertain the #ids. It is still within the !onte't of s!hool* a 3it surprisin$ and theatrical 3ut still< a mostly unsurprisin$ school event. 2dd a $un< instead. 2 #id 3rin$in$ a $un to school and shootin$ classmates is tra$ic and surprisin$ &ithin the conte7t of school< and is nation&ide ne&s< thus theatrical. 2dd a lot of $uns. 2fter years of school shootin$s the overall conte7t of what !ould happen at s!hool 3roadens to include the possi3ility of #ids $ettin$ shotE the event of a school shootin$ diminishes. The tenth school shootin$ $ets less covera$e than the first. .ou mi$ht even hear someone say< after learnin$ of the second school shootin$ in a &ee#< 1ThatAs horri3le< 3ut IAm not surprised.1 What they are sayin$ is< 1/y conte7t for &hat it means to $o to school has come to include the everyday possi3ility of a shootin$. Therefore< &hile still tra$ic< it is not as much of an event< so it does not really surprise me.1 Here is an e7ample of ho& conte7t can chan$e* 1. 2 3usinessman is &al#in$ do&n a city street in a tan overcoat and carryin$ a 3riefcase. @ormal &ithin a city street conte7t< not very eventful. @o3ody pays attention to him and there are a thousand others >ust li#e him. 2. 2 3usinessman in the same attire is< instead< >o$$in$ do&n the city street. @ot as common< 3ut not an event either. @ot an event 3ecause &e assume his !onte't for him. HeAs pro3a3ly late or runnin$ for a ca3 or 3us. @ormal< $iven that conte7t. The 3usinessman himself adheres to the conte7t &ith a #ind of >o$< as opposed to a full;out sprint< 3ecause he #no&s the sprint &ill ta#e him into the em3ar rassin$ realm of inappropriate 3usiness 3ehavior in a city. He &ill adhere to that appropriate conte7t no matter ho& late he is. 3. 2 3usinessman is sprintin$ pretty fast< each time hi#in$ his #nees &ell a3ove his &aistline< and trottin$ in a strai$ht line. He 3ecomes theater. He loo#s silly< $iven the conte7t of appropriate 3ehavior for a 3usinessman on a city street. (eople loo# at him and snic#er. He is 3ehavin$ out of conte7t.
4. The same 3usinessman< in the same e7act action< is in the musical 4ow to Su!!eed in .usiness Without Really Trying. Theatrical 3ecause it is a musical< 3ut certainly not an inappropriate social conte7t 21

3ecause he is actin$ &ithin the confines of 3ein$ in a musical theatre production. 5. Ta#e any of the a3ove scenarios De7cept the musicalF and add that it is 1''N outside. The 3usinessman &ould seem inappropriate in this conte7t 3ecause he is &earin$ a coat. He mi$ht $et a couple of $lances. HereAs another e7ample* 2 man in s&eatpants and s&eatshirt is standin$ 3y the corner of a 3uildin$ and screamin$ at the top of his lun$s. .ou are a3out to come upon him and &al# off the side&al# into the street to avoid him. .ou are sli$htly scared 3ecause you assess him as a craCy street person. 2s you &al# into the street you see a &oman in s&eat pants and s&eatshirt >ust around the corner. ,he &as previously hidden 3y part of the 3uildin$ 3ut no& she is e7posed as you enter the street. The &oman is cryin$ and an$ry. 2h;ha< not a craCy $uy. ItAs a $uy yellin$ at his &ife or $irlfriend and they are &earin$ s&eat pants 3ecause they &ere 3oth out on a >o$. The conte7t shifts< and so do you. Ta#e the same $uy screamin$< ta#e a&ay the &oman< and put the $uy on sta$e. @o& you have a rantin$ monolo$ue. -onte7t truly is everythin$. -onte7t truly chan$es everythin$. 1What are people &earin$ to the party6 1A is an attempt to adhere to an appropriate social conte7t. .ou donAt &ant to loo# 1out of place.1 1,hould &e 3rin$ a 3ottle of &ine to the dinner61 is not so much as#in$ out of your intense desire to 3rin$ a 3ottle of &ine< as it is to 3e socially appropriate in the dinner invitation conte7t. In the office conte7t< you &ear office attire< e7cept perhaps on riday. In the riday conte7t< you dress a 3it more casually. @ot too &ild< 3ut more casual. 2t the office Hallo&een party< youAd 3etter dress in a costume. In that conte7t< formal or casual 3usiness attire &ould 3e inappropriateE a costume is necessary. @ot dressin$ that &ay &ould 3e socially incorrect< $iven the conte7t of the event. Humans assess conte7ts all day lon$ &ithout even thin#in$ a3out it and act accordin$ly. -onte7t is their road map for livin$. (eople themselves have conte7ts also< day to day< and in life in $eneral. 1HeAs a &hiner1 or 1,heAs al&ays $ot somethin$ nice to say1 are conte7ts humans assi$n themselves or others. If the nicest $uy at &or# is suddenly a >er#< &e say< 1HeAs not himself today.1 HeAs actin$ out of sortsE heAs 3ehavin$ outside of his $eneral life conte7t. 8ven day to day< if you are as#ed< 1Ho& are you61 and you respond &ith< 1IAm tired and I feel a little sic#<1 you declare the conte7t for yourself that day. .ou &ill fulfill that conte7t all day lon$< havin$ everythin$ you say and do adhere to it. .ou &ill ma#e sure that your road map for the day is adhered to in every &ay. 8ven if you feel not sic# and &ide a&a#e one hour after your declaration< Huite often you &ill fa#e it >ust to remain &ithin your predefined 1I donAt feel &ell today1 conte7t. .ou &ill act sic# and tired all day >ust to 3e true to ho& you said you felt. @o& letAs 3rin$ conte7t to the realm of entertainment. Gsin$ my stand3y Wizard of ,z e7ample< &hat are some of its conte7ts6 )ne is its color. In Jansas< &e see 3lac# and &hite film< in )C< color. ThatAs a conte7t declaration for the movie that must never 3e violated< and it isnAt. 2nother conte7t is the yello& 3ric# road. ItAs a literal conte7tual road map for the characters and the audience. We e7pect them to stay on it< and &hen they donAt thereAs trou3le. 2 third is desire. +orothy desires to $o home. ,he meets the ,carecro&< &ho desires a 3rain< and the Tin /an< &ho desires a heart. 2fter that conte7tual declaration< it &ould indeed 3e tra$ic if &hen +orothy meets the 5ion< the 5ion is complacent and desires nothin$. "ut &e are not disappointed< for indeed< >ust as the film declared< the 5ion desires coura$e. 2 final $reat overall conte7t for The Wizard of ,z is that it &as all a dream. 2 retroactive announcement at the end of the movie informs the audience that all they have seen is +orothyAs dream. @othin$ violated the dream aspect in )C< and the color conte7t even enhanced the dreamli#e Huality.

Scenes
)#ay< $reat. 2nd please ?od &hat does this have to do &ith improvisin$ scenes6 Well< letAs $o to scenes in improv $ames< first. 2 $ame many #no& is reeCe Ta$< or ,&itch< as some call it. If you donAt #no& it< it's a staple improv $ame &here t&o people step for&ard from the $roup and start a scene. 2 player from the $roup yells< 1 reeCe!1 The t&o people in the scene freeCe in position< and the player &ho yelled 5/reezer ta$s one of the froCen players out< ta#es their e'a!t physical position< and initiates a &hole ne& scene &ith a different location and characters< >ustifyin$ the froCen physical positions. The first scene of reeCe Ta$ usually 3e$ins &ith the su$$estion of a line of dialo$ue provided 3y the audience. ,o &hat is the conte7t of reeCe Ta$6 ItAs 1ho& the $ame is played<1 as e7plained in the previous
22

para$raph. The audience is informed ho& the $ame &or#s in an introduction. @o& they #no& the conte7t< the road map< &hat they are supposed to en>oy. We first say somethin$ li#e< 1WeAre $oin$ to improvise a $ame for you no&.1 Why announce that first6 .ou &ant to let the audience #no& that you are in the realm< the conte7t of< ma#in$ it up versus performin$ somethin$ that you &rote and rehearsed. That conte7t lets the audience #no& you may 3e improvisationally unfinished and rec#less. Then you e7plain the $ame. 2fter the audience #no&s the conte7t of the $ameBho& to play itByou $et a line from them to start the scene. Gsin$ their su$$estion ensures the conte7t of improvisation. While playin$ reeCe Ta$< a player doesnAt yell 1 reeCe!1 and then continue the previous scene or yell 1 reeCe!1 and pop in< i$nore the previous sceneAs physical position< and 3e$in another scene. That &ould 3e in violation of the declared conte7t. DWhen players do ma#e these moves in reeCe Ta$< the audience may react ne$atively or seem confused 3ecause of the violation< as may the other players on sta$eF. Thin# of any $ame you can and you &ill find that it has a conte7t< and that its conte7t is usually announced 3efore the $ame 3e$ins. Improvisation itself has conte7ts. In lon$;form improvisation you ta#e a sin$le su$$estion and improvise for a3out half an hour. We donAt violate that 3y ta#in$ a su$$estion and improvisin$ for t&o minutes and then ta#in$ another su$$estion. Within lon$;form improvisation there are other structured conte7ts. We call them new forms. Time is a conte7t to descri3e the art form of improvisation. There is short form and long form. D"iCarrely< itAs the only art form &hich cate$oriCes itself in len$th of time.F 5etAs >ourney on into the purely improvised scene. +o purely improvised scenes have conte7ts6 .es< yes. 8very sin$le one of them. HereAs a sample improv scene I >ust made up. It is a man and a &oman &ith the follo&in$ dialo$ue* /2@* I canAt &ait to $o to the 3irthday party. W)/2@* .eah< 9immy is really $onna 3e surprised. /2@* 8veryoneAs $onna 3e there. W)/2@* I $ot him a $ift certificate from the ?ap. /2@* ThatAs $reat. He really deserves a party after all his hard &or#. W)/2@* I couldnAt a$ree more. What is the conte7t of this stupid little scene6 2t this point< one mi$ht say that the conte7t is talking a out going to a party. If I &ere in this improv scene< I &ould stay in the realm of talking a out things that were a out the party. If I
violate that< I violate the scene.

Hmmm. ,o is the conte7t of a scene merely what people are talking a out3 ,ome people thin# so. ,ome people thin# that &hat improvisers are tal#in$ a3out is &hat the scene is a3out and &hat the entire conte7t is. "ut &ait< I for$ot a3out the ho& of the scene. I for$ot to mention that 3oth of them are sayin$ their lines e7tremely sarcastically and lau$h every once in a&hile. /2@ * Draisin$ an eye3ro&F I canAt &ait to $o to the 3irthday party. W)/2@* Dsnic#erin$F .eah< 9immy is really $onna 3e surprised. /2@* Dindicatin$ around himF 8veryoneAs $onna 3e there. W)/2@* Dlau$hin$F I $ot him a $ift certificate from the ?ap. /2@* DsarcasticF ThatAs $reat. He really deserves a party after all his haaaard &ooor#. W)/2@* Dsi$hin$=raisin$ eye3ro&F I couldnAt a$ree more. With this information< the conte7t of the scene shifts entirely. 4ow you do something in an improv scene is vital to esta3lishin$ its conte7t. The conte7t is no lon$er the literal meanin$ of the &ords 3ein$ said< nor is that &hat the scene is a3out. It is a3out sarcasm. ?iven this conte7t< the scene opens up. It allo&s for other thin$s to 3e tal#ed a3out< as lon$ as they remain in the land of sarcasm. The ne7t line could 3e* /2@ * Dsneerin$F ,pea#in$ of parties< &or#in$ &ith you is a party every day. W)/2@* Dsmir#in$F .eah. )h< that must 3e &hy you al&ays sho& up so fashiona3ly late. The sarcasm is the conte7t< plain and simple. The &ords can open up< as lon$ as they carry the declared cadence of sarcasm. In this scene< you declare to the audience that the road map for the scene is that all thin$s &ill 3e sarcastic. )h< I for$ot to mention that durin$ this scene< 3oth the man and the &oman are in the middle of performin$ sur$ery in an operatin$ room. 2nd they are doin$ it &ithout really loo#in$ at the patient &hile
23

randomly thro&in$ his or$ans on the floor. @o& &ith the &ords themselves< ho& they are said< and the sceneAs physical activity< the conte7t 3ecomes* eing snitty and gossipy is more important than high#stakes operation. This ne& conte7t opens the scene up even more. ,o if IAm the $uy in the scene a3ove< &hat do I do ne7t6 What do I play6 )nce I #no& the conte7t of the scene< IAm $olden. Things that are a out eing gossipy while performing my -o with indifferen!e. Infinite possi3ilities* ne& people to tal# a3out< another patient< not scru33in$ 3efore the ne7t sur$ery< hosin$ do&n the operatin$ ta3le for the ne7t patient &hile tal#in$ a3out so;and;soAs #ids< etc. 2s lon$ as I stay in that conte7t< IAm fine. The audience #no&s the road map of the sceneBits conte7tBand is only thin#in$< 1+o more of that 3ad sur$ery sarcastic thin$.1 2s I said at the 3e$innin$ of this chapter< thou$h< itAs not $ood enou$h for an improviser to merely remain &ithin and maintain a conte7t. @o< you must declare the conte7t for the audience< and then surprise from &ithin that conte7t. 5etAs $o 3ac# to The Wizard of ,z DIAm so sorryF. It is not sufficient to land +orothy in )C and then spend t&o hours merely sho&in$ different shots of her traversin$ a 3ric# road alone &ith Toto. 8ven if you &ere to add shots of )C 3ecomin$ closer and closer< it &ould 3e 3orin$ and uneventful. The conte7t remains the same D+orothyAs desire to $o home and travellin$ the yello& road to $et thereF< 3ut to maintain it is >ust plain dull. ItAs merely maintainin$ its conte7t. ,o &hat does The Wizard of ,z do6 ,urprises from &ithin the conte7t* &itches< flyin$ mon#eys< and poppy fields. +orothyAs $reat< 3ut she doesnAt hold up 3y herself for lon$. ,he has to meet a ,carecro&< a Tin /an< and a fri$htened 5ion. 2nd these three donAt all &ant a 3rain< no< only one of them. They must all &ant somethin$< 3ut it &ould 3e less interestin$ in this particular conte7t for them to all &ant the same thin$. ,urprise from &ithin* The trees tal# and they are thro&in$ apples at us. @ever violate the conte7t 3ut do surprise us. In improvisation< those surprises usually result in your audienceAs lau$hter. )nce the audience understands your road map for the scene< ma#e choices that surprise them. In the sample improv scene< if the man and &oman merely sarcastically repeated over and over a$ain that they &ere $oin$ to the party &hile performin$ sur$ery< the scene may or may not hold up. ThereAs a 3etter chance< thou$h< that it &ill run out of steam. ,o ho& do you surprise6 .ou tal# a3out other thin$s and perform other physical activities inappropriate to an operatin$ room. .ou 3uild sar!asti! to !ondes!ending and to -ust plain hateful. .ou open up the scene this &ayE you 3roaden the elements of the mutually declared conte7t. Create your o&n flyin$ mon#eys. ,urprise the audience &ith your choices. 233ott and -ostello canAt use the same mista#en pronoun for every 3ase3all player in 1WhoAs on irst1Bthey must open it up to other names and other mista#en identities. 8ven in an improv $ame< &here the conte7t is predefined and announced< &e rely on the intelli$ence of the players to surprise the audience and each other &ith their choices. In improvisation< maintainin$ is not $ood enou$h for an effective sceneE improvisers must constantly 3rin$ ne& elements to the conte7t they have created. 2nother scene e7ample* 5etAs say the li$hts come up on Tom and "ill. T)/* Dclearly paranoidF I;I;I thin# &e sh;sh;should $et outta h;here. ?et out of &here6 Who !aresBitAs the first line. ItAs more important that he says somethin$ and how he said it* paranoid and stuttery. That demeanor 3ecomes his conte7t for that moment. He must o&n it. "I55* Din a stron$< $ruff voiceF @onsense< >ust reach your hand out. Where are they6 Who !aresBitAs the second line. /ore important that the second $uy has ta#en care of himself &ith the point of vie& of strong and !onfident. Reach his hand out &here6 Who !ares3 ItAs lo& he plays it that &ill $et him throu$h the scene. WhatAs their relationship6 )h< itAs a paranoid $uy and a confident $uy to$ether. The la3el of their relationship is unimportant no&E it &ill pro3a3ly sho& up in a much more deft fashion later than if forced 3y one of them at op of the scene. Rela7. T)/* Dstill paranoid< 3ut reachin$ outF I;IAm af;f;fraid. ?olden. What3 ?olden 3ecause he retained his point of vie& and uttered. He told the audience< his partner< and himself that &hen 3e said the first line< in the &ay he said it< he literally knew what he was doing. He proved it &hen he did it the second time. When you do somethin$ t&ice in improvisation< you esta3lish a pattern.
24

"I55* "oo#s donAt 3ite< #id. ItAs not a $ator! This $uy esta3lished a pattern< too. 2 pattern of mentorin$ and confidence. These t&o are ri$ht on trac#. T)/* ";"ut thereAs people ar;r;round. "I55* )f course thereAs people in a li3rary< no& $ra3 the damn 3oo#! DTom is doin$ fineE his &ords are filtered throu$h the paranoia and stutterin$. "ill decides to clarify the location. ine< 3ut &hatAs more important is that he continues to play his $ruff confidence. We really #no& heAs o#ay in the scene &hen he demands< 1@o& $ra3 the damn 3oo#!1 3ecause he restores his earlier demand in the scene. T)/* ";"ut +;+ad< I... "I55* @) son of mine is $oin$ to 3e scared of a little learnin$< no& pic# it up! Tom esta3lishes himself as the son< 3roadenin$ the conte7t to include the la3el of the relationship. @o& he can filter 3ein$ in a father=son relationship throu$h the more important overall conte7t< his paranoia and fear. "ill played a $reat response. He used TomAs la3el of ather=,on to interrupt Tom D&hich is &hat "illAs character &ould doF and further demand somethin$ of him &ith stern confidence. The conte7t of this scene is intact and it has 3roadened. ItAs not a3out the literal &ords anymore. These characters can say nearly anythin$ as lon$ as they retain their respective dispositions. T)/* Dhesitantly pic#s a 3oo# and loo#s at the titleF1H;Ho& to -;-;-;-ommand 2uthor;r;r;ity.1 "I55* Dscreamin$ Huic#lyF Read it now% ,till on trac#< these t&o. Tom #no&s that in improv< even if you have a ne$ative disposition a3out somethin$< itAs pro3a3ly 3etter to do the thin$ as#ed of you and keep your ne$ative opinion a3out doin$ it. It >ust propels the scene. D2n e7ception to this &ould 3e a character &hose declared conte7t at the top of the scene is that he &ill not do thin$s.F TomAs choice for title of the 3oo# &as not a random reference. It &as entirely in line &ith his paranoid conte7t. 2 $ood choice< the title su$$ests the e7act opposite of his capa3ilities. The title &as surprisin$ from &ithin the conte7t of the scene. "ill surprised us &ith his e7treme volume and a3ruptness. We #ne& him to 3e confident and $ruff< 3ut he startled us &ith >ust ho& much he &as so. ,o at this point in this scene< &hat are these t&o improvisers thin#in$6 I &ould ima$ine that they are< in a sort of nonconscious &ay< thin#in$* T )/ * I must demonstrate more &ays to 3e paranoid and stutter. "I55* I must 3e more demandin$< confident< and $ruff. Thin$s that are a3out the point of vie&. ,urprisin$ thin$s. .es. ,ince the conte7t of the scene is set< they are pro3a3ly thin#in$ these thou$hts in a sort of super;alert conscious=not;conscious=su3conscious &ay. Tom and "ill are in the middle of a decent scene< &ith a lot of room for $ro&th. If t&o improvisers are in that #ind of scene< hereAs &hat they are pro3a3ly not thin#in$* 1IAd 3etter not as# a Huestion.1 1WhatAs my who, what, where.66 1IAd 3etter not tal# a3out the past.1 1IAd 3etter not say no.1 1IAd 3etter not create conflict.1 OIAd 3etter create conflict.

.ou $et my hateful point. ?ood improvisation isnAt thin#in$ a3out those thin$s. ItAs findin$ your individual deal &ith anotherAs individual deal and realiCin$ a common conte7t and surprisin$ from &ithin it. (lain and simple.

25

& #ommon

!roblems

)ver the years< IAve noticed common thin$s improvisers do &hen they $ive up po&er in an improv scene. Improvisers are Dmore or lessF human 3ein$s and human 3ein$s have 3ehavioral patterns. ,ometimes these patterns help in improvisationE sometimes they do not. 1 &ould li#e to discuss a fe& and you may decide &hether they apply to you. These are not rules. These are individual pro3lems that sometimes sho& up in individual improvisers. ,ome of them may apply to you and some of them may not. If they apply to you< $reat. If they donAt< thin# no more a3out them and have a $ood time improvisin$.

Too $uch ,+&osition

2t the top of the scene< an improviser spills the 3eans &ith a 3i$ line of e7position* 1IAm $lad you< my 3rother< are here 3ecause &e must &ash the car 3efore mother and father arrive at the apartment here noon to discuss my $ettin$ fired from my factory >o3.1 ,ome improvisers love to provide 3ul#y e7position at the top of a scene. They thin# they need the safety of that construct to improvise the scene. 2 lot of this comes from 3ein$ told at some point to 1esta3lish the who, what, and where in the first three lines of the scene.1 @o&adays< that fashion of e7position reads really stale to an audience and puts an unneeded 3urden on the scene. The audience #no&s that people donAt tal# li#e that< and it is disconcertin$ to them. If it is a3solutely important to you to have e7position at the top of an improv scene< dole it out $racefully< a little at a time. If< ho&ever< you ma#e attac#in$ the scene &ith a po&erful declaration more important< you &ill find that the e7position you do provide &ill 3e 3ac#ed up &ith a more su3stantial point of vie& and &ill 3e more deftly placed in the scene. It &ill 3e comin$ from a more po&erful and or$anic place.

Talking Too $uch

This is a pro3lem I have< so IAm very a&are of it. ItAs the 1I &ill #eep tal#in$ until 1 find somethin$ that &or#s1 thin$. ItAs easy to fi7 once youAre a&are of it. Iuite often improvisers &ith this pro3lem su3consciously use the &ords 1I mean1 to allo& themselves to #eep tal#in$. I/(R):I,8R* I >ust donAt thin# you should visit your 3rother< I mean< every time you visit him somethin$ 3ad happens< I mean< you remem3er the last time you visited him< I mean< &hen he started callin$ you names< I mean< I thin# you should >ust stay home. When the &ords 1I mean1 sho& up often< it usually means that improvisers are searchin$ for &hat they mean. They #eep tal#in$ until they find it. HereAs ho& to find out if you tal# too much &hen you improvise. /a#e a conscious choice< in a class or on sta$e< to say one short sentence at a time. -hoose that conte7t for yourself ahead of time. If< &hen you are improvisin$ in that conte7t< you have a need to tal# more. or if you feel stifled 3y >ust sayin$ a short sentence< thereAs a $ood chance that youAve unconsciously conditioned yourself to tal# more than you need to. If you discover that you are one of these improvisers< practice improvisin$ one sentence and not spea#in$ until your partner responds. (ut a period after your sentences and then shut the hell up. .ou &ill solve your pro3lem Huic#ly if you do this a fe& times. Then you &ill notice that &hen you do tal# more< it is 3ecause of a choice and not a conseHuence of havin$ conditioned yourself to #eep tal#in$. It is interestin$ that people donAt really #no& they are tal#in$ too much. TheyAre too 3usy tal#in$ to realiCe ho& much they are tal#in$. 2h< that I could $ive the $ift of potential ener$y to improvisers &ho have multitudes of #inetic ener$y. Ima$ine the a3ove e7ample this &ay* I >ust donAt thin# you should visit your 3rother.
4old. 4old. 4old. 20

/eel the power. 4old. Wait. Strong. 4old.

(otential ener$y. +onAt let the air out of creation 3y tal#in$ so much.

-ustifying
9ustifyin$ $oes hand in hand &ith the a3ove t&o e7amples. "e$innin$ improvisers do it all the time. What is it6 It is &hen you ma#e an initiation and then >ustify why you said or did that initiation. .ou do or say somethin$ and then soon after e7plain &hy you did that. ItAs tric#y and su3>ective. 2 3latant e7ample of >ustifyin$* -)( 2* That street lamp is out. -)( "* .eah< &hatever. -)( 2* Well< itAs really dar#. -)( "* ,) &hat6 -)( 2* ItAs >ust &eird< I mean< every time &e &al# the 3eat to$ether you act indifferent to me. I . . . The last line is the >ustification< and li#e everythin$< &hether or not itAs a pro3lem depends on ho& itAs said and &hen it is said. I &ould ima$ine in this e7ample< the >ustification is a conseHuence of fear on the part of the improviser playin$ -op 2. In this case< he &i$$ed out at the indifference of the second improviserAs character and resorted to ma#in$ an assessment of the scene. irst &ith< 1ItAs >ust &eird<1 meanin$< 1I as the improviser am confused so I &ill assess that the situation is weird 3ecause itAs the only &ay I can protect myself.1 Then comes the 1I mean<1 &hich &eAve already discussed. Then comes the >ustification< 18very time &e &al# the 3eat to$ether you act indifferent to me.1 This is an attempt to e7plain why -op " is 3ehavin$ the &ay she is. It is too scary for some improvisers to >ust allo& the other improviser to e in the scene< so they have to >ustify a situation or assess someoneAs 3ehavior. The 1I . . .1 is there 3ecause Huite often< after a >ustification such as this< the improviser &ill continue tal#in$. I placed the >ustification in this scene &here it is on purpose. That is< Huite often< >ustifications come after the second or third e7chan$e in the scene. ThatAs &here a &ea#er improviser &ill 3ecome uncomforta3le &ith the scene and &ant to dilute the mys tery 3y ans&erin$ the Huestion< 1Why are &e 3ehavin$ li#e this61 It very much out of fearE an adult< left;3rain need to apply lo$ic and ans&ers to the mystery of the 3ehavior of the scene. 2lmost al&ays the improviser feels a little ic#y after such moments and the audience feels the po&er loss< 3ut neither the performer nor the audience #no&s &hy. The reason that it causes a drop in the scene is 3ecause the play of the scene is e7plained and not allo&ed to >ust 3e. It &ould 3e li#e either 233ott or -ostello turnin$ to the audience and sayin$< 1In case you didnAt realiCe it< &e are usin$ pronouns in the place of 3ase3all playersA names.1 That &ould 3e a dra$ 3ecause it e7plains &hy the 3ehavior is happenin$< as opposed to lettin$ us en>oy that it is happenin$. We &ant to en>oy the confusion in 1WhoAs on irst<1 not have it e7plained to us. In my e7ample< it &ould 3e different if the first sentence of the scene &ere< 18very time &e &al# the 3eat you seem indifferent to me.1 It &ould 3e different 3ecause out of the $ate< the declared 3ehavior &ould 3e accusatory< &hich could 3e played li#e anythin$ else. It 3ecomes a >ustification if it is presented later in the scene to e7plain &hy previous 3ehavior in the scene has 3een e7hi3ited. 2nother very common e7ample of >ustification in improvisation is the callin$;someone;craCy thin$. It happens in a scene &here someone is e7hi3itin$ 3ehavior that the other person canAt fi$ure out. The scene $oes on for a 3it Dpro3a3ly unfunnilyF< and the confused improviser 3lurts out somethin$ li#e< 1Well< youAre >ust craCy.1 Gltimate >ustification. I donAt understand your improvisation 3ehavior Dand I pro3a3ly havenAt created any po&erful choice for
24

myself eitherF< therefore I am $oin$ to accuse you of 3ein$ craCy. IAm $oin$ to >ustify your 3ehavior< e7plain &hy you are 3ehavin$ that &ay. .ou must 3e craCy. It happens a lot. ItAs ironic 3ecause in improvisation &e hope for craCy. We &ant elevated theatrical a3surd 3ehaviorE &e >ust donAt &ant it called out. ItAs sometimes difficult to determine &hether you >ustify &hen you improvise< 3ut here is a clue to help you out. If you are improvisin$< and around the third 3eat you notice that you say a lon$ sentence and then feel a little &eird< thereAs a $ood chance that &as the >ustification. If it then feels #inda fa#e to $et 3ac# into the scene< thereAs a $reater chance it &as one. DIma$ine tryin$ to resume 1WhoAs on irst61 after havin$ called out that someone is mista#in$ 3ase3all playersA names for pronouns.F If youAve noticed that you do that< youAve achieved the first step in rectifyin$ >ustifyin$. @o&< the ne7t time you improvise you &ill #no& itAs li#ely that a >ustification mi$ht come up in the second or third e7chan$e. When you feel it comin$ DdonAt &orry< you &ill feel itF do anythin$ 3ut 3lurt that line out. I rarely tell someone not to do somethin$< 3ut itAs a3out the only &ay to $et throu$h this improvisa;tional 3loc#. Instead of sayin$ that line< hold it 3ac# in silence< even if it ta#es four seconds of near stutterin$. Then thin# of your last line the last line you said< and restate. ,ay it a$ain in a sli$htly different &ay. This tric# &ill train you not only to not >ustify< 3ut also to hold on to the po&er of your first declaration< your point of vie&. ,o< in the cop e7ample* -)( 2* That street lamp is out. -)( "* .eah< &hatever. -)( 2* Well< itAs really dar#. -)( "* ,) &hat6 D(ause. Han$ on.F -)( 2* ItAs so dar#< I canAt even see. The first time you do this you &ill feel the value< and >ustification &ill leave your improvisation soon after. There are a sle& of &ords and phrases in >ustification land that I have noticed throu$hout the years. In many of the follo&in$ cases< if the lines &ere said &ith any stron$ deal 3ehind them< they &ould 3e perfectly fine. I have noticed< ho&ever< that ninety;nine percent of the time< they are said &ith nothin$ 3ehind them and in a #ind of pleadin$< &ea# cadence. Here are some of the more common e7amples.

First Day
This is my first day of 3ein$ a mechanic< &hat do you do6 irst day at the 3an#< first day at the racetrac#< first day of colle$e< all e7plain why the 3ehavior that follo&s &ill 3e incompetent and uninformed. ItAs an apolo$y even 3efore the scene starts.

First Time
This is my first time in a hot air 3alloon ,ame as first day, first time descri3es &hy I &ill 3e confused or incompetent.

Every Time

elYou

8very time &e come to the par#< you fi$ht &ith me. Gsually offered as the second or third e7chan$e in a scene.

I !ove"I #ate
I love &or#in$ in a factory. or I hate ice cream. This line is usually spo#en ri$ht out of the $ate< after a moment of confused silence< and is a desperate attempt to >ustify a su$$estion 3y an audience. It also often sounds sophomoric< almost child or caveman;li#e.
2!

This Is The Best $$$$$ Ever

This is the 3est ?roundho$ +ay ever. Gsually spo#en in the middle of a trou3led scene and used in order to >ustify half;hearted $ood; feelin$ prior 3ehavior.

Is Fun
lyin$ #ites is tun. Thin$s that are confusin$ to improvisers often 3ecome 1fun1 for them. It is almost a plea for the audience to have fun &hile they are &atchin$ the improviser not have fun sayin$ somethin$ is fun. 5isten. 1Ra#in$ leaves is fun!1 D,aid &ith no character and little emotion other than the improviserAs desperate attempt to act li#e he=she is havin$ fun.F 1Wor#in$ in a factory is fun!1 D,aid after a lon$ silence that follo&s the su$$estion of 1 actory!1 as a location.F 1 lyin$ #ites is fun!1 @o. It really isnAt. What IAm hopin$ you don)t read into my spe&in$ a3out >ustification is that youAd 3etter not say the &ords and phrases IAve listed a3ove. What I do hope you $et is that these &ords and phrases are my o3servations of the patterns created throu$h >ustifyin$ in improvisation. "y 3ein$ on the loo#out for them &hen you improvise or o3serve improvisation< you &ill learn to avoid them. Pausing T&o improvisers &ho havenAt ta#en care of themselves at the top of the scene &ill often $et into a measured< 1pause 3efore you say a line1 #ind of scene &ith the follo&in$ pace* I/(R):I,8R 2* WhatAs up6 Dpause< pause< pause< pause< t&o< three< fourF I/(R):I,8R "* @ot much. D(ause< pause< pause< pause< t&o< three< fourF I/(R):I,8R 2* ,o . . . D(ause< pause< pause< pause< t&o< three< fourF This $oes on forever. The funny D3ut unfortunately notF thin$ a3out it is that most of the time the improvisers are not even a&are of the tremendous silence 3et&een their lines. ThatAs 3ecause they are thinking so hard. ,o hard. Thin#in$ a3out &hat to do and say and &hat not to say and do andByou #no&. If you find yourself in this mode< or are fortunate enou$h to have someone tell you< or if you >ust notice that your scenes are unfunny and dra$ on a lot< then do this* /a#e a $ame out of not lettin$ yourself have any pauses &hen you improvise. Jno&< $oin$ into class or rehearsal or a sho&< that in your scene you &ill ma#e a $ame out of respondin$ immediately after your partner has said a line. This $ame &ill thro& you out of your head in a $ood &ay and remind you that it is more important that you say somethin$ no& than what you say. Remem3er that the $ood scenes you have done< the scenes that &ere ma$ical< pro3a3ly didnAt have a pause Huality $oin$ onE rather< they had a feelin$ of rapid fire< even if they &ere slo& scenes. 1Is this to say that I should never have pauses 3et&een any of my lines< then61 @o< a$ain. If a po&erful improviser ma#es a choice of pausin$ 3efore lines at the top or very near the top of a scene< then that 3ecomes that improviserAs deal and itAs fine. ItAs pauses as a conseHuence of fear< &hen an improviser is thin#in$< that this condition plies to.

Bailing on a Point of .iew

ItAs so temptin$ and so easy to shift your point of vie& in an improv scene< and ninety;nine percent of
2%

the time it pulls the ru$ out from underneath the scene. It ta#es a &hile for improvisers to learn that they can $o lon$er &ith a point of vie&< character< emotional state< and so on than they thin# they can. Improvisers ma#e a choice at the top of a scene and then >ud$e their o&n creation and attempt to chan$e their mind. If they donAt $et lau$hs ri$ht a&ay or other affirmation from their audience< they are sometimes Huic# to thro& their &hole 3loody idea a&ay. There is a particular moment in improvisation< a threshold improvisers reach< &hen they must decide to pursue or a3andon an idea they have created. 87perienced improvisers have learned not to frea# out &hen that uncomforta3le threshold arises< 3ut to ta#e a 3reath and persevere. (enetratin$ throu$h those fear thresholds and sustainin$ your creation &ill reap you $reater 3enefits on the other side. It ta#es $uts and e7perience to hold on to your o&n vision< on sta$e and off. WeAre so conditioned to chan$e our minds if somethin$ doesnAt &or# out immediately that &e 3rin$ this 3ehavior on sta$e. In our contract &ith the audience to ma#e more of the truth &e have created< &e must sustain our visions and creations re$ardless of ho& afraid &e feel in the moment. 2 tidy &ay to practice holdin$ on &hen you feel li#e shiftin$ is to restate your claim. IAll e7plain. I/(R):I,8R 2* I donAt feel &ell. I/(R):I,8R "* Well< youAre $oin$ to school any&ay. I/(R):I,8R 2* .eah< 3ut I donAt feel &ell. I/(R):I,8R "* ?et your coat on. ItAs at this point in the scene &here Improviser 2 has to decide &hether to han$ on or shift. The 1I donAt feel &ell1 thin$ isnAt cuttin$ it. 2 lot of improvisers mi$ht $ive in and respond* I/(R):I,8R "* ?et your coat on. I/(R):I,8R 2* )#ay. I have a math test. )r &hatever. ItAs the 1)#ay1 that si$nals youAve chan$ed your mind in the scene and dilutes that &hich you have already created. In those moments you &ant to restate your position and up the ante* I/(R):I,8R "* ?et your coat on. I/(R):I,8R 2* I thin# IAm dyin$. .es< IAm definitely $oin$ to die. .ou can $o to school or not 3ut you must hit that 3eat hard &ith your point of vie& and persevere. If you feel li#e 3ailin$ in an improv scene hit it even harder< instead. 2fter a &hile< those moments &onAt 3e as scary and it &ill 3ecome second nature for you to $et throu$h that fear threshold. ,ome mi$ht say that 3y holdin$ on to 1sic#<1 Improviser 2 is 3loc#in$ and resistin$ the course of the scene. I say< not if that)s what the s!ene is a out from the get#go. It &ould 3e a far $reater violation to shift &hat has already 3een declared as true* that Improviser 2 doesnAt feel &ell. The a3ove are some common issues IAve noticed improvisers share. If you can first identify them and then $o throu$h some $ro&in$ pains ma#in$ alterations< you &ill end up on the other side .3 stron$er< more po&erful Dand funnierF performer.

3'

' More (han (wo !eople in a %cene

Three-Person Scenes 2 scene &ith three people is its o&n animal. It reHuires a 3it of finesse and timin$ that a t&o; person scene doesnAt. The 3i$$est reason people scre& up a three;person scene is that they thin# 1different1 &hen they could have thou$ht 1same.1 HereAs &hat I mean* The li$hts come up and you discover there are suddenly three people on sta$e. 5et1s say the scene $oes do&n li#e this* I/(R):I,8R 2* ItAs such a 3eautiful ,unday! I/(R):I,8R "* IAve $ot the picnic 3as#et ready! I/(R):I,8R -* Dsays nothin$F I/(R):I,8R 2* IAm $lad the #ids are &ith ?randma. I/(R):I,8R "* IAve $ot tuna< lemonade< and apple pie! I/(R):I,8R -* Dsays nothin$< continues to &onder a3out his function in the scene.F I/(R):I,8R 2* 5etAs $o have a picnic! I/(R):I,8R -* Wait< I donAt thin# &e should $o ri$ht no&< IAm not feelin$ &ell. This is a fairly typical 3e$innin$ of a three;person scene. T&o people $et on trac# &ith somethin$. The third person >ust stands there silently tryin$ to fi$ure out &hat to do< &hile the other t&o continue. 2&are that if his silence persists< it soon &onAt seem ri$ht to spea# at all< Improviser - 3lurts out somethin$ adverse to or different from &hat Improvisers 2 and " have initiated. This is &hat I mean 3y thinking different. ItAs very temptin$ for the third person to ta#e a contrary point of vie&. He may do so 3ecause he thin#s he needs to create conflict and su3consciously 3elieves that 3ein$ different &ill $ive him po&er in the scene. ?o &ith the flo&< especially in a $roup scene. .ou donAt have time to &or# around a lot of tan$ential points of vie&. This advice also holds true for a scene that starts out &ith t&o ne$ative 3ut similar points of vie&* I/(R):I,8R 2* I hate the &ay that dress loo#s on her. I /(R):I,8R "* .eah< I hope she didnAt $et $ypped at the ,alvation 2rmy. I/(R):I,8R -* I #inda li#e it. 2nother e7ample of a disrupted initiation. Improviser - &ould have $ained a lot more $round &ith* I/(R):I,8R -* (icture perfect &hite trash. ?o &ith. The audience is tryin$ to cipher out &hat the scene is a3out. They li#e seein$ 1Those people tal# a3out the &ay that personAs dressed.1 ,imple. ThatAs &hat the scene is a3out. ItAs as li#ely thou$h< that in a three;person scene the first t&o initiators &onAt even share a common point of vie& amon$ themselves at the top of the scene* I/(R):I,8R 2* This coffee is delicious. I/(R):I,8R "* Really6 I thin# it tastes terri3le. @o& &hat is the third improviser to do6 I say ta#e one of the e7istin$ positions. In the 3anal scene a3ove< declare that your coffee either delicious or terri3le< there3y >oinin$ an e7istin$ point of vie&< or ma#e up a different taste reaction to the coffee< >oinin$ the point of vie& that !offee is eing tasted* I/(R):I,8R 2* This coffee is delicious. I/(R):I,8, "* Really6 I thin# it tastes terri3le. I/(R):I,8R -* /ine tastes #inda 3itter< 3ut I li#e it. Improviser - made a move to hei$hten the notion of reactin$ to coffee< as opposed to* I/(R):I,8R 2* This coffee is delicious. I/(R):I,8R "* Really6 I thin# it tastes terri3le. I/(R):I,8R -* Who cares6 5etAs play 3ase3all. In the last e7ample< Improviser - comes in &ith somethin$ different and no& the scene #inda has to
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start over &ith findin$ &hat it is a3out. 2 similar point of vie& does not have to 3e e7pressed only 3y &ordsE it could 3e done throu$h character< emotion< or state of mind< as &ell. 2n e7ample of this mi$ht 3e I/(R):I,8R 2 Dan$rilyF* The s#y is 3lue! I/(R):I,8R " Dan$rilyF* I li#e -heerios! I/(R):I,8R - Dan$rilyF* "irds fly! That all of them are an$ry declares their shared point of vie&< even if they are sayin$ different thin$s. The audience identifies that the scene is a3out three angry people. 2lso< the content is all unrelated non seHuiturs< therefore declarin$ nonsense as a shared point of vie&. Huh6 .es. Thin# same< not different< in three;person scenes. 8specially &ith character. IAve seen the follo&in$ scene !<452 times Dmore or lessF* I/(R):I,8R 2 Din rench accentF* The &ater is so lovely. I/(R):I,8R " Din rench accentF* The par# is so nice this time of year. I/(R):I,8R - Din 2merican accentF* -an you tell me ho& to $et to . . .6 )h< if Improviser - had >ust ta#en on a rench accent he &ould have $ained a lot more $round. 2s an 2merican character< his choice ma#es the !ir!umstan!e of the s!eneBfindin$ directions and his 2merican accentBmore important than &hat the scene is already a3out* t&o rench people en>oyin$ their surroundin$s. He could have >oined in a deli$htful scene 3et&een three rench people< free to continue in the esta3lished scene that is a out /ren!h people. .eing /ren!h is their collective point of vie&* They can no& tal# a3out anything as those rench people. Instead< he made an opposite Dand often doneF choice of 3ein$ different< and the scene is forced to shift in order to deal &ith the !ir!umstan!e he has 3rou$ht forth. ItAs not >ust rench people< either. The same &ould hold true if it &ere t&o ro3ots< t&o sad people< t&o &i$$ly people< &hatever. Entering Scenes The same principles apply to enterin$ a t&o;person scene and 3ecomin$ the third party. "efore &e spea# of how to enter a scene< letAs loo# at why people enter t&o;person scenes. Here< for the $ood or 3ad< are some reasons people enter scenes* P ,ave it. .ouAre 3ac#sta$e durin$ a scene and it starts to dra$ or $o a little lon$. .ou start thin#in$< 1Ho& can I save this scene61 ,uddenly< you start thin#in$ a3out lines and physical thin$s and characters you &ill enter &ith in order to save it. P ?et in on the funny. 1AThat scene is so funny< IAm $onna enter it and $et in on all that hot action.1 P 8nd it. .ouAre 3ac#sta$e and thin# that itAs time for the scene to end< so you thin# of a reason to enter and 1hoo#1 the scene. M ?et a Huic# lau$h. 1IAll >ust dart in and off sta$e or &al# across and $et a Huic# lau$h.1 M Ta$ out. .ou $et an idea and decide you &ant to ta$ out a player and ta#e his place &ith another character. The player not ta$$ed out usually maintains her character from the previous scene. M ?et called onsta$e. .ou hear< 1Gncle 9im should 3e comin$ over any second no&<1 and you enter as Gncle 9im. Jno&in$ &hy you are enterin$ is the first thin$ to consider.
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,avin$ a scene in trou3le is no easy tas#. /ost of the time< the players are already in a state of measurement Din their headF< and the audience is a&are that the scene is $oin$ do&nhill. While you mi$ht have $ood intentions< your entrance may also >ust ma#e thin$s &orse. 2s soon as you enter< the audience is on to you. They usually have a sense that you have entered to 3rin$ the scene 3ac# to life. They are often thin#in$< 1+amn< I thou$ht it &as $oin$ to 3e over soon.1 ,o youAve $ot that $oin$ a$ainst you. In addition< the person enterin$ often ta#es a contrary or different point of vie& from &hat already e7ists on sta$e. This prolon$s conflict and delays resolution< there3y len$thenin$ the scene even more. If< ho&ever< you provide a li$htnin$;Huic# resolution or somethin$ different enou$h< you may 3e a3le to manufacture enou$h of a reason for the li$hts to 3e ta#en out. In this case< youAre not helpin$ or savin$ a scene< youAre eliminatin$ it< &hich &eAll touch on in a 3it. 23out the only &ay to save a scene and allo& it to continue is this* Identify an e7istin$ ener$y< style< point of vie&< emotion< and so on< and ta#e it on as you enter< >ust as you &ould &hen navi$atin$ a three;person scene. .ou may 3e tempted to enter &ith somethin$ very different 3ecause the e7istin$ point of vie& is not &or#in$. I still say< "Think same< not different.1 2 scene that isnAt &or#in$ needs validation and hei$htenin$< not apolo$y and a declaration that &hatAs happened up to this moment is 3ad. The entrance &ith a ne& or different point of vie& tells the audience< 1I #no& itAs 3ad< see< thatAs &hy IAm tryin$ to chan$e it 3y doin$ somethin$ different real fast< and sorry it &as so 3ad 3efore< and li#e me< please.1 ItAs desperate< and the audience #no&s it. It also< in my opinion< insults the improvisers &ho are already in the scene. )n the other hand< an entrance within the space of somethin$ already esta3lished Dsuch as sharin$ a style or point of vie&F tells the audience Dand fello& performersF< 1.eah< I #no& it &as #inda dra$$in$ a little< 3ut itAs still $ood< and I can add to &hat has 3een created here< and see ho& it 3umps and lifts the ener$y.1 The performers on the sta$e are often $rateful for this type of entrance. inally< 3efore you enter< as# yourself if the scene is really that 3ad. It could 3e a perfectly fine scene in the eyes of the audience< a $ood< slo&< t&o;person scene youAre $ettin$ ready to mess &ith. The need to $et in on the funny is another reason people enter scenes. The scene isnAt $oin$ 3adly at allE as a matter of fact< itAs $oin$ $reat. .ou mi$ht find yourself thin#in$< 1ThatAs so funny< I &ish I &ere in that scene<1 and 1I &onder ho& I could 3e in that scene<1 and 1Ho& could I enter that scene61 and 1I have an idea<1 and 15oo#< IAm enterin$ the scene!1 and then< 1Why isnAt the scene funny any more61 )r< 1Wo&< the scene is 3etter as a result of my entrance!1 The difference 3et&een the t&o outcomes is motive and e'e!ution. /any improvisers enter 3ecause of selfish motives. They canAt $et their o&n &or# $oin$ so they &ant to ta#e advanta$e of the funny others create. They have little re$ard for &hether the entrance &ould help the sceneE they >ust &ant to steal a little somethin$ for themselves. ,ometimes they $et a&ay &ith itE often they donAt. When they donAt< it is usually 3ecause their motives affect their 3ehavior in enterin$ the scene. They may< for e7ample< appear too ea$er &hen they enter. The audience catches this ener$y and the entrance loses credi3ility. 2lso< if they are too ea$er< their entrance is often ill timed. ,ometimes improvisers canAt even &ait for the ri$ht moment 3ecause they are so ea$er to $et out there in that successful scene. The person enterin$ mi$ht also radically chan$e or undermine &hat is already &or#in$ &ell. Tal# a3out #illin$ a scene dead. .eah< thatAs ri$ht< pull the ru$ out from under somethin$ thatAs &or#in$ $reat. The audience &ill loooove you. ItAs amaCin$ to me that some people 1thin# different1 in an entrance< even if it completely chan$es the scene that &as &or#in$ $reat 3efore. I really hate that. 1,o< is this to say that I should never enter a scene that is already &or#in$61 @o< >ust ma#e sure the entrance &ill really support the scene and not your o&n e$o. If you do ma#e the assessment that you could truly support the scene< then ta#e on a character or point of vie& that already e7ists. ThatAs what is going on7 and what)s going on is &hat the audience is en>oyin$ in a $ood scene. 2dd to that. Ima$ine a really funny scene &here t&o $ood ole 3oys find themselves at a museum. They are discussin$ ho& they donAt understand &hat the 3i$ deal is. 2lthou$h my e7ample is cliched< letAs assume the scene is $oin$ really &ell. 2 third player 3ac#sta$e decides to enter. Here are some options DIAve seen each of these many timesF* 1. 2. 3. Dcontrived hi$h;status voiceF 1Hey you rednec#s< $et out of the museum!1 D#id voiceF 1+ad< mom says &e have to leave no&.1 D$ood ole 3oy voiceF 1I donAt #no&< I #inda li#e it.1
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4. 5.

D$ood ole 3oy voiceF 1Hey< I &as >ust loo#inA at the (iecassos< and they ainAt much 3etter.1 D"ritish accentF 1Interestin$ paintin$< isnAt it61

@o& &hatAs the 3est choice6 or my money< num3er 4. ItAs in line &ith &hat the scene is a3out< so the entrance hei$htens the we don)t understand what the ig deal is a out these famous paintings concept. @um3er 1 su$$ests that the scene should stop. @um3er 2 is sli$htly more su3tle< 3ut &ants to do the same thin$ as num3er 1* end the scene. @um3er 3 is very common. ItAs that need to 3e contrary or different< added &ith a little 1yes< and1 conditionin$ that ma#es people al&ays $o for the &ishy;&ashy positive. DIf I had a peso for every time IAve heard the e7act &ords< 1I donAt #no&< I #ind of li#e it1 in a three;person improv scene . . . F @um3er 5 is the improviser &ho is thin#in$< 1That scene is $oin$ $reat. It &ould 3e really funny if 1 came out as a "ritish $uy1 Dthe most opposite character and status choiceF. @o& the scene that &as previously a3out t&o $uys reactin$ to a paintin$ has chan$ed into t&o $uys reactin$ to a $uy &ho is reactin$ differently to a paintin$. )y. 2nother reason to enter a scene is if you thin# itAs $one on for lon$ enou$h and you &ant to call an edit or $et the li$hts to $o outBto end it. This can either 3e a no3le $esture or an annoyin$ one< dependin$ on the $roupAs philosophy< the form they are presentin$< and the shared e7perience of the ensem3le improvisin$ to$ether. In this case the entrance doesnAt really serve as an entrance< it serves as an editBa &ay to cut the scene to another or for the darn li$hts to $o out. To ma#e this #ind of entrance< pretty much do the opposite of everythin$ IAve said 3efore. This scenario does not see# continuum< 3ut closure. ,o if there is a$reement of point of vie& on sta$e< enter &ith an opposin$ or different point of vie&. If somethin$ needs to 3e resolved< resolve it. If the sceneAs a3out &aitin$ for someone< enter as the person they are &aitin$ for. 2nythin$ to ans&er the &hy of the scene or $ive closure to any mystery. If you &ant to enter a scene to $et the li$hts to $o out< thin# differently. 8ven if you donAt $et a lau$h D&hich you often &illF< you &ill at least manufacture enou$h necessary resolution ener$y for the li$htin$ person to Cap the li$hts out or for another scene to 3e$in. If you &ant to do this< I stress a$ain to thin# of why you are doin$ it. Is it to serve the scene as a &hole< or is it for your e$o6 2 less devastatin$ &ay to enter is to &al# throu$h or pop in. .ou &al# across the sta$e or pop in a door or a &indo& and say somethin$ and $et the hell out Huic#. Whether this type of entrance is appropriate depends on the particular ideals of the $roup. ,ome $roups love themE others find them disruptive. If the improvisers doin$ this entrance #no& &hat they are doin$< &al#;throu$hs can lift a scene< $et a Huic# lau$h< and not disrupt. If not< &al#;throu$hs can 3e a dead &ei$ht. /2@* 87cuse me miss< have you seen my mon#ey6 W)/2@* @)< there &as a 3a3oon over 3y the sprin$ dress rac# earlier< 3ut no mon#ey. /2@* I &as tryin$ on a $reen tie in the menAs department< and I tied up (ete the mon#ey 3y the ladiesA fancy hat rac#. W)/2@* Dloo#in$F )h is that it6 @o< thatAs a sloth. ,orry< no (ete. This scene is a3out the a sen!e of (ete the mon#ey and the sales lady 3ein$ o#ay &ith the fact that animals run rampant in the store. I &ant to enter. If I enter as the mon#ey and staaayyy in the scene< I ris# violatin$ &hat the scene is a3out* a3sence of mon#ey. "ut &hat if I pop in and out as the mon#ey prefera3ly &ithout the characters on sta$e 1seein$1 me6 D8ven if the actors actually see me< hopefully their characters &onAt. If the characters see me Bthe mon#eyBthen the scene mi$ht shift to pointin$ out and chasin$ a mon#ey< as opposed to loo#in$ for a mon#ey that they donAt #no& is there.F They still play !an)t find monkey. I pop in every once in a &hile as the mon#ey< $et a lau$h for the scene< and pop out. /y entrance is of the scene. It doesnAt sHuelch anythin$ that the scene is a3out< it allo&s my fello& players to continue playin$ their scene &ithout callin$ it up< and it adds a 3it of ener$y and a lau$h. In this #ind of entrance< enter as an element that is of=from the e7istin$ scene and $et the hell out. Watchin$ a scene< runnin$ into the scene< and tappin$ a personAs shoulder and s&itchin$ places &ith them as a ne& character is called a tag#out. .ou ta$ out a player on sta$e. The other character or characters almost al&ays remain the same. If you &ant to enter and ta$ out someone< hold on to some element of their point of vie&. or e7ample< -haracter 2 is ma#in$ fun of -haracter ". 5etAs say 3oth characters are #ids in a schoolyard. -haracter - ta$s out -haracter 2. - portrays a teacher and further moc#s -haracter ". -haracter + ta$s out -. ,he is the mother of "< and moc#s him even more. "y ta$$in$< the players can advance &hat the scene is a3out< s&itch locations and characters easily and further the scene Huic#ly. ,ometimes it even
34

3ecomes a rapid succession of one;line ta$;outs 3ased on a sin$le theme< li#e little 3lac#outs. Ta$;outs can 3e a fun device for enterin$< 3ut use them sparin$ly and #no& &hat you are doin$ and &hy. I /(R):I,8R 1* I thin# 9ohnny the clo&n &ill 3e here any minute. I/(R):I,8R 2* .eah< that clo&n is t&o minutes late! @o&< do you enter the scene as 9ohnny the clo&n6 If the scene isnAt a3solutely a3out that they are waiting, help them out &ith 9ohnny the clo&n. "ut if it is a3out that they are waiting, donAt 3e 9ohnny. ?odot canAt sho& up in Waiting for +odot 3ecause the play is a3out that they are waiting for ?odot. The three sisters canAt $et to /osco&. If someone calls for a character and that characterAs presence &ould add to &hat the scene is a3out< enter stron$ly &ith &hat is called for. 2 special circumstance* ,ometimes improvisers call a character into the scene 3ecause they have nothin$ $oin$ on and are flounderin$. They $et frea#ed out and rely on callin$ someone in as a crutch to save them. In this case< enter that scene &ith a very stron$ declarative character or point of vie&. It &ill 3e your unfortunate 3urden to create &hat the scene is a3out. "e careful of enterin$ a scene >ust 3ecause some random thin$ is referenced. W)/2@ 2* (eter and I have 3een fi$htin$ constantly. W)/2@ "* This Jool 2id is delicious. .es< red and I have 3een tense< as &ell. /2@ 2* Denters< his arms outspread and yellsF* Hey! Jool 2id!! This scene a3ove is o3viously a3out mutual trou3le at home< not &hat Woman " &as drin#in$. Four-, Five-, Six-, and Twenty-Person Scenes ,o often la3orious are these scenes that I almost couldnAt find the ener$y to &rite a3out them. 2 typical scenario* The li$hts come up half&ay throu$h a sho&< and you find yourself on sta$e &ith four other people. )ne of the people is upsta$e left< dancin$ around frenetically. T&o people are do&nsta$e ri$ht< standin$. 2nother person is in the center paintin$. The fifth person is upsta$e ri$ht &ith a cup in his hand< loo#in$ at everyone else on sta$e. @o& &hat6 Who does &hat and &hen6 ItAs tric#y. To 3e honest< my first reaction if IAm in this scenario is to thin#< 1.ippee1 or 12lri$ht1 in the most sarcastic manner possi3le. If $ettin$ it strai$ht in a t&o; or three;person scene is not tou$h enou$h< ima$ine all of the interaction permutations in a five;person scene. /y 3est advice is< first of all< #no& &hat is the dominant ener$y of the scene. What is the most dominant thin$ $oin$ on in the scene right now3 )nce youAve identified that< $o &ith it. The first step< identifyin$ that dominant ener$y< reHuires much practice and is difficult for a 3e$innin$ improviser< 3ecause &hat seems dominant is< Huite often< Huite not. In the e7ample< it mi$ht seem li#e the person &ho is dancin$ frenetically is the dominant ener$y< 3ecause she is ma#in$ the most noise and movin$ the most. "ut &ith e7perience you start to learn that people &ho continue a frenetic movement on sta$e< particularly in a $roup scene< are in their heads< especially if they ma#e the move and never $ive it a rest. The audience pic#s this up and very Huic#ly all they are hearin$ is &hite noise. D2 hint* If you find yourself in that position< al&ays remem3er that you can start frenetic as your declared initiation< then stop to let the scene happen< then resume as necessary to #eep the frenetic 3all in the air.F ,o the loud dancer pro3a3ly isnAt the dominant ener$y. Ho& a3out the person o3servin$< &ith the cup in his hand6 (ro3a3ly not. IAd 3et he o3li$atorily 1&ent to his environment1 first and is a 3it in his head &onderin$ &hatAs $oin$ on. The painter6 :ery possi3ly< since she is center sta$e and en$a$ed in an identifia3le physical activity< anchored in &hat she is doin$. Ho& much how is in &hat she is doin$ &ould affect &hether she truly is that dominant ener$y. "lindly< thou$h< IAd put my nic#el on the t&o standin$ do&nsta$e ri$ht. ThatAs &here the audience thin#s they &ill $et their ans&ers. 2n audience is al&ays loo#in$ for conte7t* 1What is the road map for the thin$ that IAve 3een invited to en>oy61 When the li$hts come up on sta$e in this $roup scene e7ample< the audience thin#s< 1)h the li$hts came up< loo#< chaos. )h thereAs someone paintin$. Hey< may3e those t&o are $ettin$ ready to tal# to each other and ma#e sense of all of this. Hey< I thin# IAll &atch them and &ait.1 This thou$ht process happens in a3out three seconds. 2t this point< those t&o improvisers are the dominant ener$y of the scene. @o&< the &ords. When those t&o utter &ords< their &ords 3ecome the dominant ener$y of the scene. 2nd &hatever those &ords are< the other three improvisers &ill increase their chances of a $ood $roup
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scene if they ali$n themselves &ith those &ords. DI #no& this sounds rather ri$id< 3ut if you &atch some $ood and a&ful $roup scenes< youAll start to $et a feel for this concept.F In the e7ample< one of the t&o improvisers do&nsta$e ri$ht says Din a ?eor$ia dra&lF* +)W@,T2?8 2* This drou$ht ainAt $onna let up. I su$$est that everythin$ ali$n to that notion* 8rought, no let up. (2I@T8R* .es< I need more 3lue paint for my 1)de to a Rain1 piece. +2@-8R* ,oon< Rain$oda &ill heed my dance and deliver the drops from the heavens. ?52,, H)5+8R* IAll drin# to that. ?o &ith that dominant ener$yBitAs the 3est chance youAve $ot in a $roup scene. Gnfortunately< this isnAt &hat usually happens. Improvisers &ill all $o a different direction or merely try to >ustify their o&n thin$< or sometimes no one says anythin$ for &ay too lon$. It may also 3e< in the a3ove e7ample< that even thou$h the t&o do&nsta$e ri$ht capture the audienceAs attention efore &ords come a3out< one of the other improvisers actually initiates &ith &ords. In that case< the first ver3al initiation 3ecomes the dominant ener$y and IAd advise everyone else to $o &ith that. ,o* 5i$hts up. D(auseF D(auseF (2I@T8R* ,oon my masterpiece &ill 3e done. +)W@,T2?8 2* WeAll sell RenaldoAs paintin$ for a million yen. +)W@,T2?8 "* .es< the 3uyer &ill meet us in /ilan. +2@-8R* Renaldo< you capture my dancin$ 3eautifully! ?52,, H)5+8R* IAll drin# to that. 2hhh< perfect &orld. Gnfortunately< all that IAm tal#in$ a3out doesnAt usually happen. In reality< the person &ho chose loud dancin$ &ill pro3a3ly 3e< as mentioned earlier< frenetic. Then she &ill have a carnival of self;>ud$ment that puts her in a place &here she is not loo#in$ for 1dominant ener$ies.1 The dancer is dancin$ and re$rettin$ the dancin$ and not #no&in$ &hat to do and #eeps dancin$ and 3lah. The $uy holdin$ the $lass is pro3a3ly in his head< too. HeAs loo#in$ at the others< tryin$ to fi$ure out &hatAs $oin$ on and &hoAs $oin$ to do &hat ne7t and &hy. The t&o do&nsta$e ri$ht are $oin$ to start a scene &ithout #eepin$ the whole scene in mind< and continue on a disparate course of dialo$ue in their o&n &orld. inally< the painter is &onderin$ &hy she is paintin$ and is a&are of frenetic dancin$ and is annoyed 3ut in her head. Then chaos continues. )ften< intermediate improvisers &ill realiCe the need to have a dominant ener$y in a $roup scene so they force it a little. IAm tal#in$ a3out the 1Welcome to1 and the 1)#ay everyone.1 The li$hts come up and there are ei$ht people on sta$e. 2 conscientious player sees this and immediate e7claims* -)@,-I8@TI)G, (52.8R* )#ay everyone< &e have to decorate this -hristmas tree for the party! or -)@,-I8@TI)G, (52.8R * )#ay everyone< $et in your seats 3ecause class is $ettin$ ready to start. or -)@,-I8@TI)G, (52.8R* )#ay everyone< &ho has an idea for the campai$n6 The su3te7t for this is< 1)#ay everyone< &eAre in a confusin$ $roup scene so letAs $et on the same pa$e ri$ht no&.1 The 1Welcome to1 usually happens more as a $ame move in a lon$ form. 2fter a fe& t&o; or three; person scenes< someone &ill see the need for a $roup scene. They &ill then travel do&n sta$e< loo# at the audience< and say< 1Welcome to the do$ sho&<1 or 1Welcome to WhoAs Tellin$ The Truth6A1 or 1Welcome to Danythin$ that declares $roup conte7t and forces a dominant ener$y in the sceneF.1 )ver time< improvisers 3ecome more deft in these proclama tions. They learn to find a smoother &ay
30

in. Instead of the literal fed of 1Welcome to ,cience Hour<1 they mi$ht utter< 15ast &ee# on ,cience Hour . . . 1 and then $raduate to 1 . . . the lifespan of a snail. @o& ,cience Hour e7amines . . . 1 2mon$ ne& $roups this< then< 3ecomes dan$erous 3ecause if that initiator doesnAt $et that conte7t out Huic#ly< the ne& and ea$er improvisers &ill 3a33le and stum3le and chan$e the scene to a chaotic nothin$ness of tedium. /y advice to $roups is to practice findin$ those dominant $roup ener$ies to$ether. If a $roup has a shared protocol< it ma#es for a less stupid and more coherent e7perience for the audience. The e7position 3ecomes slyer< the scenes 3uild more or$anically< and players more Huic#ly realiCe their function in the scene. With enou$h practice< itAs amaCin$ to see >ust ho& Huic#ly five or si7 or even ei$ht people can $et on the same pa$e. ,o< M (ractice identifyin$ the dominant ener$y. M (ractice respondin$ to and ac#no&led$in$ that ener$y &hile stayin$ true to your o&n initiation at the 3e$innin$ of the scene. M Ho& an improv $roup mana$es their $roup scene &or# is a sure si$n of ho& successfully they &ill sho& up.

34

) Advanced Improvisation
Tools to help you improvise richer< funnier< more su3stantive scenes is &hat this here chapter is a3out. ,ometimes I use this motto to descri3e improvisation* 1Improvisation< al&ays different< al&ays the same.1 2lthou$h improvisation is ma#in$ it up as you $o alon$< and there are no t&o scenes ali#e< thereAs a particular set of moves that people usually resort to. If I $ave 1'' pairs of improvisers the location su$$estion of 1cave<1 ninety pairs are $oin$ to do a scene a3out ho& to $et out of the cave. @ine out of ten scenes that ta#e place in a su3marine &ill have at least one person raise their hands to the periscope. Hot air 3alloon scenes* Ho& to $et to the $round. "o&lin$ scenes never ta#e place in the 3o&lin$ alley office< al&ays at the alley The hand $oes up to indicate the 3all in someoneAs hand< the person 3o&ls< then 3oth people in the scene loo# at each other to determine &hether it &as a stri#e or not. Then the other person 3o&ls< and if people are clever they &ill hold one hand to the side< palm do&n. 2ir 3lo&er. If I only &atched improvised scenes to $et my information in life< I &ould thin# that* The only thin$ you do in a graveyard is di$ $raves. There is a $uru on every mountain. (eople at us stops tal# a3out 3uses< then try to seduce one another. (eople at train stations tal# a3out trains< then try to seduce each other. The only thin$ people do in oats is fish. "a#ers only roll dou$h in a akery. (iCCas are thro&n in the air at all pizzerias, all the time. (eople are on their #nees prayin$ at all times in every !hur!h. 2ll people &ho &or# in la oratories are insane. 2ll do!tors do is tell people that they have a short time to live. (eople say 1shhhh1 most of the time in li raries. 2l&ays different< al&ays the same. The reason that improvisation is often &ithin the same $eneral realm of choices is 3ecause people have very similar associations &hen they hear a su$$estion. +raveyard 3rin$s up shovel and dig. A su marine ma#es you thin# of a peris!ope. -ommon associations. The follo&in$ are &ays to 3rea# that up and create uncommon< more e7citin$ choices.

Opposite Choices
/a#e an opposite choice in your scene. /a#e a choice that seems opposite of &hat you thin# you should ma#e. Too many improvisers $o for the 1appropriate1 choice< or the choice that they thin# &ill 3e appropriately funny. If youAre $iven used !ar lot as a su$$estion< it is e7pected that you mi$ht immediately try sellin$ a car to your partner on sta$e. /ost improvisers $o there. ItAs e7pected and appropriate and seems li#e it has potential for some lau$hs. (ro3lem is< itAs typical. Ima$ine ho& refreshin$ it mi$ht 3e to have these t&o characters as co&or#ers at a used car lot 3itchin$ a3out their $irlfriends. @o 3uyin$ or sellin$< &e &ould e7pect that. "y ma#in$ this une7pected choice &e automatically create somethin$ as more e7citin$. We already and immediately 3rin$ it to the less mundane< and more theatrical< choice. @o& &hat does that do to your head6 It puts you in a &onderful &orld of discovery< as opposed to playin$ out the all too familiar used car ne$otiation scene. 8ven thou$h the audience $ave you the su$$estion of used car lot< hopin$ that you &ould $o in to the 3uyin$=sellin$ premise 3ecause thatAs ho& they associate the comedy as &ell< itAs not true that that is &here the $reater comedy lies. "y ma#in$ that opposite choice for them< you immediately surprise them. If youAve seen a fe& hus3and;and;&ife scenes< thin# a3out ho& many of the characters ar$ue in those scenes. ThatAs pretty ordinary. @o& ima$ine ho& deli$htful and surprisin$ it mi$ht 3e to see a hus3and and &ife do a scene a3out ho& much they love each other< or ho& silly they are. When you ma#e this Huality of choice< youAre puttin$ yourself in unfamiliar territory. 2s that may 3e a little scary< itAs also more e7citin$* for you< for your scene partner< and for your audience. It also sho&s up smarter. .ouAre a step ahead of the audience if they su3consciously or even consciously predict a choice on your part< and you completely surprise them &ith
3!

somethin$ other. It $ives you a little instant credi3ility and pro3a3ly a 3etter foundation for a funnier< richer< more surprisin$ scene. The same thin$ also applies to character choices. 2ll too often improvisers 3rin$ out the same old typical e7pected character choices. (irates that say 12r$$h<1 priests in confessionals< and $ay men &ho are effeminate are common character choices. If you are $iven the su$$estion of a!!ountant, try not to immediately $o to a ta7 session. It &ould 3e surprisin$ and deli$htful to see this accountant at an ice cream truc#< then filter a!!ountant things throu$h the purchase of an ice cream cone.

Specificity
,pecificity is one of the most effective tools in improvisation and easiest to do. ,pecificity is 3rin$in$ detail to your scenes. If you &atch enou$h improvisation< you 3e$in to notice that many of the reac tions from your audience are a conseHuence of an improviser 3ein$ specific a3out somethin$. @ot 3ein$ specific is another result of fear. When &eAre in a state of self;>ud$ment< &e tend to 3e va$ue. IAve seen many a scene start &ith somethin$ li#e< 1Than#s< no& >ust put that over there,5 or 1They &ill 3e there soon.1 ItAs a lot safer< su3consciously< to not ta#e the chance in namin$ somethin$ in detail. 2 scared improviser &ill #eep it va$ue so as not to impose too much< or ris# that a specific reference &ill not $et a lau$h. That improviser &ill 3e nondescript and feel as if they can catch up later &ith detail. 2 mar# of e7perienced improvisers is the amount of specifics that they &eave into the scene. 1Than#s< no& >ust put that red vase over there ne7t to the porcupine statue<1 or 1The le$islators &ill 3e at ,onnyAs +eli soon.1 ,pecifics color the scene for the audience< provide more valua3le information to your scene partner< e7pedite the scene $reatly so you donAt have to $o fishin$ for the su3stance< and $arner Huic#er and more su3stantial lau$hter or other positive reaction from your audience. 2 lot of people confuse these thou$hts a3out 3ein$ specific &ith my earlier rants a$ainst thin#in$ a3out e7position and >ustification. They feel that on one hand< IAm tellin$ improvisers not to use a lot of &ords at the top of the scene or you &ill cripple the scene &ith too much e7position< 3ut on the other hand IAm sayin$ add as much detail to the dialo$ue as possi3le. This is confusin$E letAs ta#e a sta3 at clearin$ it up. The e7position I spea# of is usually there 3ecause either an improviser has 3een told to find the who, what, where at the top of the scene< or as a result of not #no&in$ &hat is happenin$ in the 3e$innin$=middle of the scene. )ut of fear an improviser may 3lurt out a strin$ of &ords to e7plain &hat and &hy somethin$ is happenin$. /y advice re$ardin$ specificity assumes that the improvisers are at the point &here they &ill ma#e a stron$ dialo$ue choice at the top out of emotion or character< and then< startin$ in the middle< fill that dialo$ue &ith character;em3odied detail. The top of the scene e7position dialo$ue sounds li#e< 1Tom< 3ein$ my 3rother itAs important that you and I clean this $ara$e 3efore +ad $ets home or &e &onAt 3e a3le to $o to the party.1 ItAs often &ithout stron$ character or emotional investment and played nearer to the cadence of the improviser. The e7position &ithin the scene as a result of fear is somethin$ li#e< 18very time &e $o any&here to$ether you start actin$ craCy li#e this. Why donAt you stop actin$ craCy and letAs $et this ra#in$ done.1 ,pecificity in improvisation is different. ItAs li#e this* The li$hts come up and an improviser< sli$htly hunched< &al#in$ do&nsta$e &ith a limp< says in a raspy voice< 1.eah< that &as 1%54< the last time I sa& 8llen in that old red 3arn.1 This isnAt an improviser confinin$ and descri3in$ the circumstance of the scene< nor is it someone &ho is assessin$ another improviserAs 3ehavior or his o&n. @o< this is an improviser &ho has made a stron$ character choice< is startin$ in the middle of the scene< and then applyin$ specificity to his characterAs voice and &ords. The physical also 3ecomes part of the detail< in the hunch and the limp. ?oin$ to the environment and discoverin$ o3>ects that the character &ould use is also a means of 3rin$in$ in more color and detail. Ho& does the character put on $lasses6 Ho& heavy is a cane6 Ho& 3i$ is a 3oo# and ho& Huic#ly or slo&ly does a character open it6 ,pecificity &ill 3rin$ more layers to your scene &ith more fully dimensional characters< and if itAs important to you< more lau$hs.

Pull Out/Pull ac! "n

This is a little tip to use once you have an idea of &hat you and your scene are a3out. &ull out9pull a!k in means pull out< or $o opposite the point of vie& youAve 3een declarin$ in the scene< then pull 3ac# in to restore your ori$inal point of vie& in the ne7t 3eat or line of dialo$ue. 2 simple e7ample of this* I/(R):I,8R 2* Hurry up and $et dressed so &e can $et to the party!
3%

I/(R):I,8R "* I donAt #no&< IAm not sure IAll fit in. I/(R):I,8R 2* )f course you &ill< youAre $onna meet someone you li#e. I/(R):I,8R "* This shirt is stupid< IAm $onna loo# lame. I/(R):I,8R 2* ,o there &ill 3e lame people there you can meet< letAs move. I/(R):I,8R "* )#ay< o#ay< IAll $ive it a shot. I/(R):I,8R 2* -ool< letAs $o. I/(R):I,8R "* @)< IAm $onna loo# li#e a rod. IAll stay here and eat cashe&s. "As point of vie& is fear of 3ein$ an outcast at the party. 4e plays that point of vie& t&ice in the scene. Then< at the third 3eat he $ives in to $oin$ Dpulls out of his point of vie&F< and the ne7t line reaffirms his fear of $oin$ Dpullin$ 3ac# inF< there3y restorin$ his initial point of vie&. ItAs a 3it tric#;y DI donAt mean tric#y< 3ut #ind of li#e a tric#F< 3ut it does $ive the initial declaration more po&er after you restore it and provides the audience &ith the feelin$ that the scene is pushin$ and pullin$ a$ainst itself in a $ood &ay This also helps alleviate the feelin$ &e $et sometimes that our scenes are too linear< or one;note. )ther narratives do this all the time. D)h no< here comes The Wizard of ,z a$ainF. +orothy canAt $et home to Jansas. ,everal times in the movie< thou$h< she alters her point of vie& to 1@o& I !an $et home to Jansas<1 only to discover that there is yet another o3stacle pre ventin$ her from $oin$ home< &hich restores her point of vie& to the desire to go home. 1IAm in a land called )C and I want to $o home. 5oo#< a ?ood Witch &ho tells me a3out the yello& road< &hich means I am $oin$ home. )ops< no IAm not 3ecause of the Wic#ed Witch of the 8ast< 3ut I finally made it to the WiCardAs castle< so I am $oin$ home. @o &ait< I have to #ill the &itch so< once a$ain< I want to $o home. 5oo#< IAve #illed the &itch so I am $oin$ home &ith the help of the WiCard. Gh;oh< the WiCard is >ust a man< IAll never $et home. "ut heAs $oin$ to fly 3ac# in the 3alloon< so I am $oin$ home. +amn< the 3alloon too# off &ithout me< so IAll never, ever $et home< 3ut here comes the ?ood Witch &ith the ru3y slippers< I am $oin$ home< loo#< I am home. inis.1 ItAs a little fa#e;out for the audience. It $ives your scene a 3it more comple7ity. )ften the restore of the point of vie& $ets a lau$h< a #ind of relief lau$h that youAre not really a3andonin$ your point of vie&< >ust pullin$ a&ay from it for a second. Remem3er< thou$h< you have to create and esta3lish the initial point of vie& 3efore you have permission to toy &ith it and pull a&ay and 3ac# in.

Curve alls
2nother thin$ you can do once you have your scene esta3lished is thro& a curve 3all. "y this I mean say or do somethin$ that is totally outside of the deal you have created. I #no&< I #no&< this seems contradictory to &hat I have said 3efore in re$ard to holdin$ on and addin$ to the point of vie& for dear life. ,o IAm not sayin$ to a3andon or dismiss &hat you have created< >ust thro& somethin$ in the scene thatAs not directly related to &hat the scene is a3out and see if you can catch up to it later. 5et me try an e7ample. HereAs another scene* 2* "illyAs comin$ over later. "* I #no&< around three this afternoon. 2* HeAs $ot some 3ad ne&s. "* ,ome 3ad ne&s for you. 2* .eah< "illys $onna tell me that mom found out a3out the car. "* Tim< youAre scre&ed. 2* +adAs $onna #ill me &hen he sees the scratch. IAll never play another video $ame ever. "* ,cratch6 IAd call it a fairly lar$e scrape. 2* +o you li#e 3utterflies6 8o you like utterflies3 What the hell6 )3viously this scene is not a3out li#in$ or not li#in$ 3utterflies. ItAs a3out this person dreadin$ his parentsA &rath over a scratch in a car. "utterflies6 IsnAt he 3ailin$ or chan$in$ his position in the scene6 The scene continues* "* ,ometimes. ,ometimes I adore 3utterflies. 2* 9ust tryin$ to $et my 3i#e out of the $ara$e. ,hould have retaped my handles. "i$ scratch. "* "i$ scrape. 2* When I &as youn$er< last year< I used to ta#e a net that mom 3ou$ht me and romp in the meado& and carelessly chase 3utterflies. )f course< that &as 3efore the scratch. "* .es< chase 3utterflies 3efore the 3i$ scrape.
4'

2* ItAs almost three oAcloc#. "* .ouAre scre&ed. 2h< no& itAs o#ay. "utterflies are a3out TimmyAs dread of his parentAs &rath. He &ill 3e denied his 3utterfly;catchin$ pleasure as a result of his careless action. That is indeed &hat the scene is a3out. The improviser may or may not have #no&n of his eventual construction of the 3utterfly 3eat as it &as introduced into the scene. Hopefully he didnAt. IAm as#in$ you not to #no&. ItAs sometimes surprisin$ly fun to introduce somethin$ that is seemin$ly outside the scene. The audience is ta#en a3ac# for a moment and then deli$hted to see its relevance soon thereafter. Thro&in$ a curve 3all sha#es the scene up and is perceived as a 3old move. )ftentimes< it also $ets a yu#. IAve tal#ed a3out surprisin$ from &ithin the sceneE &ell< this is surprisin$ from outside the scene and then discoverin$ that it is &ithin the scene. or this to &or# thou$h< t&o thin$s have to happen* 1. .ou need to esta3lish the point of vie&< and ma#e sure your audience and your partner are a&are of it< as &ell. 2. .our partner canAt frea# out as a result of your stran$e offerin$. In the e7ample< it is Huite clear that Timmy is in trou3le. It is also Huite clear that the partner didnAt &i$ outE he says< 1,ometimes. ,ometimes I adore 3utterflies.1 The partner merely accepted the disparate offerin$< stayed on trac#< and trusted that 3utterflies &ould &eave into &hat the scene &as a3out later. Ima$ine ho& the scene &ould have $one south if the partner had reacted li#e this* 2* +o you li#e 3utterflies6 "* .eah< letAs for$et a3out the car and the scratch and $o to the par# and loo# at 3utterflies. 5etAs $o! .es< the partner has to #eep a cool head and han$ in there. ,o do you if a curve 3all li#e this is thro&n at you. This is another level of trust amon$ e7perienced improvisers. Jno&in$ that everythin$As fine if you >ust han$ in there and donAt frea#. ,tay &ith your thin$ and youAll catch up &ith it in a moment or t&o. ItAs also possi3le to hold the scene even if the curve 3all info is never enveloped 3y &hat the scene is directly a3out. In this case< itAs like >u$$lin$ t&o 3alls and $ives the scene layers and te7ture. I use the same scene as an e7ample* 2* "illyAs comin$ over later. "* I #no&< around three this afternoon. 2* HeAs $ot some 3ad ne&s. "* ,ome 3ad ne&s for you. 2* .eah< "illyAs $onna tell me that mom found out a3out the car. "* Tim< youAre scre&ed. 2* +adAs $onna #ill me &hen he sees the scratch. IAll never play another video $ame< ever. "* ,cratch6 IAd call it a fairly lar$e scrape. 2* Wanna -o#e6 "* Than#s< itAs 2*3'. .ou have a half;hour left in the free &orld. 2* -o#eAs lost its fiCC. /ay3e I should flee to another continent ri$ht no&. "* IAve $ot t&enty 3uc#s. I donAt thin# that &ill $et us there. 2* I spent my last cash on flat pop. "* .ouAre a dead man. 2s you can see< soda pop runs more or less parallel in the scene to the dread of doom. It doesnAt ta#e anythin$ a&ay from the primary ener$y of the scene< 3ut adds another layer and more te7ture and detail to the scene. )nce a$ain< this only &or#s if everyone is levelheaded and trusts these types of offerin$s. .ouAre dead if anyone frea#s out and 3ails.

#eaching for an O$%ect

.ou are in the middle of a scene. It is $oin$ &ell. .ou have a character< your partner has a character< and you 3oth are playin$ a scene that is a3out somethin$. or an added e7tra challen$e< reach your hand out into the air< or the environment of the scene< and pull it 3ac# &ith an o3>ect in your hand. Jeep playin$ the scene. Jeep holdin$ the o3>ect. If you are 3rave enou$h to do this &ithout preconceivin$ &hat the
41

o3>ect is 3efore you reach< you &ill soon discover &hat it is< and it is li#ely that it &ill 3e in the 3allpar# of &hat your character or the scene is a3out. This is similar to thro&in$ a curve 3all in the scene and catchin$ up &ith it later. That &as a ver3al mechanismE this is a physical one that involves the environment. This scary move &ill escalate the play and discovery of the scene. 2t 3est< it hei$htens &hat the scene is a3outE at &orst youAll create it as an incidental o3>ect in the scene and provide color to it. 5etAs say you are in a scene and you are playin$ a drun#en clo&n. The scene $oes on for a &hile and you are &rea#in$ havoc on some #idAs 3irthday party. .ou 3oldly reach your hand out to $ra3 somethin$ from the air and have no idea &hat it is. .ou 3rin$ your hand 3ac# to&ard you 3ut you still donAt #no& &hat you are holdin$. .ou scare another #id &ith a threat and an insult and then ta#e a s&i$ off a liHuor 3ottle. 2h< thatAs &hat that is in your hand. 2 fearless move on your part has allo&ed you to hei$hten the character and the scene. It mi$ht 3e that you already thou$ht of creatin$ a 3ottle< then you reach out for it. ThatAs fine< and $ood improvisation< 3ut IAm also invitin$ you to reach out &ithout #no&in$ &hat you are $ra33in$ to put you in this &onderful 3ut fri$htenin$ state of discovery. or added< e7tra;scary fun< try this at the top of a scene. When the li$hts come up on sta$e or someone says 1$o1 in a &or#shop< reach your hand out into the environment as su$$ested 3efore< and simultaneously say somethin$. 2s al&ays< this could 3e preconceived 3efore the scene 3e$ins< 3ut I am challen$in$ you to do it &ithout #no&in$< or instantaneously cancel your preconceived thou$ht. This move &ill most assuredly snap you into a character ener$y that pro3a3ly never occurred to you. +onAt &orry a3out fi$urin$ out the o3>ect ri$ht a&ayE >ust ma#e that ver3al initiation first and foremost. With practice< you &ill 3e a3le to initiate ver3ally and determine the o3>ect at the same time. It &ill feel li#e ma$icE than# $oodness itAs not. This is especially useful if you have $otten into the rut of $oin$ to your environment at the top of a scene and then standin$ there silently< &onderin$ &hat to say< or doin$ the oppositeBhavin$ no environment at all in your improvisation and >ust standin$ there tal#in$. 8ither of these unfortunate patterns can 3e 3ro#en &ith reachin$ for an o3>ect.

Personal O$%ects and &anneris's

IAve loo#ed closely for years for that &hich separates the $ood improviser from the e7cellent improviser< and I 3e$an to notice this one particular positive pattern. /any superior improvisers &ill create a personal o3>ect or a mannerism for themselves in the scene. 8arlier< in the section a3out specificity< I mentioned the value of an o3>ect for a character in re$ard to the content of the scene and &hat it is a3out. I &ould li#e to ela3orate no& on the value of the o3>ect or mannerism to $ive your character more su3stance< 3elieva3ility< and inte$rity. Ima$ine a scene &here an e7ecutive is standin$< &aitin$ for an elevator< tal#in$ to an employee a3out his marria$e. The scene is $ood or not< &ho cares. @o&< ima$ine that &hile this conversation is $oin$ on< the e7ec has his hand out in front of him< palm do&n< and is flic#in$ his rin$ fin$er up and do&n occasionally. It 3ecomes o3vious< after a &hile< that the e7ecutive has a yo;yo &hile this conversation is ta#in$ place. It no& transforms from an archetypal e7ecutive to an e7ecutive &ho is yo;yoin$. /ore dimensions* a fun< une7pected choice for an e7ecutive and another layer for the scene. 2 personal o3>ect provides insi$ht into the personality of the character. 2nd pro3a3ly some more lau$hs. ,pecificity allo&s the audience to see a fuller picture of the characters and the scenes< and Huite often is &hat they empathiCe &ith and lau$h at. Havin$ the coura$e to create this piece of 3usiness and environment &ill add $reat su3stance and specificity to your character. 8ven if the improviser created an o3>ect that &asnAt an opposite choice< li#e a pointer< it still adds depth to the character. This is the difference 3et&een &hen o3>ect;&or# and environment 3ecome a crutch to $o to &hen youAre in your head and &hen they 3ecome po&erful tools for 3rin$in$ more to a scene or a character. If you donAt &ant to use an o3>ect< then try a personal character mannerism. Human 3ein$s rarely >ust stand there< arms to the side or in their poc#ets< and tal# at each other the &ay &e often do in improv land. (eople have tic#s< mannerisms< and other 3ehavioral attri3utes that ma#e them more individual. If you can tap into that 3ehavior. then your characters &ill 3ecome more individual< as &ell. Thin# of the e7ecutive tal#in$ 3y the elevatorE may3e heAs o3sessed &ith stro#in$ his ri$ht ear. un and peculiar. HeAs not the ole 3orin$ e7ecE heAs a 3it Huir#y. 2 southern 3elle &ho does a little &ave after everything she says is far more interestin$ and fun than the typical sittin$;on;porch;&ith;southern;dra&l. 2udiences love idiosyncrasies in people< and that little touch on your part is a door&ay to another part of the character. .our commitment to personal o3>ects and mannerisms for your characters has you sho& up in &ays that you mi$ht not other&ise< 3rea#s you out of stereotypical patterns< and creates fuller and often funnier characters. (ractice at home.
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Personal (ariety of Energy

.ouAre in the middle of a freestyle lon$ form. There is no structure< so characters and scenes do not returnE each scene you do is 3rand ne&. .ou notice that in the last t&o scenes you did< you &ere shoutin$ an$rily and standin$ in the center of the sta$e. It is time for you to do another scene. Which of the follo&in$ t&o options &ould 3e 3est for you* M M +o a Huiet vulnera3le scene do&nsta$e ri$ht on one #nee. ,tand center sta$e and shout an$rily.

,tupid Huestion6 .ouAd 3e amaaaaaCed at ho& many improvisers repeat these patterns over and over< especially in lon$ form. They repeat the pattern &ithin the sho& 3ecause thatAs &hat it is< a pattern< and patterns are hard to 3rea#. (atterns are also another conseHuence of measured thin#in$ and self;>ud$ment< so improvisers $o to the safe and conditioned place. In li$ht of this< I su$$est ma#in$ variety a choice &hen you improvise. If you are in a lon$ form or other structure that invites different characters and scenes &ithin a sin$le sho&< #eep a mental note of &hat you did in the last scene and chan$e it up. If all of the ensem3le mem3ers &ere to thin# that &ay< not only &ould it $ive each of them more variety in their performances< 3ut it &ould also $ive the sho& more variety as a &hole. It also $ives you somethin$ to thin# a3out other than< 1What am I $oin$ to say ne7t61 1What should I do no&61 and 1I &ish the li$hts &ould $o out.1 Here are some elements of variety to #eep li$htly tuc#ed a&ay. If ensem3les >ust put emphasis on one of these< improvisation &ould 3e a more layered and entertainin$ e7perience. M :ariety of 2motion If you notice that you used a certain emotion t&o times in a ro&< or that the sho& has had a presence of one par ticular emotion< ma#e an opposite choice for the ne7t scene. M :ariety of :olume It is all too common to see everyone yellin$ in every scene in an improv sho&. /a#e sure you are al&ays loud enou$h to 3e heard< 3ut play &ith the volume so that itAs not al&ays at the same deci3el. M :ariety of Staging -entersta$e< facin$ each other an armAs len$th a&ay< turned out to the audience sli$htly is not the only position in &hich you can improvise a scene. ItAs so refreshin$ to see someone come all the &ay do&nsta$e< or do&nsta$e ri$ht< or upsta$e 3y a &all. It 3rea#s up the monotony of tal#y scenes and is another &ay to put improvisers in unfamiliar physical territory. @otice the patterns of sta$in$ in your sho& and ta#e chances to 3rea# them up. This $oes for vertical hei$ht as &ell. ,tandin$ and tal#in$ is one choice. ,o are crouchin$< lyin$< cra&lin$< #neelin$< and 3endin$ over. M :ariety of "um ers 8very scene does not have to 3e t&o people< nor does every scene have to have everyone in it. 5oo# for patterns of the same num3ers and enter or e7it a scene accordin$ly. M :ariety of Rhythm Improvisation has its o&n special rhythm< especially &hen it is 3orin$ as hell. Reco$niCe and rehearse different rhythms for you and your ensem3le. If a scene has a slo& pace in a sho&< come in faster< and vice;versa. 2ll of these thin$s provide for a more entertainin$ improvisa;tional e7perience for your audience. The added e7tra 3onus is &hat it &ill do for you. "y lettin$ the variety serve the sho&< you &ill 3e doin$ thin$s that you normally &ouldnAt do and that stretch your ran$e as an improviser.

%tartin& %cenes
If you are dyin$ to preconceive somethin$ in an improv scene< preconceive the follo&in$. DWith each e7ample< #no& that< as always. youAll &ant to have a stron$ choice or a how 3ehind itF. (ractice startin$ scenes one of the follo&in$ &ays.

1ou
"e$in a scene &ith the &ord you. 1.ou $ot the map6 ?ood!1 or 1.ou feelinA all ri$ht61 1ou instantly puts you in the same space as your partner. Gsin$ you, not only affirms your partner &ith your stron$ choice< 3ut
43

also immediately ma#es your partner a part of it. This tool is also helpful if your improvisation seems a little disconnected lately.

And
,tart a scene usin$ the &ord and. The reason is pro3a3ly o3vious* 1 . . . and no& letAs crac# that safe<1 or 1and thatAs &hy I &anted to meet you here.1 .es< and starts you in the middle of the scene. It cuts throu$h 3orin$ and unnecessary e7position. 2fter a &hile< youAll &ant your scene to al&ays have the cadence of and, 3ut eliminate actually sayin$ the &ord all the time. In my e7amples< it &ould 3e< 1@o& letAs crac# that safe<1 and 1ThatAs &hy I &anted to meet you here.1 2ll of this $ets you into the scene more Huic#ly.

Something 1ou .elieve In

Have the first line of your scene 3e somethin$ that you actually 3elieve in or 3elieve to 3e true. or me< it mi$ht 3e< 1I donAt trust the $overnment<1 or 1The $overnment is corrupt<1 or 1The $overnment often lies to us.1 or you< it mi$ht 3e somethin$ different. It is< ho&ever< somethin$ you actually personally 3elieve in< &hether it is your stand on free speech< or capital punishment< or your favorite hairstyle< or your opinion of the -incinnati Reds. Improvisation invites us to say anythin$ &e &ant at all< and to 3rin$ our o&n voice to the sta$e. It invites us to do and say anythin$. 2nythin$. What do &e come up &ith6 1?reat party< huh61 or 1WhatAs up61

The ,pposite of What 1ou .elieve In

"e$in a scene 3y sayin$ the opposite of somethin$ you 3elieve in. I mi$ht say< 1The $overnment is al&ays honest<1 or 12strolo$y is an amaCin$ science.1 This mi$ht even 3e 3etter than sayin$ somethin$ you do 3elieve in< 3ecause representin$ the opposite point of vie& often has more impact. It is also usually funnierE ninety percent of the time< the audience is a&are that you donAt really 3elieve &hat you are sayin$.

"on Se(uiturs
I love +ada and non seHuiturs. (erhaps a 3it too much. Try startin$ a scene &ith one< and then try li#e hell to catch up &ith your initiation. 1Watch that tooth3rush ,amsonite< the pen$uins $ro& &eary over car.1 This usually reHuires a &illin$ partner to respond to such an initiation< and I &ouldnAt su$$est doin$ this in front of audiences often. ItAs a $reat &ay to stretch your 3rain and free up the &ords< thou$h. It also allo&s $reat practice in fieldin$ difficult initiations and ma#es it a 3it easier in the future &hen all #inds of initiations come your &ay.

%cenes

ithout !au&hs

,ome of the 3est scenes IAve ever seen are those that are a3out not $ettin$ lau$hs. When I spe&ed at the 3e$innin$ of the chapter< 1Improvisation< al&ays different< al&ays the same<1 doin$ scenes &here you $et no lau$hs is a &ay to defy this 3itter slo$an. Havin$ lau$hs in mind &hen you $o on sta$e produces a certain mindset* very product;oriented. It has you &or# in a particular< limited set of actions and &ords. The product is the laugh, or the need to create that lau$h. This product;thin#in$ steers improvisers into certain pat; terns of 3ehavior< and the moves associated &ith that 3ehavior seem to fit into a certain #ind of finite set. 2lleviatin$ the 3urden of $ettin$ a lau$h opens up a &hole ne& universe. ,uddenly< a moment that &ould have 3een >o#ed out is played throu$h. 2ll moments in the scene appear more honest< and points of vie& and characters are upheld effortlessly. If the improvisers launch these scenes &ith hi$h;sta#es initiations< all the 3etter. ItAs a >oy to see the relationship of< say< t&o 3rothers &here the first line of the scene is< 1,orry I couldnAt ma#e it to the funeral.1 If 3oth improvisers are in a$reement that they are not $oin$ to sell out the scene for lau$hs< that is< play it seriously &ithout >o#in$ it out or 3ailin$< improvisation reaches a $reater depth. 2n avera$e improv scene lasts three to four minutes. 2 scene &ithout lau$hs can last seven< never s&ay from &hat itAs a3out< and tu$ and pull in every &ay ima$ina3le to play itself out. I have seen and performed in scenes li#e this for over an hour. (racticin$ such scenes lets you #no& that youAre capa3le of playin$ a character and a point of vie& for far lon$er than you mi$ht have thou$ht. ,ome improvisers tell me that they run out of thin$s to say or do in a scene. Improvise a scene for fifteen minutes &ithout lau$hs< and you &ill learn that itAs not that you canAt find thin$s to say and do in an improv scene< itAs that you canAt find thin$s to say and do if $ettin$ lau$hs all the time is important to you. It ta#es trust and inte$rity to play this type of scene< and anytime somethin$ >o#ey appears< it stic#s out li#e a sore thum3< a clun#er. I tal#ed a3out actin$ earlierE &ell< this is &here improvisation meets actin$. @o& for the punchline* These scenes are some of the funniest IAve ever e7perienced. .es< the lau$hs
44

may or may not come as often as they do in other scenes< 3ut the lau$hs produced are of $reater Huality. Iuality6 .es< HualityBa &ord not used very often in improvisation. Iuality of funny. ,ince the improvisers are not improvisin$ &ith the mindset of 3ein$ funny< the funny has $reater depth and Huality. If the improvisers are playin$ the scene for real and #eepin$ the sta#es and &hat the scene is a3out intact< the lau$hs are more or$anic to character and relationship. They are not cheap lau$hs< 3ut more intelli$ent< richer lau$hs* 3etter lau$hs. This #ind of improvisation< thou$h< canAt 3e achieved &ithout a$reement amon$ the players. When one improviser &ants to play this &ay< 3ut the partner is in a need;to;$et;a;lau$h mode< the partner is $oin$ to pull the ru$ out from under the scene every time. The improvisers need to a$ree eforehand that this is the &ay theyAll improvise today< &hether in &or#shop or performance. .ou >ust canAt pull out a hi$h;sta#es initiation in your "uc#et )A .u#s improv team and e7pect everyone to hold it up. Improvisation does most often crave funny< 3ut it sure could use a dose of the honesty and inte$rity found in improvisin$ scenes &ithout lau$hs.

45

* Advice and +uidelines ,or Improvisers

Talent Why are some more talented than others6 What does it ta#e to prevail in improvisation6 ,hould improvisation 3e pursued as a career6 What do you &ant from improvisation6 /y first piece of advice is to 3e 3rutally honest &ith yourself a3out &hat you &ant. 2s# yourself &hy you are improvisin$. If you &ant to &or# in the cast of a professional improv theater company< say that< to yourself and others. If you &ant to 3e a film star< declare that. If you &ould li#e to improvise as a ho33y< then have it 3e that. Too many people shroud themselves &ith false intentions &hen it comes to improvisation. Improvisation has an artistic presumption that ma#es people thin# that it is &ron$ to use it as a tool for &ritin$< actin$< or to further a career. While in it< people thin# they should hold it purely as an artistic endeavor< &hen really< in the 3ac# of their minds< they are thin#in$ of havin$ a 3i$ career in professional theater< film< or television. Improvisers &ould $et there Huic#er D&hatever 1there1 is for themF if they &ould >ust 3e honest &ith &hat they &ant. @ot only is that sort of falsity annoyin$ and tac#y< it is also a practical inhi3itor. Inte$rity is livin$ up to &hat you declare< in an improv scene and in a life. +eclare &hat you honestly &ant< and live that vision fearlessly. If you do decide to improvise as a professional endeavor< #no& that it is >ust that* a professional endeavor. 2nd li#e all professions< it ta#es time. Improvisation has tan$i3le s#ill sets and indicators of pro$ress. It ta#es time to attain these s#ills and the amount of time it ta#es is different for every3ody. "ut it at least ta#es yearsByears of e7perience< either on sta$e or trainin$ or prefera3ly 3oth. .ou may 3e the funniest thin$ on the 3loc#< 3ut if you donAt have the technical s#ill set to improvise &ith another person< that talent &ill 3e forever loc#ed inside< held prisoner 3y the common improvisation 3ehavioral pitfalls that reside in every 3e$innin$ improviser. 9ust one of those moves &here you lose po&er could $et you in your head and ruin your scene. The Conce&t of Training ThereAs such a thin$ as too much trainin$. If you move to a city li#e -hica$o< @e& .or#< or 5os 2n$eles and enter into the lovely &orld of improvisation< chec# yourself to ma#e sure you are 3alancin$ practical performin$ e7perience &ith classes. It is very easy to $et s&ept up into the social and academic arenas and convince yourself that youAre ma#in$ pro$ress. Time on sta$e is paramount< and if you donAt have it thereAs only so far you &ill evolve as an improvisational actor. If you find yourself enrollin$ in your second year of improvisation class and have had limited performin$ e7perience< my su$$estion is to not enroll in that class. Ta#e time off to assess your station in the improv arena. .ou &ill discover much and o3serve those around you in your situation &ith a more po&erful< o3>ective eye. Then your decision to ta#e another &or#shop &ill 3e >ust that< a decision< as opposed to a &ea# reaction to your perception that ta#in$ another class is &hat you are supposed to do. Ta#in$ time off &ill also help you a3sor3 &hat youAve learned. The improvisation trainin$ &orld is saturated &ith varyin$ points of vie& and different theories< includin$ my o&n. I 3elieve that none are &ron$ and none are ri$ht* 8very approach has helped someone at some time improve their &or#. ThatAs the 3eauty of payin$ for the service of 3ein$ tau$ht information a3out improvisation* .ou $et to choose &hat &or#s for you. What doesnAt &or#< assuredly< is attemptin$ to a3sor3 and e7ecute all of those contradictory influences in one fell s&oop. It ta#es 3ein$ selective and usin$ only that &hich helps you. 2nd often< determinin$ &hat &or#s for you is 3est achieved &ith an a3sence of any influence. $en an" omen

'n&ry (en
,ome men thin# that 3ein$ ne$ative all the timeBon sta$e or offBis novel and po&erful. I am here to tell you that it is neither. ,ometimes men feel they need to roll their eyes< shru$< and #noc# do&n an idea to $ain their
40

position. What they are really e7pressin$ is fear. If you are that $uy &ho doesnAt readily support anotherAs idea< or slices ideas to 3its 3efore they even reach a sta$e< save yourself some time and stop your 3ehavior< even if you have to fa#e it. 8ven if you have to pretend to 3e enthusiastically supportive a$ainst your 3etter >ud$ement< do it. )ver time< if you are at all smart and talented< you &ill realiCe the value of that support and even 3e$in to a3hor your former 3ehavior &hen you notice it in others. "ein$ distant< o3>ective< and ne$ative is dime;a;doCen 3ehaviorB a reaction to fear and a defense a$ainst doin$ real &or#. 2nd it is< a3ove all< 3orin$.

)ra*y !adies
A lot of &omen &ho enter improvisation 3elieve that if they act a little 3atty 3oth onsta$e and< more particularly< offsta$e< they will stand out. 8ccentric attri3utes &ill set them apart and they will e7cel. +onAt 3e a craCy lady. "e a stron$ &oman instead. "e polite and economical offsta$e< and relentless on sta$e. Let the craCy sho& up in the improvisation as characters.

omen versus (en

1Women arenAt as funny as men.1 1/en 3ulldoCe scenes.1 1/en type &omen into su3servient domestic roles.1 or &omen* If you find yourself d&ellin$ on or reactin$ to any of these statements< $ive it up. It is fruitless and po&erless. 2s a man< I sometimes find this a difficult conversation to approach< 3ut I can at least ma#e the follo&in$ o3servations. M It is a po&er drain for &omen to $ive such 3eliefs any credence< especially if doin$ so affects their &or# on sta$e. M /en >o#e a3out &omen not 3ein$ as funny and &ill continue to do so. air or not< they do and &ill. M /en donAt really 3elieve that &omen are not as funny< 3ecause they have enou$h e7amples of funny &omen that they admire to disprove the notion. M @o stron$< funny &oman improviser IAve ever &or#ed &ith $ives any thou$ht to any of those 3eliefs and hates &hen other &omen do. M If &omen are on a campai$n to chan$e male improviser 3ehavior< they have a3out as $reat a chance as chan$in$ the 3ehavior of the $uy they are in a relationship &ith. M /en rarely $o on sta$e thin#in$< 1Hey< IAm $oin$ to scre& over this &oman and 3ulldoCe her scene.1 /ost often they $o on sta$e &ith their o&n fears and 3a$$a$e and loo# to support &hoever they are on sta$e &ith in order for the scene to $o &ell and to have a $ood e7perience. M /en are la3eled as hus3ands as often as &omen are la3eled as &ives. M The &ea#er and more insecure the &oman< the more li#ely she is to d&ell on and react to such 3eliefs. ,tron$ &omen improvisers are 3usy improvisin$ &ith inte$rity< re$ardless of &hat is offered to them. The Perfect )ctor "elo& is an e7cerpt from a &e3 >ournal I &rote in 1%%0 &hile I &as directin$ 1(aradi$m 5ost<1 a ,econd -ity /ainsta$e sho&. I &rote it one afternoon after a particularly tryin$ rehearsal. I have left it &ord for &ord< harsh lan$ua$e and all< to reflect my mindset &hen I &rote it. ItAs a list of $uidelines for an actor &or#in$ on a s#etch=improv sho&. I thin# it applies more 3roadly< thou$h.

Shut the fu!k up.

In rehearsals or notes< if you donAt really really really have to say anythin$< then donAt. ,ome people tal# for the sa#e of tal#in$. This comes from a space of ri$htness or need for affirmation or need to 3e perceived as vital and intelli$ent. If you donAt have to tal#< donAt. 5oo# at &hat you are a3out to say and as# yourself< 1Is this really supportive to &hat is $oin$ on ri$ht no&61 If itAs not< say nothin$. ItAs so easy to &hittle a&ay a rehearsal tal#in$ 3ullshit. 8veryone #no&s that ninety;five percent of &hat is 3ein$ said &ill not come to
44

fruition< yet they do it and feel a false sense of productivity &hen they leave the rehearsal. IAve 3een suc#ed into that &aste;of;time a3yss more times than IAm &illin$ to admit.

;now what you)re talking a out.

If you have to tal#< #no& &hat is 3ein$ discussed ri$ht no&< and have &hat you have to say 3e relevant to that and that only. IAve &asted so much time as a director &ran$lin$ tan$ents and 3rin$in$ them 3ac# to the point at hand. IAm pretty $ood at 3rin$in$ it 3ac# to &hatAs up< 3ut I donAt en>oy it and it usually pisses me off.

<ake strong !hoi!es.

uc# your fear. We &ant to see your po&er< not your fear. @o3ody has time for your fear. When I direct< I assume competence< not ina3ility. ThatAs all a director &ants from an improviser in this process. To ta#e the po&erful choices he or she creates< and utiliCe them in the sho&. If I< as director< must constantly spoon;feed and su$$est and coddle the actor in re$ard to their ideas< lines< and characters< then thereAs a ninety percent chance that the person is comin$ from a hu$e space of insecurity in the first place. ThatAs the pro3lem ri$ht there< not the idea or character or anythin$. The more you approach a director or other actors in this needy manner< the more you &ill alienate yourself from the directorAs po&er and your o&n. When I teach< I e7pect insecurityE &hen I direct< I e7pect the opposite. If you find yourself in a sho& and you are afraid< then fa#e it. +o the first three thin$s on this list and discover that the more you are perceived as po&erful< the more po&erful you actually 3ecome. When I teach I have room for insecure choicesE &hen I direct I do not. )nce you are proficient in this 3ehavior< you &ill have the &elcome ri$ht to discuss your scene &ith me or another actor. The 3est thin$ you could say to me in notes is< 1IAll ma#e another choice and &eAll see if it &or#s.1

Show up and e on time.

If somethin$ comes up< call. Really.

8on)t e tired)
ItAs actually o#ay to 3e tiredE most of us are &hen &e &or# so hard on a sho&. ItAs even o#ay to say youAre tired. 9ust donAt act tired. "e someone &ho isnAt tired. IAve seen too many people say theyAre tired at the 3e$innin$ of a rehearsal and then spend the ne7t three hours provin$ it to everyone around them. )ften< tired is an e7cuse for laCy or scared. If you find yourself sayin$ 1IAm really tired today<1 #no& that everyone is tired and thatAs a $iven and &ho cares and then $et up on sta$e and 3e vital and en$a$in$. +onAt let tired 3e an e7cuseB no3ody cares.

8on)t read in rehearsal.

+onAt read in rehearsal.

8on)t talk a out the show in ars.

If I donAt 3elieve that tal#in$ in rehearsal is very productiveBthenB thin# a3out it.

Try anything.
"e someone &ho &ill try anythin$. If you have a consideration a3out somethin$ a director as#s you to do< spea# that consideration and do it any&ay. "e someone &ho says< 1,ure< IAll try it.1 ,ooooo many $ood ideas have $one to hell 3ecause an actor Dor director< for that matterF >ud$es an idea< tal#s it to death< and never tries it even once. ItAs so easy to 3e ne$ativeE you thin# youAre 3ein$ smart and insi$htful at the time< only to learn later that youAre merely an asshole.

2liminate these words from your vo!a ulary.

1-anAt1B)h yeah< IAll 3et &e can. 2 process is a3out &hat &e can doE itAs so easy and limitin$ to state that &e canAt. 2 po&erful person finds possi3ility &ith an idea< not its limitations. Try anythin$. 1,hould1 and 1ou$ht to1BGse the &ord 1could1 instead. 1,hould1 forces your su$$estion on meE 1could1 offers me the $ift of choice and opportunity.

8on)t interrupt anyone at any time7 if you do, apologize.

If you interrupt another< you are instantly tellin$ them a couple of thin$s* M What that person is sayin$ has so little value that you didnAt 3other to listen.
4!

M .ou used the time &hile they &ere spea#in$ as an opportunity to thin# a3out &hat you &ere $oin$ to say< &hich you thin# is ri$ht and more important. @o& &hat that person is thin#in$ a3out after 3ein$ interrupted is 1He interrupted me<1 so they donAt hear the thin$ you interrupted them &ith. (retty effective communication< ay6 2s a director< I &ill promise to #eep my eye on interruptin$ you if you #eep your eye on interruptin$ me and others. That &as the ori$inal list. Here are some added thin$s.

8on)t lie down in a rehearsal.

/any people thin# it a harmless thin$ if they ta#e a little snooCe &hen they arenAt doin$ anythin$ in a rehearsal. The messa$e youAre sendin$ is that you are uninterested in the development process of someone elseAs material< that you are 3ored and &ould rather ta#e a nap. It ma#es people feel 3ad to 3e &or#in$ &hile another actor is across the room sleepin$.

$earn not to apologize efore presenting your work.

2 cast is as#ed to 3rin$ in an idea or a &ritin$ assi$nment to a par ticular rehearsalE there is a sli$ht apolo$y 3efore each idea the cast mem3ers are $ettin$ ready to present. They come in forms li#e* 1IAm sorry< I didnAt have much time to &or# on this.1 1This isnAt &or#in$< 3ut here it is.1 1This is stupid< I had a hard time< 3ut . . .1 1"efore I present this< I >ust &ant you to #no& I hate it.1 1.ou $uys are $oin$ to hate this< 3ut. . . 1 ItAs very temptin$ to offer this sort of apolo$y and I sympathiCe 3ecause itAs very scary to offer an idea. ,ometimes< the thou$ht of 3ein$ re>ected or scoffed at is over&helmin$< so you &ant to protect yourself 3y lettin$ everyone #no& 3eforehand that you share their soon;to;3e ne$ative vie&. The reasons IAm su$$estin$ $ettin$ over this 3ehavior are* M ItAs a &aste of time. It ta#es real time out of every rehearsal to &ait for everyoneAs apolo$ies. M It $ives you permission to 3e mediocre. 8very time you sit do&n to thin# of an idea or &rite somethin$< you have the out that it is allo&ed to 3e mediocre 3ecause you are $oin$ to apolo$iCe for ho& 3ad it is. What if the conversation &ere< 1IAm $oin$ to create somethin$ that &arrants no apolo$y 3ecause it is $ood and IAm proud of it1 and you &rote from that mindset6 .ou &ould then $ive the idea the time it deserves and not 3e content until it &as to your satisfaction. M It ma#es you loo# &ea#. If you apolo$iCe every time you present an idea to the director and the other ensem3le mem3ers< then they &ill come to e7pect you to produce mediocre &or#. (resent your ideas proudly. They are your creationE you neednAt apolo$iCe for them.

Work in the present, not the past

,ome people< &hen as#ed to 3rin$ in an idea or &ritin$ for a sho& they are &or#in$ on< drud$e up material they &or#ed on in an earlier sho&. IAm not hard and fast a3out this< 3ut I do thin# itAs a 3ad practice for an improviser to $et into. 8very rehearsal process has a collective< creative sensi3ility comprised of all of the actors and the director and the e7periences and times that they live in. ThatAs the marvel of creatin$ ensem3le s#etch comedy* It comes from that ensem3leAs voice. /aterial created outside that process stic#s out as forei$n and contrived< not or$anic to that process. It also sho&s up as a crutch to the person 3rin$in$ it in< su$$estin$ that the ensem3le mem3er canAt live up to the $ro&th and challen$es of that particular rehearsal process. 5earn to create from &ithin a process.

8on)t meet as a group without the dire!tor.

.ou &ill scre& up your sho&. 1 donAt care if the person canAt direct;dial< donAt meet and discuss the sho& and the pro3lem &ithout the director. If this happens< there is no $oin$ 3ac#. It is the 3e$innin$ of the
4%

endE the sho& &ill lose its po&er and &ill suffer on openin$ ni$ht or the ne7t time it is performed. 5earn to $ently confront the director as an individual or a $roup. If there is a producer< meet &ith him or her. Jno& that discontent &ith a director or other ensem3le mem3ers comes in &aves< so $ive it a little time and see if the &ave su3sides. It mi$ht. If not< then confrontE donAt meet outside.

Ask permission to give another improviser a note.

If you really must $ive a fello& performer a note< as# their permission first. 1I noticed somethin$ in that last scene< &ould you li#e to hear it61 or 1/ay I tell you somethin$ I o3served last ni$ht61 2s# permission to $ive the information. Then< 3e o#ay if the ans&er is no. "e o#ay if they are not in the space to receive your information. Reflect on times &hen people have offered you notes and ho& it made you feel. Respect that space and donAt ta#e it personally.

8on)t give other improvisers notes. If you must give a note, don)t, don)t, don)t do it during a show.
This almost al&ays infuriates the recipient. Wait until an appropriate time< li#e never. )r at least until the director has offered notesE the director may cover your issue.
Jump on stage with enthusias')

If a director says< 15etAs $et on sta$e<1 do it &ith po&er and enthusiasm and speed. Why6 "ecause the slu$$ish< 1+o &e have to6 IAm tired1 approach sends a messa$e of indifference and affects your &or#. It says that everythin$ you are a3out to do on sta$e you &ill approach &ith less than your 3est. It &ill permeate the &or# you do &ith the precious little time you have on the sta$e< &here ninety percent of the &or# that &ill appear on openin$ ni$ht happens.

Sit near others.

What the hell66 .es. In the rehearsal room< sit near the other ensem3le mem3ers< not apart. ,urvey the room< and if you find that you are sittin$ noticea3ly farther a&ay from the $roup than they are to each other< move in closer and sit &ith the $roup. This sounds so stupid< 3ut it isnAt. 2lienation comes in many forms. ,ittin$ far a&ay is a psycholo$ical tactic of 3ein$ the o3>ectifier< the $uy DusuallyF &ho is 1&ith1 the ensem3le< 3ut &ho &ill also ta#e on the 1responsi3ility1 of o3>ectifyin$ it. )ften the culprit is not even openly a&are that he has this 3ehavior. The effects are su3tle 3ut po&erful. 5et the director 3e the eye of the $roup< the one &ho is o3>ective. .our responsi3ility is to &or# po&erfully as an individual &ithin an ensem3le. ,o 3e &ith the ensem3le at every opportunity you can. ,it &ith them.

Shower.
)u"itioning /ui"elines for %m&ro'isers 2n improvisational audition can 3e one of the scariest e7periences on this little planet. I remem3er my auditions and ho& out;of;my;mind fri$htened I &as. 8verythin$< for a3out a &ee# 3efore the audition< &as amplified in a surreal &ay. The mornin$s of these auditions &ere even more terrifyin$. 8verythin$ &as ma$nified* +etails that normally had little or no importance suddenly too# on $rand proportions. ?ettin$ dressed &as hu$e. 1,hould I &ear a suit to $ive myself a professional actor loo#61 )r 1/ay3e IAll &ear a t;shirt for that AHey I >ust &al#ed off the street and arenAt I funnyA effect.1 )r 1/ay3e IAll dress up in a thin tie and a shar#s#in suit. @o< no< a too;lon$ striped tie and red -onverse shoes.1 )r 1/ay3e I should dress e7actly li#e 9ohn "elushi.1 8atin$ &as another thin$. 1,hould I eat at all6 /ay3e somethin$ li$ht. @o< somethin$ heavier and $et a nap in.1 2rrivin$ at an important audition is e7actly &hat it feels li#e to &al# to your o&n e7ecution. ,cary< 3uCCin$< nervous< doomed< fi$htin$ for confidence. riends you dran# &ith the ni$ht 3efore suddenly 3ecome polite adversaries. The &ay that everyone around you acts and the &ay they are dressed 3ecome hu$ely intimidatin$. ear. ear. There are so many people aroundE very scary. Wal#in$ into the theater is a ni$htmare. The auditors loo# 3ored and intense and uninterested from the moment you &al# in. .ou already feel scre&ed 3y the time you &al# on sta$e. .ou see one of them ta#e a sip of coffee and that is very important all of a sudden< very
5'

a$$ressive and intimidatin$. It &ouldnAt normally 3e< of course< 3ut at an audition everythin$ seems amplified and constructed to #ill your audition. Here are some &ays to ease the pain< not >ust for an improvisa;tional audition< 3ut for any audition. irst of all< the most important thin$ that you can remem3er is this* 2lthou$h it loo#s li#e the auditors are indifferent to you or may3e even donAt appear to &ant you to do &ell< the opposite is< in fact< true. They not only &ant you to do &ell< they are dying for you to do &ell. There is nothin$ they &ant more. ThatAs &hy they are there< to find people &ho do &ell< and it mi$ht as &ell 3e you. It $ets so 3orin$< &atchin$ $roup after $roup improvise poorly< 3ecause the improvisers are so frea#ed out. 2nythin$ that appears to 3e a stron$ choice or a ris# is hi$hly refreshin$. Truly< auditors &ant nothin$ more than to see you sho& up &ell. 2nd ho& do you do that6 Well< here are some tips. M +onAt acHuiesce to the ener$y in the room. The vi3e in the audition room is usually Huite som3er and intimidatin$< not the 3est place to cut loose and play. .ou must resist the temptation to yield to that ener$y. ?reat improvisation is not possi3le if you decide to $ive in to the tense< >ud$mental feelin$ in the room. ?reat improvisation is only possi3le if you play< and unfortunately in an improvisation audition you have to manufacture that feelin$ in spite of the atmosphere. It is difficult< and most people $ive in and 3ecome measured and stilted. If you &ant to have a suc; cessful audition e7perience< snap into play re$ardless of &hat it feels li#e you should do. 2nd remem3er< the auditors truly &ant you to 3e successful. They do not purposefully set up a tense audition environmentE it >ust comes &ith the territory. It &ill al&ays 3e that &ay and you must play. 8asier said than done< thatAs for sure. M ,nap into a stron$ choice &hen someone says< 1?o.1 DHave you heard this 3efore6F 2llo& yourself to thin# all the horri3le and hauntin$ thou$hts you &ant a &ee#< a day< minutes< seconds< and the nano;second 3efore you improvise in that audition< 3ut &hen an auditor $ives the si$nal< leap into a stron$ choice. It &onAt feel li#e thatAs &hat you should do< 3ut do it. (ierce throu$h the molasses feelin$ of the audition and surprise everyone &ith a stron$< en$a$in$ choice. M a lau$h. IAve seen people say< 1Hi< IAm 9ohn "elushi B >ust #iddin$.1 9ust say your name. If you are as#ed to say a little somethin$ a3out yourself< do so truthfully. +onAt ma#e up stuff a3out yourself to $et a lau$h. If the truthful thin$ is funny< so 3e it< 3ut donAt invent anythin$ for a lau$hBit &ill surely 3e transparent and loo# contrived. M ,pea#in$ of 9ohn "elushi< donAt dress li#e him. D/any have.F +ress nicely. The >ac#et;lon$;tie;red;tennis;shoes;>eans thin$ is so very tired< at least in my opinion. +ress for a ,unday afternoon sprin$ &eddin$. M If you #no& one of your auditors< donAt ac#no&led$e them unless they first ac#no&led$e you. Wal#in$ in and sayin$< 1Hi "o3< ho& have you 3een61 puts "o3 in an uncomforta3le position and &or#s a$ainst you 3ecause no& "o3 has to appear un3iased. 23ove all< after you audition< donAt han$ around and stri#e up conversations &ith the auditors. ?et out and $o have a 3eer. M ,ho& variety. ,ometimes an improv audition is an audition for a $roup that &ill perform 3oth improv and s#etch comedy. ,#etch improv reHuires a ran$e of character and emotion< so sho& that in the audition. .ou donAt necessarily have to plan it out< >ust 3e a&are of it durin$ the audition. If you find yourself playin$ only one ener$y in one scene< s&itch up the character=ener$y for the ne7t. ,o many times IAve heard< 1,heAs $ood< 3ut is that all sheAs $ot61 ,ho& that it isnAt all youAve $ot. ,ho& a ran$e for a s#etch comedy audition. M Ta#e an actin$ classBor four. 2 lot of improvisers come from the 1/y friends told me I am funny1 school of performin$ and deem actin$ as unnecessary or pretentious. In a s#etch audition< actin$ s#ills are an asset. /any can improvise on the same level< so actin$ $ives you a rare ed$e over the other improvisers< especially if youAre as#ed to do a cold readin$. If you &ant a real ed$e in a s#etch comedy audition< #no& ho& to act.
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If you are as#ed to state your name< do so slo&ly &ithout affectation and &ithout tryin$ to $et

M (repare for an audition 3y auditionin$. 2uditionin$ itself is a learned s#ill< and many improvisers >ust donAt have enou$h e7perience in it. 2n auditionin$ actor has many fear thresholds< &hich can only 3e overcome 3y e7perience in auditionin$< not 3y auditionin$ for that one 3i$ thin$ once a year. )ften< people &ho have $otten to the point of not $ivin$ a damn &hether they &or# some&here or not< ironically< $et hired. The reason for this6 They have eliminated the importance they place on the audition. .ou see< if you posit your audition as crucial for your career and you must $et the >o3 or you &ill die< you &ill &al# into the audition &ith a hu$e 3urden. ItAs difficult to find a sense of play &ith that 3a$$a$e. Improvisers &ho arrive at a place in their lives &here it >ust doesnAt matter donAt carry that 3urden. They leave themselves open to play< &hich has them sho& up as smart and funny. IAm not attemptin$ to diminish the importance of the audition< 3ut only tryin$ to shed li$ht on one of the many self; sa3ota$in$ psycholo$ies at &or# 3efore and durin$ the improv audition. Common Patterns inally< I &ould li#e to mention some patterns that sho& up in an improv audition. 2s al&ays< IAm not sayin$ donAt do these thin$s< IAm >ust sayin$ that the follo&in$ thin$s often appear in auditions 3y people &ho seemin$ly thin# that &hat they are doin$ is novel. M "e$innin$ at the 3e$innin$ "ecause of fear and measurement< a lot of improv scenes in an audition start &ith unfamiliar relationships and 3e$innin$s of conversations. Thin$s li#e< 1Hey< &hatAs up61 and 1,o< ho&As it $oin$61 indicate t&o characters &ith no familiar past $ettin$ to #no& each other in a stran$e settin$. If there is ever a time to assume familiarity &ith your partner on sta$e and start in the middle of a scene D1 . . . so I finally told her the truth.1F< itAs in an improv audition. M ,e7 Improvisation is the only place on earth &here se7 is 3orin$ to me< particularly in an audition. ,cenes a3out se7 in an audition almost al&ays sho& up as a conseHuence of fear< and itAs fri$htenin$ly transparent and not uniHue. ?ay< strai$ht< &hateverBthese scenes are usually not so funny and certainly overdone. M I love I mentioned this improv syndrome earlier< in spea#in$ a3out >ustifyin$ and ma#in$ assessments in a scene. The 1I love1 thin$ sho&s up a lot in auditions< once a$ain< out of fear. ,o many scenes start &ith* 1I love playin$ 3ase3all.1 1I love #ite flyin$.1 1I love 3ein$ in a factory.1 1I love &or#in$ at the Coo.1 1I love ta7 time.1 1I love tic#et ta#in$.1 1I love $oin$ to the $ame &ith you.1 "ut rarely 1I love you.1 M (hysical contact Whether it is stran$e touchin$< #issin$< or hittin$< itAs pro3a3ly inappropriate. 8ven if you #no& the person you are improvisin$ &ith< the auditors donAt #no& that you #no& them. .ou mi$ht 3e surprised 3y ho& many people slap each other in auditions. ItAs al&ays disconcertin$ for those &atchin$. M Hands in poc#ets "asic< 3ut &orth mentionin$. 2 very typical pattern for people in fear is puttin$ their hands in their
52

poc#ets. @ot only &ill it reinforce your fear< 3ut it &ill also limit you physically. Summary These $uidelines are not offered to ma#e you overthin# the audition< 3ut lofted in the air as somethin$ to li$htly #eep in mind. The last thin$ I &ould &ant is to provide you &ith more 1donAt do this1 information and put you in your head. Read and for$et and remem3er and for$et and play.

53

1- Improvisation and he %econd .aw o, (hermod namics

IAd li#e to e7plore the ener$y of an improvisational scene as it pertains to the second la& of thermodynamics. The follo&in$ is pro3a3ly< 3ut not necessarily< a metaphor. )ften &e spea# of a sceneAs energy. Is that a &ord &e thro& around to descri3e such thin$s as pace< loudness< sta$e presence< and so on< or is the ener$y of a scene real6 We say< 1(ic# up the ener$y in that scene!1 or 1We lost our ener$y in that last scene.1 8ner$y ener$y. If an improv scene is a closed system< and the ener$y &e spea# of is real< then the scene must adhere to the la&s of physics. T&o la&s of physics are the first and second la&s of thermodynamics. +oes a stupid improv scene adhere to the first and second la&s of thermodynamics6 5etAs find out. 2nd if it does or doesnAt< &ho cares6 5etAs find out. irst of all< &e need to #no& the definition of energy. 2nergy is the !apa!ity to do work. What is work in this definition6 Work is a for!e on something moving it a distan!e. Wor# K force times distance DW =fd>. I &ould $uess that ri$ht no& youAre $ettin$ into the 1)h my ?od< thereAs an eHuation and my 3rain shuts do&n and I hate this stuff mode. 8Huations are li#e that< 3ut >ust ta#e a loo# at it. Thro& a poodle off a cliff. Thro&in$ a poodle off a cliff is work. .ou apply a for!e to the poodle and it travels a distan!e. In a moment< $ravity< another for!e, ta#es over and pulls the poodle to the earth< another distan!e, shatterin$ its manicured 3ody. Wor# K force Dyour thro&F Q distance Dho& far the ill;fated poodle travelsF. W K fd* easy. ,o energy is the capacity to apply a force to somethin$ and move it a distance. 8asy. @o& letAs loo# at the relentless la&s of thermodynamics. The first la& is 3etter #no&n than the second. First (aw of Thermo"ynamics 2nergy !an never e !reated or destroyed, only transformed. This means that there is only so much ener$y in the universe. .ou canAt create more and you cannot< under any circumstances< destroy &hat is there. The irst @ational 8ner$y "an# of the Gniverse has one set amount of ener$y in its account. The ener$y can chan$e from one form to another< say from solar to electrical< 3ut the total amount of ener$y never ever chan$es. 1.ou canAt &in<1 people often say of the first la&. @o matter &hat you do in an e7chan$e of energy in this universe< you &ill never ultimately come out ahead< 3ecause a $reater amount of ener$y &ill never 3e created. 2nother &ay of statin$ the first la& is that there is a !onservation of energy in the universe. 8ner$y< or the capacity to do &or# D&hich is a force movin$ somethin$ a distanceF< is not created or destroyed< it is !onserved. @o& you #no& the first la& of thermodynamics. "efore &e travel to the second la&< I &ant to introduce another eHuation< 8 K m!?. 2lon$ &ith the conservation of ener$y in the universe< there is also a conservation of matter. /atter can never 3e created or destroyed. 8insteinAs famous eHuation sho&s the relationship 3et&een ener$y and matter. The 8 in the eHuation stands for energy. The m stands for mass. The ! stands for the speed of light. 2nergy K moss times the speed of light s(uared. The speed of li$ht is a constant. It never chan$es. @o matter &hat the circumstances in the universe< the speed at &hich li$ht travels never chan$es. That speed is 1!0<''' miles per second. ,o the eHuation 8 K m!? says that the ener$y that any o3>ect in the universe possesses is the o3>ectAs mass times the speed of li$ht sHuared. 2 3eer can has this much ener$y* 2 K Dmass of 3eer canF times the speed of li$ht sHuared. If you do the mathematics< the amount of ener$y in any o3>ect Dits mass energy> is astoundin$. This eHuation is that simple and that incomprehensi3le. We see no visi3le effects of the ener$y contained in the thin$s around us< so it doesnAt seem to ma#e much sense. Thin# of any piece of matter in the universe< say< a thim3le< havin$ an insane amount of ener$y reserves< 3ut there is never a &ithdra&al from its ener$y 3an#< and there is never a deposit to its ener$y 3an#. The thim3le has a hu$e reserve of mass ener$y that >ust sits there li#e a hidden ,&iss 3an# account. Is this craCy and vast amount of mass ener$y ever released from matter6 .es< 3ut rarely. 2n e7ample of mass ener$y release is found in nuclear 3om3s and nuclear po&er. )ne of our only rare $limpses of this ener$y is the tremendous amount released in a nuclear event. "ecause the speed of li$ht< c< never chan$es< there is al&ays a direct correlation 3et&een ener$y and mass. 8ner$y K mass 7 a constant Dthe speed of li$ht sHuaredF. 9ust as there is conservation of ener$y in the universe< so there is a conservation of massE the correlation 3et&een ener$y and mass stays eHual. The first la&. D187cuse me< I really >ust &ant to improvise.1F

54

The Secon" (aw of Thermo"ynamics In a !losed system, entropy will always in!rease over time. 5etAs 3rea# do&n that sentence. irst< a !losed system. There is some controversy a3out the definition of a closed system amon$ scientists< 3ut for our purposes< letAs say that a !losed system is any system of intera!ting things that you define as su!h, that has no intera!tion with other things, outside itself. ,o the solar system is a closed system that contains the planet 8arth. @ot much< e7cept for $ravity and the occasional asteroid< interacts &ith the sun< the 8arth< and the other planets in our solar system. It is pretty much a closed system. The 8arth itself< ho&ever< &ould 3e considered an open system 3ecause the sun $reatly affects it< yet is outside of it. Here on this planet< &e can define smaller closed systems. @ever perfectly closed< 3ut enou$h so for a discussion of thermodynamics. 2n e$$< an en$ine< a cup of hot coffee< a car* 2 closed system is a system that can operate in and of itself< &ithout any outside ener$y source. .ou may say< 1Well< you have to put $asoline in a car< and thatAs from the outside.1 .es< itAs true< 3ut IAm spea#in$ a3out once the $as is in the carE the car 3ecomes a closed system. It no lon$er needs to e7chan$e ener$y or matter &ith anythin$ outside of itself to function. It is then closed. ,o< 3ac# to the second la&. In a !losed system, entropy will always in!rease over time. What is entropyl 8ntropy is often eHuated &ith chaos. 8ntropy is not chaosE chaos is often the result of entropy. 8ntropy< Huite literally< is waste heat. Heat is a form of ener$y< and entropy is waste heat. Waste heat is heat that is emitted into the universe< never to e used in the !losed system that it was emitted from a$ain. 8ntropy is >ust &aste heat ener$y. ,o. In a closed system< entropy< or &aste heat< al&ays increases over time. 2l&ays in!reases over time. 2l&ays. @o matter &hat the ener$y system< over time< &aste heat &ill escape into the atmosphere< never to 3e captured a$ain. D1,eriously< I >ust &ant to do a couple of funny characters.1F HereAs an easy e7ample of the second la&* I ma#e an Irish coffee. I $et distracted 3y a friend as#in$ me a3out improv and for$et I had an Irish coffee sittin$ on the 3ar. The Irish coffee< previously hot< 3e$ins to cool. It does this on its o&n. 8ntropy< or &aste heat< emits from the hot coffee=&his#ey pleasure into the atmosphere< never to 3e recaptured 3y that particular Irish coffee a$ain< and there3y coolin$ the Irish coffee. The coffee could 3e $iven ener$y DheatF a$ain from an outside source< 3ut the ori$inal heat ener$y &as dispersed< at random< into the universe as &aste heat. ThatAs another &ay of statin$ the second la&* Things tend toward !ool. 2 $lass of &ater doesnAt >ust heat up on its o&n. It needs an outside source to add ener$y to it< and if left on its o&n it &ill tend to&ard cool. The 3i$$est e7ample of this in our &orld &ould 3e the sun< &hich &ill tend to&ard cool and 3urn out in a fe& 3illion years. We on 8arth live off the entropy of the sun. HereAs a more immediate e7ample of the second la&* I finish my fourth sin$le malt scotch at a 3ar and leave the $lass on a ta3le. In a stupor< I $et up to leave and accidentally #noc# the $lass off the ta3le. /y hand and $ravity are the forces that com3ine to send the $lass to the floor. The $lass 3rea#s. ,o &hat happened6 The force of impact 3ro#e some of the molecular 3onds of the $lass< causin$ it to 3rea#. When those 3onds are 3ro#en< the heat ener$y that used to hold the $lass to$ether is released in the form of &aste heat. That &aste heat ener$y is dispersed into the atmosphere< never to 3e recaptured 3y the $lass. 2s a result< the $lass remains 3ro#en. This is &hy entropy is eHuated &ith chaos. The result of the release of &aste heat in the scotch $lass causes disorder for the $lass< or chaos< and the ener$y necessary to have the $lass a$ain 3e the $lass it once &as< is $one forever. .es< you could $lue the pieces 3ac# to$ether to restore the $lass< 3ut you are really addin$ another ener$y to create mended $lass< not recreatin$ the ori$inal. This is &hat thin$s tend to&ardBorder to disorderB3ecause of the second la& of thermodynamics. "ro#en $lass on a floor does not spontaneously 3ecome a scotch $lass< 3ut a scotch $lass is >ust &aitin$ for the release of ener$y necessary to 3ecome 3ro#en. 8verythin$ on our planet tends to&ard disorder< includin$ you. We fi$ht the second la& every day 3y remainin$ alive. @o matter &hat &e do< &e tend to&ard disorder as &e $ro& older and older. The second la& is &hy car tires &ear out< ci$arettes 3urn< and dead poodles decompose. This is also &hy a perpetual motion machine can never &or#. Throu$hout history< many people have tried to create a machine that< once set in motion< &ill eternally function on its o&n &ithout any additional ener$y input. This machine is impossi3le< 3ecause the parts of the machine &ill interact &ith one another< or the molecules in the air< creatin$ friction. riction is a form of &aste heat dispersed from the machine< never to 3e recaptured 3y it. 2 perpetual motion machine &ill eventually stop &or#in$< &hich is another definition for the second la&.
55

)f the first la&< as I mentioned earlier< people often say< 1.ou canAt &in.1 )f the second la&< people say< 1.ou canAt even 3rea# even.1 @o matter &hat the system< a percenta$e of ener$y &ill al&ays 3e $iven off< tendin$ to&ard that systemAs disorder. It ta#es ener$y to maintain order< 3ut the universe doesnAt prefer it. 2n ice cream shop left empty and unattended for 1'' years &ill 3ecome disordered. 2 ci$arette &ill 3urn and never 3ecome that ci$arette a$ain< a universe &ill cool and reach eHuili3rium< and a dead poodle &ill decompose at the 3ottom of cliff< never to recapture its lost ener$y and 3ecome that poodle a$ain. The second la&. The Thermo"ynamics of %m&ro' @o& letAs create an analo$y Dor a realityF &ith an improv scene and the second la& of thermodynamics. irst of all< itAs important to define the closed system. Remem3er< a closed system is a system that has no e7ternal input of ener$y other than &hat is included in that system. ,o letAs say &e define the improvisational theater itself as the closed system. The &hole room< once the audience is seated and the improv sho& is a3out to 3e$in< &ill hopefully have no e'ternal ener$y inputs. Its internal ener$y inputs are* M M clappin$F M M M M M The li$ht hittin$ the sta$e The audience< &ith their Huantity and their reactions Dsuch as cou$hin$ or lau$hin$ or The air conditionin$ and heatin$ system The improvisers ,ound ener$y DvoicesF Jinetic ener$y DimprovisersA movementF (otential ener$y Dlac# of sound and movementF

@otice that these are also the primary factors that determine the success of an improv scene. 2ll these sources of ener$y are 3ein$ thro&n into a scene. If energy is the capacity to do &or#< and work is a force applied to somethin$ movin$ it a distance< &hat is the thin$ that our closed system is movin$ for&ard6 In this closed system< the theater< &hat is movin$6 What &or# is 3ein$ done6 The s!ene itself, or what the s!ene is a out. ThatAs &hat &eAre movin$. ThatAs &hat &e put all of our ener$y into &hen &e improvise. We create &hat the scene is a3out and put all of our sound< movement< li$hts< and audience reaction to&ard movin$ the scene for&ard. In a comedy scene< the audience adds real ener$y &ith their sound of lau$hter< fuelin$ the scene farther. In a dramatic scene< the audienceAs concentrated stillness provides potential ener$y< &hich enhances dramatic tension. 2ll of these ener$ies are directed at the intan$i3le< yet a$reed upon concept of &hat the scene is a3out. This is truly the engine of an improv scene. We often spea# of 1drivin$ a scene1 and 1a scene that loses its $as1 and 1cran#in$ it into fourth $ear in that last scene.1 We put $asoline in a car to provide ener$y to an en$ine to move a car a distance. 2s improvisers< &e spea# and move to provide ener$y to what the s!ene is a out in order to move the scene for&ard. )ur 3i$$est $oal in our Huest to move a scene for&ard is to redu!e entropy. We 3attle a$ainst the second la&< attemptin$ to redu!e wasted energy. We strive to have all our lines< movements< character choices< and environment choices $o to&ard &hat the scene is a3out< and nothin$ else. 2nythin$ other than that is &asted ener$y. Gnli#e a car< &hich already has an en$ine< &e have to create our en$ineB&hat the scene is a3outBout of thin air. 2nd thou$h itAs not tan$i3le< it is realE li#e pistons &e must fire the en$ine in order to propel the scene and have it move for&ard. In an automo3ile< this is all that the pistons do* $ain ener$y from the com3ustion of $asoline< allo&in$ the en$ine to turn the cran#shaft and move the car a distance. Ima$ine if the pistons of a car sometimes fired to move the car and sometimes didnAt. (erhaps they fired and the e7plosion &ent into the air< or other times they fired and the car &ent in reverse at random< or other times they fired and they added a force to an en$ine of another car. Inefficient &or# &ould have 3een done to move the car a distance. Waste heat. 2s a matter of fact< this is &hat automo3ile manufacturers do all the time* see# to create cars &ith 3etter fuel efficiency. They &or# to 3attle the second la&< in order to minimiCe &asted ener$y and ma7imiCe fuel efficiency. DIn countries other than the Gnited ,tates< any&ay.F 2s improvisers< &e are the pistons of the en$ine of the scene. We must 3e a3le to create that en$ine< identify it< and do our damndest to add ener$y to it and it only. .es< &aste ener$y &ill disperse into the atmosphere< 3ut &e must do all &e can to minimiCe it.
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.ou may have seen a scene in &hich an improviser played a particular point of vie& for t&o or three 3eats< and then chan$ed her mind and &ent &ith another point of vie&. .ou >ust &itnessed a dispersal of &aste ener$y. The piston misfired. (erhaps youAve o3served a scene &here t&o improvisers $lance 3ac# and forth at each other in silence for ei$hteen seconds in fear. .ou can feel the ener$y drain out of the scene even 3efore the en$ine has 3een created. The audience can feel it also< and they un&ittin$ly contri3ute to it 3y their reaction< or lac# thereof. /ay3e youAve &itnessed a scene that starts out &ell enou$h< everythin$ seems ali$ned< and then it >ust doesnAt $o any&here or it #eeps revisitin$ the same territory over and over a$ain. )nce a$ain< you can feel the ener$y drain. 8very &asted line or 3rea# of character or $oin$ to the environment &ith little purpose or 3ailin$ on &hat you created is the emission of &aste ener$y for your scene. +oin$ nothin$ or doin$ the same thin$ over and over in an improv scene is not even $ood enou$h* entropy will o!!ur over time. The second la& of thermodynamics doesnAt care. It &ill ta#e &asted ener$y from your scene &henever it can. "ein$ all over the map in an improv scene is also not $ood enou$h* disorder &ill occur< the scene &ill 3rea# do&n. We need to focus on &hat the scene is< add our ener$y to that< and let the audience add theirs. In improvisation< &e donAt have much time. 8verythin$ &e create in a moment is true< and everythin$ is a3out that truth and that truth must 3e fueled &ith our ener$y now so that &e donAt let ourselves &aste too much ener$y in time< allo&in$ our scene to reach disorder. I am not su$$estin$ improvisin$ Huic#ly< >ust succinctly. or e7ample< a scene could 3e a3out not doin$ somethin$. In that case< not doing that thing is &here you &ant to put your ener$y. Ima$ine a Huiet scene &ith t&o people on the thin ice of a pondE if either of the t&o characters move or spea# too loudly< the ice &ill 3rea#. The potential for the i!e to reak is &hat the scene is a3out< and all the improvisersA ener$y must $o to&ard that. Whatever the scene is a3out< once you lose the ener$y of it< you can never $et it 3ac#. When &e say &e lost the energy of the s!ene, &e really did< and it ainAt ever comin$ 3ac#. Thermodynamics means the dynamics of heat< or &hat happens &henever heat ener$y is e7chan$ed. Improvisation involves all different #inds of ener$y e7chan$es< and anytime there is an ener$y e7chan$e in this universe< the la&s of thermodynamics are lur#in$ in the shado&s. The second la& is >ust &aitin$ for the molecules of the scene to 3rea#< dispersin$ &aste ener$y into the universe at random< never a$ain to 3e recaptured in that particular form.

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11 /$ercises to 0o at Home
/any resources for teachers and students of improvisation include e7ercises for a classroom settin$. ,o I thou$ht IAd provide some improvisation e7ercises you could do in the privacy of your o&n home. IAve done a lot of e7ercises 3y myself in my home< and almost all of them seem silly at first. ThatAs o#ay. 2fter a &hile you &ill condition yourself to >ust snap into it. D,ound familiar6F These e7ercises each have their o&n area of focus< 3ut 3y merely doing them youAll $ain commitment and initiation s#ills. Have a 3it of fun. ,ome stron$ advice* 8o the e'er!ise first, then read its purpose% The first set of e7ercises are a3out thin#in$ Huic#ly and >oltin$ your mind around. Da"a $onologue @8ada means ho yhorse. +ada &as an early 2'th century art and literature movement 3ased on deli3erate nonsense. +adaists &anted to 1destroy art and replace it &ith nothin$.1 They replaced it &ith somethin$< 3ut the somethin$ &as nothin$ 3ecause it made no sense.F 5aunch into a +adist monolo$ue< one that doesnAt ma#e any sense. 5oo# at an o3>ect in the room you are in ri$ht no& and start 3y sayin$ that o3>ects name. 2s you tal#< try not to stay on any idea too lon$ and to ma#e sense of nothin$. IAll do this ri$ht no& and &rite it as I $o. I see a candle< so* -andles are do$s &hen 3oo#s tell a story of peanuts from heaven. When I &as only seven dollars I &ent to my o&n factor 3rush< see6 @o one #no&s my father #ne& his cat &as a $reen in the Te7as to&n of pi$ 3oy. +o you understand the flypaper >olly feet6 IAll 3et your des# &heel #no&s me. The second you start to ma#e sense< chan$e it up. In my e7ample< after I &rote >olly< I immediately thou$ht 1$iant<1 3ut that &ould have made too much sense so I chan$ed it up.

+urpose
This e7ercise is e7cellent at freein$ up random associations in your mind. It >o$s your mind and &a#es it up to possi3ilities you may have not considered. I sometimes do this as IAm &al#in$ to the theater to improvise. It 3rin$s to li$ht fun and a3surd thou$hts* different tools to associate &ith &hile improvisin$< as opposed to the limited ran$e of associations &e usually have. or" )ssociation 5oo# around the room and see an o3>ect. ,ay the name of the o3>ect out loud< and without pausing, immediately 3e$in to tal# a3out that o3>ect. .ou could descri3e it< or perhaps more favora3ly< let it spar# an association a3out an e7perience youAve had &ith it. 2fter a3out ten seconds< interrupt yourself 3y sayin$ the name of another o3>ect out loud and without pausing start to tal# a3out somethin$ associated &ith that ne& o3>ect. +o this as lon$ as you li#e< 3ut for at least ten o3>ects.

Purpose
This is a3out teachin$ yourself that you can literally tal# a3out anythin$ 3ecause you can relate to more than you may have thou$ht. If you &ant to advance this e7ercise< donAt rely on o3>ects in the room 3ut come up &ith disparate &ords off the top of your head. 2s &ith the o3>ects< say the &ord out loud De.$.< 1ocean1F< and without pausing launch into a story or association a3out the &ord. .i le, puppy, envy< frog gigging, !igar. Really ma#e the &ords different. I as# you not to pause 3efore you start tal#in$ 3ecause thatAs a $ood &ay to practice tal#in$ and catchin$ up &ith yourself. In the 3e$innin$< people &ill often say the &ord out loud< then repeat the &ord to $ive themselves a 3uffer< then launch into the association. Try to avoid repeatin$ the &ord. /i00erish ?i33erish is nonsensical< non;8n$lish 3a33le. 1?losh#a moruHue a mot61 1Ti#ato& too.1 1@oc#a nu nu.1 ThatAs $i33erish. .ou can do it ri$ht no&. +o it. .es< no&< start spea#in$ $i33erish. ?ood.
5!

@o& that you can do that< choose a character &ith a particular point of vie&* &hatever you &ant. ,pea# a line of $i33erish from that characters ener$y. Then respond< in $i33erish< &ith a character &ho has a very different ener$y or point of vie&. @o& you are doin$ a $i33erish scene.

Purpose
,pea#in$ in $i33erish allo&s us to eliminate the importance &e usually place on &ords. @otice that in $i33erish< your emotional life is a&a#ened. (ractice a fe& $i33erish scenes and youAre practicin$ to put the how into your improvisation< that is< how someone says somethin$ versus &hat they say. The follo&in$ e7ercises are a3out unthin#in$ character creation. Solo Character Switches (ut a chair in the middle of the room. With a cloc#< &atch< or timer in vie&< 3e$in a character monolo$ue. 2t the end of thirty seconds< &ithout any pause at all< s&itch the character to somethin$ com ; pletely different. I say without pause 3ecause I &ant you to have to catch up &ith your o&n tal#in$ and thro& yourself off $uard. .ou can do this for as lon$ as you &ant. I have had students do it for up to an hour &ith si7ty characters< each a minute lon$. 2 variation of this is to &rite do&n character types and put them in a hat< such as 1Russian dancer1 or 1craCy clo&n<1 and alternate 3et&een dra&in$ a character type from the hat and ma#in$ it up on the spot. The chair in the middle of the room is there to offer variety of physical space. Have some of the characters on their feet and others sittin$. :ariety of character is the #ey. If you notice your last t&o characters &ere Huiet< ma#e the ne7t one loud< for e7ample< DThis is a physically strenuous e7ercise< >ust to let you #no&.F

Purpose
This is a3out stretchin$ your character s#ills< alon$ &ith fearlessly initiatin$ scenes. If you can condition yourself in this &ay< youAll $et there Huic#er &hen you improvise &ith a partner. 1?et there1 meanin$ esta3lishin$ a stron$ point of vie& and stron$ initiation. Character %nter'iew (ut Huestions that you mi$ht as# another person in a hat. These Huestions may vary from the personal to the &or#place variety. ,ome e7amples mi$ht 3e* 1Where are you from61 1WhatAs your favorite ice cream and &hy61 1What is a sad moment in your childhood61 1What are you readin$ no&61 Write a3out fifteen Huestions. 2fter this< sit in a chair< hat close 3y< and launch into a character monolo$ue. 5et this $o for a3out a minute< then 1ta#e Huestions.1 (ull a Huestion out of the hat and ans&er the Huestion as the character.

Purpose
This e7ercise &ill help you put yourself on the spot as a character. The more you vary the Huestions< the more youAll practice stretchin$ yourself so you can 3etter handle any variety of elements that come your &ay in an improv scene. Styles an" /enres in a Hat (ut t&enty styles and $enres in a hat. These can ran$e from film noir to action film to horror to romance. ,tart a character monolo$ue and let it $et on solid $round for a3out thirty seconds. Then pull a style or $enre out of the hat. Have your character immediately 3e affected 3y the style or $enre. 5etAs say your character is a mechanic. .ou then pull roman!e novel out of the hat. The mechanic character could immediately 3e$in tal#in$ a3out his passion and love for cars. 2fter you feel comforta3le &ith simple styles and $enres< you could challen$e yourself and thro& in 3oo# authors and play&ri$hts. DThis mi$ht reHuire that you 3ecome more familiar &ith authors and play&ri$hts< &hich is a $ood thin$.F

Purpose
,tyles< $enres< and the distinct styles of &ell;#no&n authors and play&ri$hts are often used to inspire improvisation. .our understandin$ of them &ill not only $ive you more tools to use as a scenic improviser< 3ut &ill help you &ith an assortment of improv $ames as &ell. 5earnin$ different styles and $enres also raises your reference level< and 3rin$s more theatricality and variety to your &or#.

5%

Soun" to Dialogue ,tand and ma#e a sound< any sound. 5et that sound slide into a characterAs dialo$ue. Improvise for around ten seconds as that character< then ma#e another sound and slide it into another character. or e7ample< I ma#e the sound< 1)hhhhhh.1 Then I let that slide into a character* 1)hhhhhhh#ey;do#ey< I &ant a 3iscuit!1 or 18eeeeeeeeeeeasy does it! +onAt come any closer.1 +o this for a3out si7 hours. @o< do this for a3out t&o minutes.

Purpose
This is a $reat &ay to stretch out your voice and arrive at characters you didnAt even #no& &ere in you. ItAs also a $reat &ay to train yourself to ma#e a vocal initiation in a scene< and force your 3rain and mouth to catch up &ith your initiation. The follo&in$ e7ercises are a3out the physical* 3ody and space. ,n'ironment ,tand in the middle of a fairly empty room. @o&< &ithout thin#in$< reach out in the air and $ra3 some ima$inary o3>ect. ItAs tric#y< 3ut truly challen$e yourself not to preconceive the o3>ect. The second your hand hits that o3>ect< let it inspire you to choose &hat it is. Then $o ahead and use the o3>ect. ,o< for e7ample< I >ust reached out and $ra33ed somethin$. I didnAt #no& &hat it &as until I reached out and &hen I sa& my hand I &as inspired to thin#< 1torch.1 ,o no& I have a torch in my hand. I start &al#in$ &ith it as if I am in a dar# room. If the o3>ect &ere an oven< I mi$ht open and close the oven door. If I found that it &as a 3anana< I mi$ht peel and eat it. 2fter you have used it< set do&n or leave that o3>ect< ta#in$ note of &here it is. Then immediately ima$ine another o3>ect that is someho& associated &ith the first o3>ect. ,o in my e7ample< I ta#e the torch< put it in a torch holder< then pic# up a &ine 3ottle. @e7t< find a third o3>ect that mi$ht 3e appropriate to the first t&o. In my e7ample< I have a torch and a &ine 3ottle< and I find an old trun#. 2t this point< you mi$ht $et an idea of &here you are. 5et that inspire you to find a fourth o3>ect. In my e7ample< I feel li#e IAm in an old cellar< so no& I find an old dress. -ontinue until youAve created a3out ten o3>ects. or 3onus points< see if you can revisit all of the o3>ects you have created in this environment. -on$ratulations< you >ust created an entire &orld 3y reachin$ out your hand.

Purpose
This is a $reat &ay to practice creatin$ environments. "y 3e$innin$ &ith nothin$ 3ut the act of reachin$ out< you &ill learn to immediately come up &ith somethin$< and youAll find over time that doin$ so is not so scary. .ou &ill also find you can create a &hole environment< re$ardless of &hether a location is offered as a su$$estion for a scene. urther challen$e yourself 3y creatin$ an environment &hile in character monolo$ue 3ut not tal#in$ a3out &hat you are doin$. rom the very first second you reach for the first o3>ect< 3e$in tal#in$. Bo"y Parts Wal# at random around a room. Thin# of a 3ody part< such as a nose< then lead &ith that 3ody part. "y lead, I mean $ive the nose presence* ,tic# out your nose a little and &al# for&ard. 2fter a 3it< s&itch the 3ody part and $ive that presence. or e7ample< $ive your ri$ht shoulder presence and continue for&ard. Jeep doin$ this until you have $one throu$h every part you can thin# ofBhead< nose< chin< toes< left #nee< &rist< chest< pelvis< shoulder< left ear. .ou $et the idea.

Purpose
When you lead &ith a 3ody part< you &ill discover that it actually ma#es you feel differently. It $ives you an instant character. This is a $reat tool to help you ma#e character choices that &ouldnAt normally occur to you. 2fter you do the e7ercise a couple of times< do it over and ma#e character sounds that feels li#e the character you have em3odied. Then< as a third challen$e< actually 3rin$ each character to &ords* ,tart tal#in$ in character. Breakfast 5ie do&n on the floor. Without &ords< create a character Dperhaps usin$ the 3ody part e7erciseF &ho &a#es up< $ets dressed< and $ets ready for the day. Have each moment evolve< learnin$ more a3out the character as you $o alon$. Ho& does that character 3rush her teeth6 What #ind of clothes does he &ear D&hich mi$ht depend on his occupationF6 Is the furniture in the 3edroom 3rand ne&< old and sha33y6 Where
0'

does she live6 2fter $ettin$ ready for the day< have the character prepare and eat 3rea#fast< a$ain payin$ attention to details li#e preparation< speed< and type of food< $iven the character. 2fter 3rea#fast< have the character do &hat he &ould do to leave the house or apartment. +oes she need a coat6 +oes he need car #eys or a 3us pass6 +oes she &ear a hat6 +etails help you create a physical &orld that tells the characterAs story. Ta#e your time &ith each o3>ect discovered< committin$ to its &ei$ht< te7ture< and use.

Purpose
This is a3out character discovery throu$h committin$ to a detailed environment. .ou &ill spend time &ith each element of the environment< usin$ the location and o3>ects &ithin it as a tool to tell your characterAs story. I am 3ad at this e7ercise< 3ut have seen others have much success &ith it. I hope you are one of them. With the same attention for detail in mind< you could set up infinite scenarios for characters in su3seHuent e7ercises. Have your character arrive at &or#< $o to the par#< and so forth. O01ect $onologue Write the names of t&enty o3>ects on slips of paper and put them in a hat or 3o&l or 3uc#et or Tupper&are. 5aunch a character monolo$ue of your choice. 8very once in a &hile< $ra3 a slip of paper and $lance at the o3>ect &ritten on it. -ontinue the character monolo$ue as you inte$rate the o3>ect into the scene* not so that you focus on it or tal# a3out it< rather that it is incidental or used to accentuate the content of the monolo$ue.

Purpose
/ore practice &ith creatin$ an environment and &ith reachin$ out into the environment &hile improvisin$ the scene. 2 common mista#e for 3e$inners is merely tal#in$ a3out the environment or the o3>ect they are holdin$. (ractice in havin$ the environment 3e incidental is invalua3le. @e7t are some e7ercises to improve your scenic improvisation. Scene ,it in a chair in the middle of the room. 2t any point< launch into a dialo$ue &ith another character. Immediately respond as the second character and continue the scene. With your first attempts at this< you may 3ecome self;conscious and tempted to stop. )vercome this temptation 3y timin$ yourself and ma#in$ yourself continue for thirty seconds. 2s you practice< the len$th of time youAre comforta3le &ith may increase. This e7ercise is easier if you ma#e the t&o characters as distinct as possi3le. Whether or not youAd li#e to physically shift your 3ody durin$ this dialo$ue is up to youE if it helps you< $o for it. I thin# of this e7ercise as a vocal;mind;momentum thin$.

Purpose
This e7ercise challen$es you to #eep t&o 3alls in the air at once. 2t first< the e7ercise tends to 3rin$ a3out simple Huestion=ans&er scenes. 2s you practice< your scenes should $et more comple7< $ivin$ each character a distinct point of vie&. In improvisin$ a re$ular scene &ith t&o improvisers< itAs temptin$< if not pro3a3le< for one improviser to thin# of &hat to say ne7t &hile the other is tal#in$. While this is often inevita3le and not even 3ad or &ron$< ta#in$ on 3oth of the characters< as this e7ercise forces you to do< allo&s you to #no& the &orld of truly 3ein$ in the moment. ItAs $reat to #no& that you can do that. Scene with ,motional Shift This e7ercise is the same as the previous one< 3ut each character has a different emotional 3ase. )ne character mi$ht 3e an$ry< the other $iddy. (ractice playin$ the e7tremes of emotions< as &ell as su3dued e7pressions of emotions. ,ome improvisers &ill yell at top volume &hen they are playin$ an$erE others &ill loc# the emotion in and Huietly &hisper throu$h clenched teeth. +ependin$ on &ho you are< you may tend to&ard e7treme out&ard e7pression or hold it in and let the emotion out a 3it at a time. "oth are valid &ays to e7press an$er< 3ut practicin$ the one that is less comforta3le for you is truly 3eneficial. 2fter you feel confident in this foray challen$e yourself 3y declarin$ the more $ray emotional states< li#e >ealousy< indifference< and an$st. or a $reater challen$e< improvise a scene 3y yourself &here the characters are distinct< 3ut share the e7act same emotional state.

Purpose
2nythin$ you can do to stretch your emotional ran$e &hile improvisin$ is valua3le. The emotional
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states you can pull from< and the &ay that you play those emotional states< &ill inform many an improv scene as to &hat itAs a3out and the charactersA points of vie&. /ost people stay &ithin their o&n comfort ran$e &hen it comes to emotionE openin$ that up no& &ill 3rin$ you $reat re&ards later. Scenes of Status Shift Improvise a scene 3y yourself< as 3efore< 3ut instead of emotion< shift 3et&een hi$h and lo& status. ,tart &ith a distinctly hi$h;status character De.$.< a professorF and a distinctly lo&;status character De.$.< a studentF. 2s you create more scenes< muddy the line 3et&een statuses until you create t&o characters &ith nearly the same status. 8ven thou$h you are improvisin$ a scene alone< &atch as the t&o characters vie for the upper hand in the scene.

Purpose
/any< many< many improvised scenes are a3out status. ItAs a po&erful thin$ to #no& ho& to play. ,tatus and point of vie& $o hand in hand. 8ither a character is tryin$ to $et more status or is fi$htin$ to hold on to their status or lyin$ a3out their status. ,tatus is often &hat the scene is actually a out. (racticin$ all the permutations of status &ill help you &hen you come across it in a scene. Improvisers also tend to ma#e the same choice* either hi$h or lo& status< each time they improvise. 2nalytical people tend to improvise in hi$h status< often o3>ectifyin$ &hatAs $oin$ on in a scene. DI used to 3e this $uy< so IAm really a&are of it.F or e7ample< one character says to another* 15etAs $o play in the sand3o7.1 The other character mi$ht say* 1)J< "illy< IAll 3rin$ a shovel.1 or o -e!tify the e7perience 3y sayin$* 1.ou play in the 3o7 and IAll &atch.1 )3>ectifyin$ is often clever< 3ut it sets you outside the scene< commentin$ on the e7perience< as opposed to playin$ &ithin the e7perience. The o3>ectifier usually ta#es on a hi$h status role. ,ome people find more stren$th in creatin$ hi$her status for themselves in scenesE others $et a lot of milea$e from lo& status. The a3ility to play from either status< or everythin$ in 3et&een< is the 3est possi3le tool to have. Thin# for yourself &hich status e7treme you tend to play more< then challen$e yourself to play the opposite. Heightening ,tand. ,tart a scene< &ith &ords. +oin$ only one characters dialo$ue< hei$hten your o&n characterAs point of vie&. (retend there is another character spea#in$ $i33erish. -onstantly put fuel on your o&n fire< addin$ to and hei$htenin$ the ener$y or point of vie& you have already created. (ause for the other improviserAs 1dialo$ue.1 or e7ample* /8* ThatAs a cool;loo#in$ do$. (ause /8* Three;le$$ed do$s are rare. (ause /8* +amn thin$As name is Re7y6 (ause /8* ItAs standin$ ne7t to a cat &ith one ear. (ause /8* @ever seen a $reen cat and a three;le$$ed &iener do$. (ause ,o you $et the idea. .ou >ust #eep improvisin$ your half of the scene< 3rin$in$ more and more to your initiation.

Purpose
8ven thou$h improvisation usually involves t&o or more people< improvisers must learn to 3rin$ heat to their o&n initiations. This e7ercise &ill help you maintain and hei$hten your o&n thin$< &hile sustainin$ your a3ility to filter anythin$ else that happens in the scene< or anythin$ your partner says and does< throu$h your character. Rea" a Character from a Play Out (ou" Read plays< read plays< read plays. I said it 3efore in re$ard to styles< no& IAm sayin$ it in re$ard to improvised characters and scenes. What 3etter place to learn a3out scene construction and character attri3utes6
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@o&< not only read a play< 3ut also read a character out loud. +onAt &orry a3out ho& &ell you are doin$ &ith the actin$< >ust read it. @otice< as you are readin$< ho& the point of vie& of the character Dor in actin$ terms the supero -e!tive, or want> hei$htens and flourishes and is un&averin$. The play&ri$ht does this on purpose. In improv< as I have said thirty times< you must create the point of vie& yourself.

Purpose
I canAt tell you enou$h ho& valua3le readin$ plays is. DHave I told you enou$h6F (eople as# all the time< 1Ho& can I $et an ed$e in improvisation61 Well< ri$ht here is the start< 3ecause my ans&er is al&ays< 12ctin$ s#ills.1 ThatAs the ed$e. ThatAs itBseriously. (rofessional improvisation companies are Huite often not so improvisational< 3ut more s#etch. .ou have to play roles. ThatAs an actin$ >o3< first and foremost. IAve seen so many $ood improvisers $o 3ye;3ye 3ecause they lac# actin$ s#ills. In addition< if you can thin# this far ahead< after all the improvisationBthe lon$ form< the $ames< the professional s#etch comedy troupeBcontinued success al&ays comes 3ac# to actin$. ,o learn ho& to do it. ,tart this afternoon. Film Dialogue Turn on your television. Turn off the sound. ind a movie. Improvise the charactersA dialo$ue.

Purpose
This is fun and usually funny. The 3i$$est thin$ this e7ercise does for you is force you to #eep $oin$. Improvisers often feel as if theyAve reached that threshold &here they canAt do or say anythin$ else. In this e7ercise< you must #eep tal#in$ as lon$ as the film characters tal#. 2t first< you may ta#e only one characterAs dialo$ue< 3ut I invite you to &or# up to improvisin$ all of the characters for a half hour or so. ItAs hard &or#. )nce a$ain< notice ho& charactersA points of vie& remain intact and are hei$htened throu$hout. 2fter you do a film or t&o< try sitcoms< the ne&s< coo#in$ sho&s< and so on. 8n>oy. @e7t are some miscellaneous e7tra 3onus e7ercises. rite an %m&ro'ise" Scene ,it do&n at your type&riter< &ritin$ des#< or &ord processor. D,it do&n at your computer.F @o&< &rite a t&o;person scene< 3ut do it in this &ay* M ?et a timer and allo& yourself five minutes. M @ever ever ever stop typin$. DIt is hard and your fin$ers &ill 3e tired at the end of the five minutes.F M +o not censor yourself or self;edit or &orry at all a3out punc tuation or spellin$. 9ust #eep typin$ fast. To $o even faster< name your characters 2 and ". .ou should hit 3et&een three Huarters of a pa$e to a pa$e and a half in five minutes< dependin$ on ho& fast you type. 8o not worry if the s!ene is ad. 8o not worry if the s!ene doesn)t make sense.

Purpose
This is a &ritin$ e7ercise as much as an improv e7ercise. If you truly do this &ithout corrections and &ithout stoppin$< your mind and &ords &ill $o places that normally &ouldnAt occur to you. This opens up a different< creative side to your mind that canAt emer$e if you are measurin$ &hat you are doin$ &hile you are &ritin$. I really li#e this e7ercise 3ecause it >ust $ets your ideas out there furiously. .ou can al&ays $o 3ac# and apply structure. 2fter some practice< you may amaCe yourself &ith ho& you can differentiate and hei$hten t&o different charactersA points of vie&< at the same time ac#no&led$in$ and hei$htenin$ &hat the scene is a3out. "ut donAt stop typin$. Songs I do this e7ercise &ay too much. I thin# thereAs somethin$ &ron$ &ith me. While at home or strollin$ do&n the street< improvise a son$. This is Huite scary for some peopleE for me it is a disorder. Ho& do you improvise a son$6 ,eriously< >ust start sin$in$. 2s &ith improvisin$ a scene< you &ill discover the melody and &hat the son$ is a3out all at the same time. Rhyme or not< 3ut over time learn to rhyme. 2lso< practice not commentin$ on a 3ad rhyme. 9ust #eep in it< and donAt pause or comment on it. DThe reason I say this is that in performance< improvisers often condition themselves to lau$h or comment on the evidence that they canAt rhyme< as opposed to findin$ the fun in rhymin$ &ell. Gnfortunately< they
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often $et lau$hs< &hich reinforces the 3ehavior.F

Purpose
If you #eep improvisin$< there is no &ay in hell you &ill escape havin$ to improvise a son$. .ou can either maintain the conversation &ith yourself that youAre not a $ood sin$er or canAt improvise music and 3e in pain< or you can start learnin$ ho& to do it &ell today. D(sst< &anna Another ed$e in improv6 ,tart ta#in$ sin$in$ classes this afternoon.F This e7ercise &ill also help you if youAre called on to improvise a poem. Counting to One Hun"re" ,tand in the middle of a room. (retend you are a $reat spea#er and that 5<''' people have $athered to hear you spea#. Instead of &ords< thou$h< use num3ers. ,tart countin$ out loud< pretendin$ that the num3ers are a $reat speech. Ta#e your time and continue until you reach 1''. (rovide as much variety in the presentation as you can< sometimes as#in$ Huestions< other times ma#in$ declarations. Gse emotional variety as &ell. Jno& that you are comin$ to the end of the speech around count ninety< and use the last ten counts to provide closure to the speech.

Purpose
This hones $eneral performin$ s#ills 3y allo&in$ you to play &ith commitment< emotion< and variety &ithout the 3urden of thin#in$ of &ords to say. It is also a drill in findin$ the importance in the &ords you say. This is a 3asic performin$ idea often lost in improvisation* the notion of actually havin$ &hat you or your character says 3e important. Dance Turn on some music you li#e and dance. ThatAs all< dance. 2nd really commit to it. +onAt ma#e fun of or comment on the fact you are dancin$E as you do &hen you are as#ed to dance socially really dance.

Purpose
I can tell a lot a3out the &ay improvisers improvise 3y the &ay they dance. ,ometimes< >ust 3y the &ay they &al#. /ost improvisers are not in touch &ith their 3odies< especially men. They often 3elieve that improvisation is all a3out the &ords and the funny< not a3out the 3ody or the physical. If you can $et to the point &here you are comforta3le &ith seriously dancin$< you &ill overcome a lot of the fear and $ive yourself permission to 3e a physical 3ein$ in an improv scene. Today is as $ood a day as any to really let yourself $o and escape the 3onds of your perception of your physical self. +ance. Really. .ou &ill learn somethin$ a3out yourself. It &ill also come in handy if you ever $et a date. 2otes on /oo" )cting -hoose a $ood film &ith $ood actin$< one that you have seen 3efore. -hoose a lead actor in the film. @o&< &atch the film< &ith only that actorAs actin$ in mind. Ta#e notes on &hat ma#es that actin$ $ood. Write do&n &hat surprises you* the #ind of 3uilds the actor creates in his dialo$ue< &hy she too# that pause< and so on. +o this &ith t&o or three films and compare your notes. 5oo# for a pattern in &hat you 3elieve to 3e $ood actin$.

Purpose
,tudyin$ &hat people do &hen they act or improvise &ell adds more options and tools for an improviser. 8veryone li#es different thin$s in actin$< and academically identifyin$ &hat those are &ill help you 1o&n1 &hat you find effective< ma#in$ those techniHues more tan$i3le and applica3le. The reason that I su$$est &atchin$ a film youAve already seen is to lessen the chance of $ettin$ cau$ht up in the story and increase the chances of loo#in$ at the actin$ &ith scrutiny. 2on3Fiction Summary Read a piece of nonfiction< a chapter or so. Here are some e7ample topics* Ho& to &ire a three;&ay s&itch What is the event horiCon of a 3lac# hole6 Ho& &as the safety pin invented6 What &as the War of 1!12 a3out6 Ho& does a &ater heater &or#6 Then< as a character< summariCe the concept to an ima$inary person. 2s al&ays< donAt thin# ahead< >ust put the 3oo# do&n and start tal#in$. I hesitate to say< 12s a character< tea!h an ima$inary character the su3>ect matter<1 3ecause tea!h is such an undeservedly nau$hty &ord in improvisation. "ut I pro3a3ly mean that.
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Purpose
irst of all< youAre readin$ a3out somethin$ other than improvisation< &hich is a $reat thin$. ,econd< you are improvin$ your reference level and mind. Third< you are learnin$ to incorporate that reference level into your improvisation 3y &eavin$ it into a character monolo$ue. ourth< you are learnin$ more a3out addin$ specificity to your &or#< &hich adds richness and su3stance and more lau$hs. ifth< you are remem3erin$ the ideas you read a3out 3y puttin$ yourself in the position of descri3in$ them out loud. ,+ercise 87ercise.

Purpose
.ou donAt have to 3e a 3loated< pasty< pale< liHuor;soa#ed viscous >elly 3lo3. 87ercise.

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12 Anno ance
,ince 1%!4 I have &or#ed &ith many people to create &hat has 3ecome a &onderful place called The 2nnoyance. HereAs a 3it of history a3out this theater and production company. )n ,eptem3er 1'< 1%!4< 1 sat &ith a $roup of friends around a ta3le at an Italian restaurant tal#in$ a3out slasher films. 2fter a &hile< &e $ot the craCy idea of producin$ a 3lood sho& for Hallo&een< &hich &as only a short &hile a&ay. We set our $oal for openin$ )cto3er 1'< e7actly one month ahead to the day. In the ne7t frantic four &ee#s< &e pulled a sho& out of thin air. We created s#eletal 3eats for the sho& Bmore or less a parody of contemporary $ory horror filmsBlearned a3out sta$e 3lood< and created and perfected our effects. Throu$h improvisation< &e honed the 3eats and developed the characters. "orro&in$ from 2lfred Hitchcoc#< our sta$e 3lood consisted of chocolate syrup< &ater< and red food colorin$. ,ome of the sta$e effects included a nun $ettin$ drilled in the 3ac# of the head< a 3im3o $ettin$ her ton$ue ripped out< and a policeman havin$ his intestines removed. With a freshly painted &hite set< Splatter Theatre opened on )cto3er 1'< 1%!4. 2fter a chillin$ ori$inal openin$ son$ performed 3y a ni$htclu3 sin$er character< several deaths turnin$ the &hite set 3lood red< a real meat puppet intermeCCi< and many lau$hs< Splatter Theater received a standin$ ovation. @o3ody #ne& at the time that &e &ere launchin$ The 2nnoyance Theater. We &ere >ust doin$ a sho&. 2s a matter of fact< 2nnoyance &asnAt even our name yet. We called ourselves /etraform. <etra 3ecause &e &ere performin$ a lon$;form improv sho& at a theater on the fourth floor of a $reat music clu3 called The -a3aret /etro< and form 3ecause &e &ere performin$ other various ori$inal improv forms at another venue. It &asnAt until &e formally rented a space in 1%!% that &e came up &ith The 2nnoyance. D/etraform didnAt seem li#e a very compellin$ name for a su3versive comedy theatre< so a fe& friends and a 3ottle of teHuila yielded The 2nnoyance as the name of the theatre itself< &ith /etraform remainin$ as our companyAs name.F 2s The 2nnoyance 3ecame The 2nnoyance< /etraform &ent a&ay. ,ince then< in five different locations< The 2nnoyance has created over 1'' sho&s< comprised of improvisation< s#etch< full;len$th plays< ca3aret< and full;len$th musicals. Hundreds of people have performed in 2nnoyance sho&s< and you see many of them today on sta$e< in films< and on television. )ur fla$ship sho&< Coed &rison Sluts, &as created from improvisation. It ran for eleven years< the lon$est;runnin$ musical in the history of -hica$o. "ecause of the content of Coed &rison Sluts and other sho&s at The 2nnoyance< the theater has 3ecome #no&n for its su3versive lan$ua$e and themes. D,uch titles as <anson* The <usi!al, Tippi* &ortrait of a :irgin, and That 8arned Anti!hrist helped fuel this notion.F ,ho&s li#e these &ere not so much 3orn from the desire to 3e radical< as they &ere a conseHuence of the invitation to everyone in the ensem3le to do &hatever they &anted on sta$e. )ur &or# has al&ays 3een uncensored. DThe only censorship is self;imposed< and the criterion of that censorship is &hether or not the content fulfills the mission of the sho&.F Gnder the um3rella of the same invitation to freely create on sta$e came The Real $ive .rady .un!h, a re;enactment of "rady "unch episodes on sta$eE +od in a .o', an e7ploration of commercialism in 2mericaE 4e Who Says 1es, a tri3ute to the music of Jurt WeillE and ori$inal -hristmas< improvisation< and s#etch sho&s. The 2nnoyance has made its mar# mostly from 3ein$ the first improvisational theater to devote itself to creatin$ full;len$th plays and musicals from improvisation< 3ut is al&ays open to any type of sho&. The 2nnoyance also scored a first in -hica$o for committin$ itself to performin$ multiple ori$inal sho&s per &ee#. 2t one point< &e had thirteen different sho&s runnin$ a &ee#. In 1%%%< The 2nnoyance 3ranched into production and formed 2nnoyance (roductions. In that year 2nnoyance (roductions released its first feature film< /atty +rives the .us, throu$h Troma (ictures< on video. -urrently< The 2nnoyance stri#es a 3alance 3et&een live performance and production< &ith continuous pro>ects on the slate for 3oth. 2lon$ &ith the creation of sho&s< The 2nnoyance has provided trainin$ in improvisation since 1%!%. 2s our approach to improvisation has evolved< &e have 3een a3le to provide a healthy alternative in the study of improvisation. Hi$hly individualiCed attention has 3ecome The 2nnoyance trademar#* ,tudents leave our pro$ram &ith a 3etter sense of themselves on sta$e and &ith stron$ tools to navi$ate throu$h an improv scene. 2lthou$h The 2nnoyance has $reat respect for lon$ form and $ames< &e focus our trainin$ on the s!ene itself, and the individual people and elements that ma#e up the scene. 5i#e our creations on sta$e< The 2nnoyance trainin$ pro$ram is uncensored and free of traditional improv rules< providin$ an encoura$in$ environment in &hich to improvise. The 2nnoyance ensem3le has chan$ed over the years< 3ut they have and continue to 3e the funnest< funniest< and finest people I have ever met. :isit us at www.annoyan!eprodu!tions.!om, or drop 3y our current location at 4!4' @. "road&ay< in -hica$o. ,top in sometime and have a 3eer.
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