Short Improv Quips #2

Sometimes you just gotta let go! This can be one of the hardest things to do when starting out with improv. There has to be so many things in place before someone can just let go and drop all their masks and take down their walls. It takes time, practice, a positive environment, and a willingness to work past where they feel comfortable. I love seeing breakthrough moments when someone just lets go of all the rules they create for themselves. When they allow themselves to play and be free of the weight of the world. When they feel they know the “rules” enough to just toss them to the wind and go for broke. This is a major moment and should be rewarded with praise. In this moment you won’t see the best scene work or even an actor in control but it is the letting go that is important.

This can also be said for those improvisers that are out of control completely when they start. They should be rewarded when they are able to maintain control in a scene for the first time and really using all the skills they have learned. These are both equally great breakthroughs.

It takes team work to do a solo scene. WHAT!?! Let me explain. Let’s say you are all on stage performing a long or short form show. Someone steps on stage to start a scene. What normally happens is within 3 seconds someone else comes on to join the scene and offer “help”. Sometimes you’ll then get more entering to “help” the scene. Before we know it we have a stage full of improvisers all making offers, crowding the stage. It’s not just the improvisers on the sides that cause this. Sometimes the person who starts the scene will call out of the scene for help by asking where a character is or they give an air of self doubt that will instantly make someone come in. Trust is a hard thing to build in a group.

We all want to be on stage playing and having fun. We are also all very polite and want to help out. The thing is that in order for a solo scene to happen we have to really look at a situation and decide what the right choice is at that moment. We need to make an educated choice bigger than just “Does this scene need me?” Sometimes the right choice and the way to help are to stay out of a scene. Perhaps because the improviser on stage has it all under control. Maybe the tech has great music playing acting as a second improviser accompanying the scene. Or maybe the improviser that started the scene just needs faith in themselves and would benefit from being left out there to rock a solo scene. All of these choices could still possibly be the wrong one but it takes a good improviser to look at a scene and see the whole picture rather than just saying to themselves “Man I have a funny idea to add to this!”

Anyone can attempt improv. Can anyone be good at it? This is a big question with many different opinions. I believe that anyone who has a willingness to work at improv, take notes and challenge themselves can get up on stage and perform. Will they be the best at it? Well they will be the best they can be if they apply themselves. Perhaps to some they will not be a “great” improviser. This judgment of skill and performance is an interesting topic as well. What makes a “good” improviser……”good”?

I believe a good improviser is one that spends time working at their craft. Commits to the work and doesn’t get bogged down by the challenges they face. Also they help support a healthy group dynamic and nurture others so they can learn and be pushed in a positive way.

I think it’s all about people’s perspective. Anyone can be an improviser. How they gauge their success is up to them. As long as they are happy with their accomplishments then that is all that counts. Is everyone meant to be an improviser? No. Can anyone learn the work and perform if they are willing? Yes. Should everyone let a little improv into their lives? Yes. Can you set personal goals and strive for them? Absolutely. Don’t let others decide if you are successful or not. That is for you to decide.

Spending time together off stage creates great dynamic onstage. Keith Johnstone said this during a workshop I attended. “If you have a problem with someone or something they did, you talk to them about it at the pub.” I know personally I have made choices for casting new improvisers after the audition based on conversation at the pub. It’s like the audition is the first date and the pub is the second. They are much more themselves when they don’t think they have eyes on them. Also it allows me to see if I want to spend hours and hours with them. Do they jive with the rest of the group? I’ll also ask more questions to gauge where they are as performers and where they are in their life journey.

The work we do is very intimate and really can allow us to be open and ourselves. Really let our guard down. I feel though that when you are working together it is hard to really get to know each other fully. 

Outside of workshop can be like when you attend a staff party and see people for the first time with their regular day clothes on. Everyone lets their hair down a little and is much more at ease. When we are relaxed and at ease without fear of judgment we are much more ourselves. We should hopefully be building relationships outside of just working ones. This is such a social art form that it would be a shame to not take advantage of it. I've also heard you should try and have other interests besides improv. I’ll let you know how that goes.

To improvise you should try being controlled, alert and positive. I believe that the state of ready is where you should be as soon as the show starts. I do a lot of ball exercises because as soon as you walk into a circle with one, the whole group adjusts and gets ready in case the ball gets thrown to them. This is understood before a word is spoken. This state of ready is what you should try and maintain to the best of your ability during a show. I do not drink or do drugs before shows because it seems to throw off my timing and I don’t like feeling altered while on stage. Some performers need something like a drink or other influences to feel ready. I say to each their own on that front.

The other thing is that you should try to come into the theatre with a clear head free of the stresses of the day. Outside influences can easily affect a show in a negative way. You will be a much more useful member to the team if you are in a positive state and ready to play. There are always uncontrollable factors that can mess up your mood but we need to learn to do our best and leave it at the door or in the green room.

Lastly being in control of yourself is very important. An actor out of control is so dangerous to other performers. I have been hit multiple times by out of control improvisers. This can be caused by nerves and anxiety in newer performers. We try to have a good warm up and group connection before each show so that we are all in the same energy walking on stage. This can’t always be done so I usually recommend improvisers come ready or find ways in their lives to prepare before even getting to the theatre. Everyone will need something a little different.

 Keep it simple. We sometimes have smaller crowds at our theatre. The last thing they want is to be punched in the face with energy and a crazy dragon scene that makes no sense. Keep it simple and focus on the audience’s energy and play strong relationships with simple stories that make sense. Also make an offer and see how it lands before drowning your scene partner under crazy offer after crazy offer. Just keep it simple.

Prepare for the worst so you can play your best. This is from my martial arts influence. Fighters train for months before fights. They push themselves physically and mentally to breaking points. They prepare for battle and are ready for the worst case scenario. Some say that all that training is so that once you step in the ring or cage you can finally just relaxed and play. All the preparation is done and now all the training is put to use.

As a director I try to push improvisers to a point where they struggle. Make them work harder than they ever will in front of an audience. Prepare them for the worst so that they know what it feels like to flounder and to work new skills and gain more confidence in themselves. It’s great when they realize that no one dies in improv (Not yet anyway) and that they can really work hard and fail. Then to fail and be okay with it. Then to seek out failure and see it as an opportunity for growth rather than linger on it and let it affect their learning. 

Short Improv Quips

If you NEVER take spatula, it's not over done

If you have been doing improv for a few years you have probably heard someone yell out the suggestion spatula when asked for an object. A lot of improvisers have decided that they won’t take this because they hear it so much. Problem is that if we never take it then it’s not over used. The reason the audience is giving us spatula is because it sounds funny and they are trying to help us out. They figure that if the suggestion is funny we will have an easier time. It’s similar to why they always yell bathroom when asked for a room in the house. They want us to succeed and want to help us do it.

What we need to attempt to do is show them that no matter what we take from them we can turn it into something wonderful. When this happens they will feel that the pressure isn’t on them to help us and will give us a wider range of suggestions. They will also feel more at ease and can just enjoy the show.

If you are the last one to get the joke, you are doing it right.

Being completely in the moment and not planning where the scene will go will put you in this Zen like state. Everything will be flowing and all the work you have done up to that point will help everything run smoothly. You’ll be making educated improv decisions quickly and efficiently. You’ll be feeling good just like those nights you are in the bar with friends and you've had the perfect amount to drink and the conversation is flowing and everything feels so wonderful. Without a filter or worrying about what to say you can be just there in the present and enjoying every moment. This opens up the possibility to speak freely and have natural things flow out of you. When this is going on magic happens. This is the improv state we are all striving for. You will literally be the last to get the joke.

Of course this all comes crashing down the second you say “Oh my goodness, I’m in that Zen like thingy!” As soon as you acknowledge you’re in that state it all comes to an end. It will snap you out of it the second you notice that it’s there. 

Self doubt can either hold you back or help push and drive you forward! 

We are flaky artists that have massive highs and lows. We doubt ourselves and the decisions we make.  We doubt every step of the journey we have set out on in life. These doubts will do one of two things to us. 

1.   It will make us work harder to get what we want and push us forward to success. During this we will be anxious and scared the entire time but it will make us move forward.
2.  The other option is that it scares us into a hole where we stay and never jump off the cliff. It all boils down to fight or flight.

We are all scared and worried that we aren’t making the right choices. Its part of what we do in order to get better. We have to take chances and really put ourselves out there to grow. We are our own worst enemy and are way harder on ourselves than anyone else will be. Realize we are pretty great. Now get out there and be scared and happy

The love of it makes you tired and happy.

I’m sure we have all done a show where we were WAY beyond tired and hungry, had a day that kicked the sh*t out of us, felt ill to the point that we can’t hear or feel anything? Well why is it we do this? It’s pretty obvious isn’t it? We love this thing. We spend nights up sitting in the bar talking about the show until the ugly lights come on only to get up early the next morning and do it all again. Feeling passion for something seems to be rare for most. We work so hard and are exhausted all the time but wouldn’t change a thing. Getting better at our art form is what we want more than anything in the world even if it means risking our health.

I am now in my 30’s and have changed my view on this a little. I want to be able to do this for as long as I am physically able to. So I have started to take care of myself better. Eating right and drinking lots of water. I even started physical exercise. I am trying to find a balance between happiness and my health. I still never miss a show, workshop or night at the pub. I am just trying to be healthier going into all of it. 

You listen better with your ears, than you do with your mouth

A great improviser once said: “Your ears are the only one of your eyes, and mouth you can’t actually close or shut off.” We sometimes spend so much time talking that we don’t even hear someone right in front of us. This can happen for a couple reasons. Perhaps we are a newer improviser and our nerves get the better of us and we can’t turn off our mouth. Perhaps we feel that we need to be filling the dead air because we haven’t felt how wonderful and powerful the silence can be. We feel we need to come up with all the ideas and make all the offers because if we don’t then no one else will. It could also just be that we are an egotistical asshole. Whatever the reason, if we were to stop, take a breath and take some time to listen you will find out so much and actually realize that all the answers are in our partners.

We don’t ever have to come up with clever ideas or be the funniest person on the stage. Our partners are there and equally invested in the scene. Bounce things back and forth between the two of you and let the scene be whatever it needs to be in that moment between those two people. It will be much more rewarding than one person driving the crap out of the scene and doing all the work and talking. 

An amazing improv show doesn't necessarily translate to video all that well. 

How many times have you recorded a show that was AMAZING on the night it was recorded only to have lost all its magic when you go back and watch it later? I think part of this could be that you don’t have the audience’s energy being captured. The back and forth between the audience and improvisers is such a huge part of live theatre. Without it you definitely lose some of the power that the show generated. Another thing is that most little improv theatres or cafes improv is performed in can be dark and noisy. This makes it hard to get great footage.

On the other side of it, I have been involved in improv shows that were set up for filming. What ended up happening was the audience was way behind cameras and everything was super bright. I like the closeness and intimacy of us and the audience with nothing in the way. Some like to hide in the darkness and just watch the show. Also when you film and polish improv it takes away some of its beauty. Its beauty partly comes from its imperfections and rough edges. The audience there in that moment gets to discover the show along with the improvisers as it goes along. For some reason this just can’t be captured on film. Perhaps as technology and fun new ways to film come around we will get there. 

Without an audience it's a workshop 

Work hard and play even harder. Workshops are called WORK shops because this is the time when you should be fine tuning your craft. You and your director can really break down your skills and see what you need to work on as an individual or ensemble to help you grow. You will hopefully be pushed farther then you feel comfortable in these sessions. A director’s job is to push you to a failure point to show you where you are at and what you can work on. There is always more to learn. Your director will be way harder on you then any audience so once you get there you can’t help but be better.

So now that the work is done, you need to get up and do a show in play mode. This is time to test the newly found skills. You should no longer be working. It is important to only play to the skill set you have at that time. Keith Johnstone says it best, “If you are a bad improviser but know how to say yes and then go out there and be a bad improviser saying yes and. If you go out and try to be a good improviser you will fail.” 

A Time to Say NO

I realize this post is not just about improv. I am using what I know and what I do day to day to write it.

Like in everything we do there are people that take advantage of power. They use their position to get what they want and not always in a good way. In a drive for success we find ourselves putting up with certain things or not telling people to leave us alone in fear that we will burn bridges. This is especially true when we are taught and programmed in improv to say “yes” and to be over accepting of others and our partners. I guess this is why this makes me especially mad. I feel like I have been teaching the “YES AND” ideals and then sending people out to be groped without the proper tools to protect themselves.

I have also heard and seen situations where newer improvisers who were not completely comfortable or confident on stage end up going along with awful scenes or ideas because they were scared and not present enough to realize what was happening right in front of them. Nerves make us miss things and can leave us in bad situations.

If someone makes you feel uncomfortable on or off stage you have the right to say $#@& off. This seems so straight forward but often in this art form that teaches saying yes and the fear of being ridiculed by our peers we stay silent and put up with it. Sexual harassment and bullying seems to be something that affects a ton of improvisers in all communities but is rarely spoken about. There seems to be a quiet murmur in the bars and back rooms but not openly talked about. These inappropriate acts are being committed by people in power positions as well as unexperienced improvisers that don’t have control. It’s also happening because some people are just plain old assholes. Maybe this will turn into a rant but I am tired of hearing about this happening. I guess I would hope I have a little bit of power to prevent this when I am aware of it.

Regularly in the pub talking to performers from my group and others, I hear stories about being physically intimidated or sexually harassed on and off stage. This can be such a tricky situation because no one wants to ruin a show by calling someone a pervert in front of an audience. So they walk off stage after the scene or show feeling awful and helpless to stop the bullying or harassment. The usual response is to grin and bear it. As my network grew, I started to see and hear about more times when people were made to feel uncomfortable and even sexually harassed. When I ask them what they did I hear the same answers over and over. They did nothing in fear of what would happen if they did say something. I have even had people tell me that they didn’t want to make ME upset when someone was making them uncomfortable during a workshop or after………

All I could say was “just because we aren’t in the workshop room anymore and are at the pub does not give someone the right to be an asshole.” I want our community to feel safe no matter where we are. I am not really too sure what I expected to get out of this post but I wanted to say that there is never a time where you should allow yourself to feel uncomfortable. In your gut you know when something doesn’t feel right. I hope we start to find a voice so that we can speak up when someone isn’t treating us with respect no matter where or when it happens.

Why do people act like dicks sometimes? Well some are nervous and out of control. Just not able to see how they are affecting others on stage. Some use power to take advantage of people. Some are angry and scared. Some think improv workshops and shows are a way to pick up people. Some are just assholes. I have no problem pointing out to those that may just be unaware of themselves. When they are nervous they sometimes don’t realize their own strength or presence. They don’t realize they may be making those around them uncomfortable.

How do we deal with this sort of situation or these certain types of people? I think we as a community need to take a stand when we are aware of this happening. We need to help each other out and stop being silent in fear of banishment. Directors need to give strong performance tools so people know when things aren’t right and when it is okay to say no on stage. We need to learn to trust our gut and leave situations that make us uncomfortable. We need to learn how to be heard and expect respect.

You as an individual performer can also start to fill your tool belt with ways to deal with these situations. First say “NO” when you need to. Sometimes this is all it takes to let someone know to leave you alone. Find strength in your scenes and partners then protect them. I have talked about this in other posts.

 From: Contradictions #4 post.

       "Say yes and yet know when to say no.”

What do we do if someone comes in with a blind side offer or one that makes no sense at all with what our scene is about? I can sometimes be an aggressive performer when playing with asshole improvisers. I say it’s because I’m old and grumpy which I think is partially true. I also believe that I am very protective and like to take care of my scene and partner. I like to put my work in and hate to see it get plowed over by someone not paying attention, coming in with nothing to offer, or when someone is being a show boat. So I protect it by not always saying yes. Sometimes I think improvisers can be too polite and just say yes to whatever crappy offer gets thrown at them. They shouldn’t have to if they have a good foundation and are doing good work. Too easily do we just go with whatever is brought to us even when it makes no sense what so ever.

So we started seeing how we can own and protect our scenes. We hope this doesn’t happen often at our venue, but every once in awhile people come into scenes with nothing at all or aren’t paying attention to what the scene needs. I know I’m guilty of it. So without being a dink on stage we looked at ways to not give up our scene to someone just butting in. We looked at hosting techniques and physical changes as well as leaving the dink on the stage alone to deal with their mess.

Most improvisers felt a rush of satisfaction that they had not ever experienced. They felt good and strong. Not all felt positively, however, some actually felt bad. They felt as if they had done something wrong and rude to their fellow performer. When asked if the audience saw them looking rude or mean, the response was a resounding “NO”! When the improviser that was the dink was asked if they felt betrayed or mistreated, they also said no. So everyone was okay. No one died or was hurt emotionally. We should always be positive and be trying to move things forward, but that doesn’t always mean saying yes, despite improvisers being taught to always say “yes, and”. Sometimes we need to realize we are okay without everyone on stage. If we do our work and establish a ton fairly quickly then we don’t need someone plowing through or entering for no reason. You can ask them to leave.

This is a pretty big topic. I feel sometimes we just allow ourselves to be bullied. I am sure we can all think of a time where we felt dirty after a scene. Either because we came on and messed everything all up or that we had someone kill our scene. It was a very exciting and empowering exercise and is not over yet. We can be strong and not come across as an asshole.

Also trust your community and let people know if someone is making things uncomfortable for you. There may be something happening that directors are simply unaware of. It should be handled after that. It may come down to a certain someone being asked to leave and not come back. I have definitely had to do this more than once. Sometimes a stern talking to is all it takes but not always. Lastly if you aren’t finding help where you need it, then perhaps you will need to look for another group. There is a ton of improv companies out there. I think you should let people know why you are leaving so that they understand if the acceptance of this behavior continues then they will lose more players. Improviser’s confidence and strength come from playing in a safe fun environment. That’s where we do our best.

Now I know this is a post that some might feel is a little over the top and perhaps for some seem unnecessary, but I really am tired of assholes using improv as a way to be all pervy and shitty to other humans. Anyway, I ranted and feel like I said my piece. You want to ever really see me fired up just talk to me about this topic at the pub! 

To Conflict or Not to Conflict?

We were focusing on the middle of scenes in workshop this week. We were looking at possible tilts, breaking the routine, and at what techniques can move the action forward. An improviser asked me if what I wanted to see was conflict. I, without hesitation, responded with a resounding “NO”. I have always avoided teaching conflict in scenes, especially when teaching newer improvisers. I do this because conflict makes me feel gross when I watch it. After the improviser asked me, he followed it up with, “Why not?” I blinked and with a blank stare started talking to see if I would find an answer mid speech. I knew I didn’t like conflict but hadn’t looked or explored closely at why I disliked it so much until that moment.

I believe it was Keith Johnstone that said, “The reason people love to watch improv is because it’s the only time you can see people getting along and working together rather than fighting and arguing.” We as people move easily to conflict. We do so mostly out of fear. When we get scared we tense up and protect ourselves. In fact we tend to over-protect ourselves to the point that we become negative, defensive and gravitate to conflict. So when working with newer improvisers I attempt to create a warm and welcoming environment in the hopes that they can relax and hopefully start what I like to call “happy and healthy” scenes.

I’ve been saying to improvisers a lot lately that they should “find their fun” on stage, or that they should figure out what they truly enjoy about improvising. This is all in the hopes that they naturally avoid conflict because they are having fun and, by extension, feel comfortable. This unfortunately doesn’t always work. It’s amazing how many times I’ve watched an improviser pretending to have fun in a scene. They sound sarcastic and are awkward to watch.

Most adults who are learning to improvise pretend to have fun rather than just simply having fun. Improvising as an adult is not as easy as you might think. I would argue that one of the hardest challenges is learning how to break through all the rules with which the world beats us down. Having fun can be scary for adults because it reveals a part of us that we are conditioned to believe is “childish”. Having fun means taking a risk by being genuine rather than performing. In some ways, improv can result in a more genuine presentation of ourselves than what we call “real life”. Makes you wonder whether we perform more on stage or in real life.

This is not to say that good improv cannot come from a scene with an improviser who is still learning to “find their fun”.  What I love most about seeing someone on stage pretending to be happy or pretending to have fun is that it creates a really fascinating dynamic between themselves and another improviser who is more comfortable on stage . All it takes is for one or both to notice the genuity and ingenuity of their characters and play to the true relationship dynamic. A player being disingenuous is such a huge amazing offer whether they intended it to be one or not.

Side note: Dynamic is a big focus of mine. I am as of late heavily exploring three different levels: real true dynamic between the improvisers, dynamic between the two characters and lastly the dynamic between the improvisers and the audience. There is so much to explore there and it really creates meaty scenes when you become aware of these dynamics. This is usually established in the first couple offers made in the start of a scene and can really help secure a strong platform off the hop.

There has been conflict scenes I have actually enjoyed. What makes them different? The conclusion I have come up with is that one or both of the improvisers were strong enough to look at subtext hidden under the disagreement in the scene. They were able to dissect the scene enough to have the conflict be important and focus on what was “really going” on in the relationship. They played to their relationship dynamic, rather than relying on the surface conflict to carry the scene. When we have two people on stage that do not play present enough to see the relationship dynamic, they miss the subtlety that is there. They argue and block the offers from moving forward.  They get into fight or flight mode and it turns ugly. You cannot be present in a scene if you are in panic mode. Fear will paralyze you.

Fun, however, enables you. Play makes you stronger and more confident. And with greater strength and confidence comes a sense of calm and comfort that allows you to be present and to see under the skin of a scene and to understand the intricate nervous system at work underneath.  

In our next class I am going to start to dissect conflict and attempt to create a safe environment to explore this part of an improv scene. There are certain tools we can use to help us if we end up in a conflict scene. I have performed in many shows where I am playing with someone who goes on the attack and stops listening to their scene partner; when an improviser becomes defensive or uncomfortable it can be difficult to recover the scene. I believe that by looking closely at where their anxiety is coming from, and by paying close attention to what’s underneath the conflict, we can do grounded scene work that is enjoyable for both audience and improviser.

Gauge Your Improv

You have been doing improv a little while. You may have done a hand full of shows, or at least attended enough classes that you lost count. You may have been doing improv for years and years with a thousand shows under your belt. Have you checked in to see where your skills are lately? Self evaluation is a pretty hard thing to pull off. We usually look to instructors or directors to keep us on track and let us know where we are with our development. That or we are just so hard on ourselves that we don’t do anything except beat ourselves up which doesn’t get us further ahead at all. At some point you need to look inward and be able to truly check in with where your skills are using an unbiased opinion.

Let’s start by looking at a couple ways we should probably avoid using as an indicator of our skill level. Firstly, audience laughter shouldn’t be used as a gauge for success in improv. Many well known improvisers have written articles and blogs about this topic so I won’t go into it too much.  Basically if you are basing your skills on laughter alone you will not push yourself as a well rounded performer. There are so many different elements to improv that it does not have to be all about the comedy. I like to think that an engaged audience leaning forward on their seats are more powerful than a laughing audience. Now that being said, if you are in it to make people laugh and it is working then all the power to you. You should try to get out of performing improv whatever you are looking for. I applaud people that find what they need and strive to do more of it.

Sometimes listening to family, friends and other improvisers right after a show can be dangerous. They usually all say the same thing, “Great show you’re great”. I’m guilty of patting someone on the back and saying good job when I didn’t mean it. I have tried to correct this by being more honest if time and appropriateness allows it. Another method to start an honest conversation is by asking the improviser how they thought the show went. (I try to sound neutral and happy when I ask). See where they are. I find the trend is that they will be either really negative or very naïve to how the show actually went. If it seems appropriate and I have a good relationship I may engage in a discussion about the show in general to talk about some of what I saw good and bad. I never give notes about a show or improviser unless I was asked or that improviser is a student of mine

I know for myself after a show is a tricky time for being focused. I am still buzzing from the excitement and when someone compliments me it is hard not to say something negative about how the show went. I am constantly picking a show apart as a director and performer. I need to remember that they may not know all the ins and outs of improv and have just come to be entertained. This can leave a sour taste in an audience member’s mouth when they truly enjoyed the show. We are all guilty of this. We sometimes need to just say thank you and give weight to the compliment. If they had a good time and enjoyed the show then they enjoyed the show.

So how do we gauge ourselves? Well this can be done in a few different ways. One thing I am now trying to do is look at a show as a whole. I start with asking myself, what went well. Then I attempt to be a little more constructive by asking myself what could have worked better. That wording is important. It is not what didn't work. You got through the show so it all worked in some capacity. So what could have worked better is how I word it. After a show when you have notes or on the drive home you could look at the show as a whole and then more specifically the individual scenes or games. There is always something that worked well and something you could use as a challenge for you to get better at.

That brings us to goal setting. If you set goals for yourself and really try to apply them, you will find it a great way to check in. I usually give myself a larger goal to keep in mind for a few months. Recently it  has been to do my best to make my scene partner the protagonist in our scene together, rather than take the role on myself. I have a tendency to play the protagonist. I do it easily so it became a habit to fall into. I found a larger and longer ongoing goal like this usually works better than a different goal before each show. Most of the time when you set a goal and then walk out on stage it leaves your mind and it isn’t until you get into the back room again that you remember what you were supposed to be focused on.

I have a group of improvisers that I work with for a 3 month term. What we start the term with is doing a bunch of scenes. Then with the class each individual will figure out a goal for themselves and spend the 3 months aiming for it and tweaking it as we progress forward. We check in with workshops to keep the goal present and alter it if need be. This will help in goal setting for them. Goal setting is an invaluable skill to apply to everything you do in your life. Looking inward and being able to evaluate yourself is not easy but you can flex that muscle and help it grow with putting it into practice as much as possible.

Expectations

I have recently been focusing on the concept of “expectations” when I am hosting a show. There are certain expectations I try to be aware of during each performance. “Lowered expectations”, for example, is when we set up the idea of failure so that the payoff is greater when we succeed. If we were to start a scene or game by claiming that “this will be the best game you have ever seen”, it will never live up to its potential or expectation. Keith Johnstone talks about lowered expectations in workshops. He often tells students they are about to do a really hard exercise that they should expect to fail at, and the result is that they then are able to just experience the exercise rather than worry about the outcome. This idea was taught to me a long time ago, but is starting to play more of a role while I am hosting or playing in a show. I also think it goes way beyond just setting each game up to give it the best chance to succeed. I believe I practiced this subconsciously, but have now started to actually focus on expectation and give it more weight.

There is a certain amount of expectation that an audience will enter a show with. Some audience members have never seen improv and others are improv connoisseurs, so we should be aware that they all come into the venue with some sort of expectation or pre-existing idea of what it is they will experience. I am still getting responses from hesitant audience members that they have a fear they will get pulled up on stage and forced to look stupid. Whether you do that in your show or not, you should set up what you will be doing during the show right off the top so that they can either breathe easy or sit in anticipation of being volunteered. (We do not usually involve audience beyond giving suggestions or stories at our space unless it is a private event). This can all be done with a good introduction to the format or show delivered to the audience by the host. We strive to get the audience’s energy to be relaxed and excited at the start of each of our shows. Once the show is explained and set up, we can move on to the next few steps.

Expectation and marketing are closely related; audience members will be disappointed by shows that are marketed as something they are not. For instance, I remember being incredibly excited to see a show a few years back that was advertised as: “The most hardcore improv group you have ever seen. We commit so hard it could kill us!” Unfortunately, it was just like any other improv show and did not deliver what it had promised. Promoting a show as it actually is will help set up a good audience expectation. Let them know what they are about to see and be clear. I am still learning the best way to market an improv show so it reaches the most people and looks appealing, and this constantly changes with trends and developing social media. However, the point remains that an audience will respond positively to a show that meets the expectation set by your marketing campaign, and then more intimately by the host/set up of the show.

Once you have your audience’s attention and the show is on its way, there are all kinds of ways to play with expectations. Something I have been doing recently is setting up a certain improviser to succeed as the show goes on. I read their dynamic and their energy to play with them so that at some point they can have their big moment. I tease them a little and give them a harder time so that as the host I look like the bad guy. Subsequently, the audience decides that they are the underdog and feel a personal connection with the performer and ultimately crave the payoff of the underdog blowing the show out of the water in the end. I have spoken with my improvisers about this concept, and they are aware that the razzing has a purpose for the show dynamic. This is a layer of expectation on top of the overall show that takes practice and hyper-awareness of audience expectation and the players’ energy. As a host I have also experimented with having the audience cheer and give me applause when I “mess up” or fumble over my words. This sets a great tone for the show as well as the audience realizes not only that the show is truly improvised, but that all the performers including the host are human and, therefore, relatable. By encouraging the audience to applaud “failure” as well as “success”, you are setting the precedent that both are positive and enjoyable and shattering the assumption that there is a “right” and “wrong” way to perform the show.

A show format we did recently took the concept of applauding or positively accepting failure to another level. The improvisers were partnered up randomly and asked personal questions about each other. At the start of the show, I asked each pair how well they thought they knew each other. This set up the expectation that the group that knew each other the most should win. At almost every show, the pair that seemed to know each other the least was actually the team that came out on top. This was very rewarding for the audience because the underdog story played out for the whole show. The audience really supported the team that had the biggest obstacles to climb.

Let me define some terms for a moment; when I refer to “winning” or “losing” a show, it is not the classic definition that we use in everyday conversation. If a show is set up like a competition then yes, someone is technically winning and losing, but this does not mean that one performer was necessarily “better” than the others. Even in a show that is not set up as a competition, the audience will undoubtedly cheer on a specific player because some improvisers will naturally exude an energy that makes the audience want them to win. On the other side of the coin, other improvisers make amazing antagonists that the audience would love to see “lose” to the favored player.

I think every improviser should be setting themselves up for success in each show they are involved in. This means exploring the roles of the “winner” and the “loser”. If you play the “heel” well—to use a wrestling analogy—then play that so someone else can play “face”. Both of these types of improvisers “win” in the end if the audience’s expectations and hopes for the show are fulfilled. This all needs to be in a healthy environment but can be a fun exploration of how you perform and are viewed by an audience; once you become more aware of the roles you naturally fall into, it can be a great deal of fun to learn to play the opposite role successfully.  A host should try to be aware of whose side the audience is on and help build that dynamic throughout the show. The audience may even be routing for the host to “win” the show, which is another fun dynamic to develop.

People laugh when they are surprised in a show, and expectations can be a great way to set up surprises for an audience. Through use of effective marketing, hosting, and playing, expectation becomes a diverse and ever-changing way to create quality shows to which your audience can’t help but feel personally connected.

Improv is Stupid

     Improvisers can take improv way to seriously sometimes. I know I am guilty of it. It’s hard not to when you are so personally involved and invested in it. I totally understand this. I think we need to remember what it is that we are actually doing though. We get to "play" and throw away the idea of rules. We get to put our focus on engaging and exciting those around us. It’s actually pretty silly if you think about it. Adults playing and acting out is actually a REALLY weird idea. It goes against everything we are taught is acceptable in society. My inspiration for this post is that I often I hear improvisers preaching about how they can make people’s lives better using improv, and that the rules we use help us be more engaged and better at relationships in the world we live in. I've watched a lot of Ted Talks recently and other online videos all about how if you follow our rules and practice our techniques your life will be amazing. Your life will be what it is. If your life is shitty, improv won't save it, or you. It’s important to remember that improv is therapeutic but is not a form of therapy.

     I've "helped” people by showing them ways to bring their confidence out. I've opened doors in people's careers by letting them in on our trade secrets. I've helped people be less awkward. Are we as improvisers some amazing force put on earth to affect and help humanity? I do think we have the ability to help those around us become more comfortable in their skin, but also that we need to be very careful how we approach this. Once someone has committed to the work we can push them as far as they are willing to go but we can’t preach our ideas to just anyone. I think by doing so we may alienate those that could potentially benefit from what we do. Some of us are actually really socially awkward, so preaching our improv philosophies has the potential to make us appear to be someone that people may want to avoid. I realized this while talking to a technician at an improv theatre. While talking to her, I pushed her and kept asking why she wasn’t taking improv classes. I know we have all done this to someone at some point. She said to me, “I get the improv spiel from everyone. I don’t need it from you. I get it, it’s great but it’s not for me.” Huh...

     If someone wants to know about improv then let’s be honest with them about what this actually is. This isn’t some miracle concept that will change the world. We shouldn’t treat it as such. We are just regular, awkward people that want to improve how we are as human beings. We are not perfect and aren't always happy. We have really big ups and downs just like everyone else. So instead of trying to sell this as something it’s not, perhaps we should try to label as it actually is. We are not living perfect lives because of improv. We struggle just as much as our fellow non-improvisers, if not more. The honest truth is that most of us are a bit quirky and have a hard time fitting in anywhere else. We are misfits and weirdoes. I was picked on my whole life because I didn’t fit in anywhere. It definitely takes someone wanting to put in the work for all of these things to actually be useful to them. I’m getting to the point where if I have an opportunity to tell someone what we do I’d rather attempt to show them by either having them come to a workshop or show instead of preaching words that may deter rather than encourage.

     Yes, improv is amazing to us. But it isn't for everyone. We need to get off our high-horse and realize that some people are going to look at what we do and think it's stupid. Let’s not let this affect us personally. We are not any more special or unique than any other art form and their teachings. We need to realize the ridiculousness of grown people in a room yelling "bunny bunny". That's okay. Once we let go of the idea that we are doing something totally unique and from a higher power, we can then just be there in our art, play, and have fun. Let’s embrace the silly and ridiculous of it all and relish in it. Be proud that improv encourages an environment to be silly and sometimes ugly and act in a way that is not socially conventional.

     We are not perfect. Improv can be "stupid". It being stupid is a major part of its beauty. Let’s accept that we are not perfect and that we are allowed to be stupid. Once we do that we can grow, learn and explore. Let the art form and honesty, not intangible philosophy, draw in those who will benefit from improv.

Beats and Buttons

I was asked to have a look at finding the beats and how to button scenes. For those who use different terms or are not familiar with beats and buttons as I use them, I’ll explain what they are. A beat is when the tempo of a character or scene is altered and changed. Each character and scene will have a tempo you can follow and feel. Not only that, the audience will also have a tempo for each show. So when all of these tempos line up, you will find magic happening on stage. Be aware that there can be several beats in one scene, not just the ending. The best way to find a beat though is to be watching a scene and look and see if you feel when the scene is over and the lights should go down. One of the tricky parts of moving or reacting on a beat is actually anticipating and catching them. If you say to yourself, oh, there is the beat. You have already missed it. If you planned on entering or ending the scene on that beat it has passed in the time you thought about it. You basically have to be anticipating, feel the beat and already be moving to actually use it effectively.

We ran scene after scene to see when the group would decide a scene should end. Some wanted to end them earlier on beats where the scene had offended them or just went to cheap laughs. Others ended them after the scene had gone on too long and they just wanted to help by pulling the lights down. Some felt bad and wouldn't end scenes because they thought their fellow improvisers would be disappointed with them for ending the scene. It takes practice to end scenes well. It also takes someone who isn't scared to make the call and pull the trigger. With practice anyone can do this. It’s just all about feeling the beat and being on top of it. (It should be said that most times it is a host or tech that will end scenes at Second Storey Theatre. I prefer not to have lights flagged down from actors on stage.)

So once we got the grasp of ending scenes we moved on to buttoning them. Buttons to me are a way to end a scene on a laugh or with high energy. (This is usually done by improvisers waiting on the sides or from within a scene rather than a host. The host or tech will hopefully be ready and will call the lights when the button hits.) The person who buttons the scene is usually the one who gets all the accolades because they will have the funniest moment of the scene. This can make other improvisers a little upset because they are the ones who did all the work and built the scene but don’t get the credit for their work. The buttoner will come in and say one line and be remembered as the most hilarious person EVER! It shouldn't be this way, so we wanted to make sure we looked at a way to button and have everyone feel good about it after.

We learned really quickly that when we had a gamey scene it almost always required a nice tight button ending. This made everyone involved feel great because when the game was played well and all the rules were followed, it made everyone look good when it was wrapped up in a neat little package. Another time it felt good was when we already knew what the ending was going to be or where the characters were headed and the scene was buttoned. So if we knew exactly the way it should end or where it was going (including the audience) then having someone enter and give us a high energy laugh to finish felt good for everyone. It was when someone entered and killed a scene or came in too early that it felt dirty. Buttoning can so easily become addictive and breed selfish performers. We have touched on playing to the laughs before. It’s hard not to but we must remember that what we are doing isn’t about playing for cheap easy laughs. Just like most things we should also avoid using buttons too much. There can definitely be too much of a good thing when certain techniques are over used.

Let’s talk a bit about ways to button scenes.

1.       Reincorporating or book ending a scene is one way to hit a button. Using information from earlier in the scene or ending the same way it started is a great way to button a scene. For example, if the scene starts with a couple people whistling a certain tune it would be awesome if they brought it back at the end of the scene and whistled the same tune as the lights faded out. As the greats say; Listen, Remember, and Recycle.

2.       Looking for the rule of 3 is something else we explored. Here is the Wiki on this topic http://en.wikipedia.org/wiki/Rule_of_three_(writing) . This was a neat exploration because it added a nice depth to our scene work. We had people who weren't a major role in the scene actually be laying ground work to end on the rule of three. This added a nice unexpected element. Of course the improvisers on stage can be looking for the rule of three as well. It is something to be aware of and be able to play if the opportunity arises. You can’t really over think it. Just be aware that the option is there to nail it on the third hit or beat.

3.       Breaking the established reality or playing to the reality. Whenever you create an improv scene you are creating a reality that has rules that you and your scene partner must obey. These rules could be absolutely anything including something crazy or weird, but this is where the truth comes from. For example, if you all talk in gibberish then that is the truth you must all live by. As soon as someone enters speaking normally then that original reality is broken. So during the scene when this reality is fully established it can be easy for someone to see it from the outside and come in and break that reality to end the scene or play by the rules and button it that way. We had a scene happen once where the improvisers took the suggestion “pool” and one actor thought swimming and one thought billiards. So when they forgot to connect first before the scene, one came out showering and one came out playing billiards at a table. They ended up commenting on this weird shower pool hall rather than playing to this awesome reality. They discovered a world where you shower before or after a round of pool. If they had committed to this reality it would have easily set up a button when the third person enters strips down and asks if they were almost done with the table.

When breaking the reality it can easily lead to a negative feeling after because it can look as though you are kicking the scene in the crotch. Essentially you are saying to the audience that the improvisers that did all the work setting up the scene where wrong or not good enough. It can also lend to looking like you are show boating. “Oh look how clever my idea is!”

4.       A silly way I end or button a scene is to grab the person and pretend to make out. I do it in a silly over the top arms flailing manner with our backs turned so we never actually kiss. It is silly and shouldn't be done often but sometimes you just gotta drop everything and make out.

5.       The last way we looked at was stating the obvious. If there is something that the audience understands in the scene but that thing hasn't been spoken out loud, then once it is said it can easily create enough laughter to end on. This is a hard one to give a good example of but I will try. Say that we have a scene that we spend the entire scene milking cows but it’s never said because the scene is actually about the two brothers wanting more in life then working on a farm it leaves an opening to perhaps comment on the fact that they have over milked the cow and she is now dried up. We all inside understand that you shouldn't probably both be milking the same cow for over 5 minutes at a quick pace. So once it is said the scene will probably have a nice high note to end on.  

Contradictions

When you start learning improv you will encounter a million contradictions. It may be because you are learning from multiple teachers or perhaps it is because there are no certainties in what we do. It may also depend on where you are at in your learning process. I would like to tackle a few of these contradictions while acknowledging that explaining their paradoxical nature is a lot like trying to catch smoke with your bare hands. We will see where it takes us.

   

   1)     “Follow the rules but, ummmm, there are no rules. Well there are rules; you just need to learn when to break them.”

There are a few trains of thought on the use of rules in improvisation. I will only be able to speak on behalf of my own beliefs. I believe there are rules that must be followed as you learn. In fact, there are a ton of rules. The problem I have with the idea of “no rules” is that it is impossible to teach something if there isn’t anything to learn in the first place. To me it would be similar to putting a 16 year old in a car and saying, “Just drive, there are no rules!” What a scary thought.

What kind of “rules” do I believe need to be taught to build a strong foundation for a well-rounded improviser? The first that comes to mind are the rules of theatre etiquette. A lot of today’s improvisers are not coming from a theatre background; this means that while we learn improv, I must teach students to face the right way on stage, use their upstage arm, speak loud and clear, and use down stage centre to play. If an individual never learns basic theatre etiquette they have no foundation to build on and will construct their improv-house on unsteady ground.

What I attempt to teach is that you must learn the rules before you can break them. We learn concepts and rules and, with repetition and diligence, beat them into your brain so that they become muscle memory. Once they become second nature, you can start to explore the idea of breaking them. Essentially, I teach the rules and then, once the improvisers have internalized the rules and understand them, I tell them to learn when to purposefully go against what they have just learned.

In martial arts they say that the yellow belt is the most dangerous. They are one level up from beginner and they think they know everything. They are a danger to themselves and those around them. They will want to prove themselves in a fight but do not have the control or actual skills yet to defend themselves or realize that you are actually learning these skills to avoid a fight. So telling newer improvisers that you can break the rules can be a dangerous dance. Contradictions!

   

   2)      “Don’t try, but try really hard.”

Or maybe, “try really hard to not try”? It takes a lot of work to get to a point where you can be on stage and be fully in the moment, committed and present, and to make strong choices. A lot of things all need to come together to get there. Hours and hours of both performance and workshops must be put in. You must be mentally prepared and ready before the show. You must be able to put into practice all your teachings up to that point. You also need to just do it. I believe you must have a good work ethic, listen to your director, not beat yourself up too much, and also take notes and use them diligently to continue to move forward as an improviser.

Perhaps knowing when to be trying and when to be flowing is the key. You should always be doing work and setting goals. You should always try to be able to gauge where you are as a performer, but when you get up on stage you need to put all that work in to practice. Flip a switch into play mode. Know when you need to play using what you know up to that point. You can do no wrong because this is where you are at as an improviser thus far. Then once you are off stage again you can continue to learn and grow. Seems simple, but this is something you will battle for your entire career.

   

   3)     “Think but don’t think.”

When on stage and in the perfect moment you will be saying and doing things that even you may not expect. Everything is going smoothly and there are no bumps in the road. The scene is great and you feel great. Your partner says they had a blast. The audience loved it. The director gave you praise after in the notes session. You performed the perfect scene—well, the perfect scene does not technically exist, but this came pretty damn close. So were you thinking during that scene? Some will say “No, I was fully invested and in the moment.” But I personally think that you were thinking. Thinking is something that we cannot stop doing. Perhaps what actually happened is that you were able to think and make decisions quickly with no judgment using all your skills to not hesitate.

Educated thinking is what happens when your scene feels close to perfect. All the work you have done up to that point all came together in a magic moment. Maybe similar to when you drive to work and you forget the trip as you pull into your usual spot. (Yes, I use car analogies a lot. I like them.) You have become so comfortable driving that you can do it without really thinking about it, but along the way there are times you must use judgment and make decisions on the fly. Should you run that red light or stop. You use what you know and make a quick decision. Hence thinking but not thinking.

I am not sure this is something that can really be taught. It almost needs to be stumbled upon. Telling newer improvisers to think is not really a good idea unless they really understand what educated thinking looks like. I see improvisers all the time that don’t actually improvise at all. They are super intelligent and think super fast. They are making decisions but more often than not they are decisions that hurt the scene or they prevent the other improvisers from progressing. They never truly let go and get in the flow. So what’s the difference? It’s hard to explain unless you have been there and felt it. It’s as if you know what to do with as little thought as possible, and when the thought happens it is the right one.

   

   4)     “Say yes and yet know when to say no.”

This is something we have been looking at in workshop lately. It came out of working on when it is a good time to enter a scene as a 3^rd or 4^th improviser. So we explored having improvisers just jumping into scenes on their first impulse and seeing what happened. We were doing this because we had cast members trapping themselves on the bench. They were over thinking whether they should come in or not and then wouldn’t enter the scene at all. Now we all know that the first impulse is not an educated one so it probably wasn’t the right answer either but it got people moving. (Even when told to go on first impulse it usually ended up being 3^rd or 4^th, in all honesty. We block ourselves really fast.) When exploring this, some interesting things were brought to light.

What do we do if someone comes in with a blind side offer or one that makes no sense at all with what our scene is about? I can sometimes be an aggressive performer when playing with asshole improvisers. I say it’s because I’m old and grumpy which I think is partially true. I also believe that I am very protective and like to take care of my scene and partner. I like to put my work in and hate to see it get plowed over by someone not paying attention, coming in with nothing to offer, or when someone is being a show boat. So I protect it by not always saying yes. Sometimes I think improvisers can be too polite and just say yes to whatever crappy offer gets thrown at them. They shouldn’t have to if they have a good foundation and are doing good work. Too easily do we just go with whatever is brought to us even when it makes no sense what so ever.

So we started seeing how we can own and protect our scenes. We hope this doesn’t happen often at our venue, but every once in awhile people come into scenes with nothing at all or aren’t paying attention to what the scene needs. I know I’m guilty of it. So without being a dink on stage we looked at ways to not give up our scene to someone just butting in. We looked at hosting techniques and physical changes as well as leaving the dink on the stage alone to deal with their mess.

Most improvisers felt a rush of satisfaction that they had not ever experienced. They felt good and strong. Not all felt positively, however, some actually felt bad. They felt as if they had done something wrong and rude to their fellow performer. When asked if the audience saw them looking rude or mean, the response was a resounding “NO”! When the improviser that was the dink was asked if they felt betrayed or mistreated, they also said no. So everyone was okay. No one died or was hurt emotionally. We should always be positive and be trying to move things forward, but that doesn’t always mean saying yes, despite improvisers being taught to always say “yes, and”. Sometimes we need to realize we are okay without everyone on stage. If we do our work and establish a ton fairly quickly then we don’t need someone plowing through or entering for no reason. You can ask them to leave.

This is a pretty big topic. I feel sometimes we just allow ourselves to be bullied. I am sure we can all think of a time where we felt dirty after a scene. Either because we came on and messed everything all up or that we had someone kill our scene. It was a very exciting and empowering exercise and is not over yet. We can be strong and not come across as an asshole.

There is on last thing I’d like to add to this segment. You can also say no when you actually mean yes. This is a loaded “no” that when done correctly should be obvious that you are actually saying yes to whatever offer is being given by your scene partner. This also applies to loaded questions. Questions are frowned upon in improv (See previous blog post) but if you already know the answer and your partner is there with you then ask away.

   

   5)     “Doing nothing can be a huge offer but you have to be doing something.”

Stillness and silence is power. Walking on stage with nothing is weak but if I were to take the stage and stand still and silent, feet planted and confident, I am indeed doing something. If I walk into a scene for shits and giggles and am coming on with nothing I am not going to be any help. I need to be sure of whatever it is that I am doing whether that thing is nothing or something. If I am not then I better hope my fellow performers are because I am acting selfish.

As an improviser you must do your work before you can expect to be able to help and support your scene partner. You should never come into a scene with an indifferent emotion or not certain of why you are there. You must make strong decisions to help your partner. (Strong does not mean a huge wild and crazy offer or creating a problem) A strong decision could be as simple as deciding you hate the way your partner smells. Stick to that decision and add to it as you go. Realize though that this is enough for now. Commitment to this is all you need to be doing something. So often improvisers try doing too much and miss all the beauty in the little offers and suggestions given by a scene partner. You must also use your hyper awareness to really see all the things in your partner that you can use.

Often in workshops or shows I see an improviser start a scene before they are even aware of it. They walk to the side but walk in a funny way, show emotion or make a face. They have already discovered something and yet don’t realize it. Even though they think they aren’t doing anything they in fact are. Then the worst thing is when they drop this magic thing they have discovered to enter a scene with nothing.

So what is it? If you choose to have nothing and own it then you actually have all you need. Not only that but your partner then has everything they need as well. That is if they are open and aware of what you are doing. Wait that’s not right either, you can’t actually commit to nothing. Everything you do is something. The awareness you and your scene partner have is what makes this “nothing” something. Always be looking for the little subtle things that can turn into those magic moments. They are there if you look for them. You will in fact be doing something even when you think you are doing nothing. When that thing is brought to light though then you must over accept it and say yes and to it. Then you move forward.

At the end of the day you must do your work. You must try to see as much as possible and hope that your scene partner is aware of all the little things they are doing. Then the two of you can have a blast playing off those things that some miss. (The audience never misses anything FYI. Bring that A game) Also realize that one thing may be true today but that same thing will not necessarily be true tomorrow. Embrace the uncertainties because life and improv are chalk full of them, and always have fun.