Ah, yes. I knew it would be a matter of time before I had one of these moments. Less than three weeks after starting classes in Chicago, I finally realized what one of my biggest strengths is, and simultaneously what my biggest weakness is.
I took a workshop with Joe Bill (from BASSPROV, among others) on Sunday, January 24th. He was full of improv wisdom, and it made me really wish I hadn't set my notebook down on the other side of the room. I tried to write down as much as I could remember during the break, though.
Altogether, I did about four scenes with various other improvisers. The first was lousy, which I realized early (we were focused too much on an object -- a sandwich -- and not each other). The next two scenes were much better. The fourth and final scene was very memorable to me.
The exercise was this: start off the scene by NOT looking your scene partner in the eyes (contrasting the earlier scenes we had done). Give a few lines, then start making eye contact. I started off by admiring myself in the mirror. My scene partner was doing a crossword puzzle. The first few lines went like this:
Me: "Tonight's gonna be a good night. I can feel it!"
Other guy: "What's a 5-letter word for dinner?"
Me: "Pasta! Oooh! I'm on fire tonight!"
Other guy: "I don't think that's going to work..."
Me: (looking over his shoulder) "You must've done 14 Down wrong."
Other guy: "Oh, yeah... you're right!"
Me: "See! Can't stop me!"
At this point, Joe Bill told us to freeze. He suggested that I restate my initial lines, with more emotion. I did, and the scene took off. It became a scene where I wanted him to be my wingman, because he was frumpier and dumber than me, and he made me look good in comparison to all the ladies.
Joe Bill said after the scene that he saw I was starting to get distracted with the problem-solving of the crossword puzzle. I had made a strong, declarative statement to open the scene, and had gotten away from it. Chances are, I would never have gotten back to it without the suggestion to restate my opening line. Joe Bill said it's a good tool to keep in my improv toolbelt, and I agreed. I made extra sure to write that down in my notebook.
Class ended a couple of scenes later, and I walked home. On my way home, I kept thinking about that scene, and why that simple note made it work so much better. It finally occurred to me (around Belmont & Clark) that there's a greater reason behind it.
Probably my greatest strength as an improviser is my ability to "Yes And." No matter what comes out of my scene partner's mouth, I'll take it and run with it. However, this can also be my biggest weakness.
Why would I say that? Isn't the concept of agreement the foundation of improv comedy? Don't we teach beginning improvisers this on the first day? Wouldn't that strength make me the most valuable person on a team? Not necessarily. Not when I follow my scene partner's lead AT THE EXPENSE OF MY OWN IDEAS.
In the above example, I was quick to give up everything of my own to support what my scene partner had said and done. My own line of "Tonight's gonna be a good night. I can feel it!" was rich with possibilities. Any two improvisers could have made a good scene out of that. My scene partner's line of "What's a 5-letter word for dinner?" certainly needed to be acknowledged and incorporated into the scene, but it didn't need to be the focal point. Discussing a crossword puzzle can only be interesting for so long. I made a good opening line. I should trust that. Throwing it away doesn't do me, my scene partner, or the audience any good.
I need to re-read Mick Napier's "Improvise." It's probably the best book out there that deals with this exact sort of thing. The concept of "take care of yourself first" can sound like something completely backwards to improv teaching, where it's most important to make your scene partner look good. But if I was to make my character's wants and motivations clear and well-defined, my scene partner has something to work with and the scene will progress.
So, yeah... my brain exploded yesterday afternoon. Once I put the pieces back together, hopefully I'll be wiser for the experience.
Oh, and if you get a chance to take a workshop with Joe Bill, do it.
Monday, January 25, 2010
Thursday, January 21, 2010
Blue Humor = The Dark Side of the Force
Ah, yes. The question of blue humor. "Can we say this?" is a question that often comes up in one of the first weeks of improv class. Sexual innuendos, bathroom humor... the situation prompting the question changes, but my response is usually the same. And since I'm a huge Star Wars geek, I turn to the ultimate source of wisdom -- Yoda.
The Empire Strikes Back
"Master Yoda, is the Dark Side stronger?"
"No! Quicker... easier... more seductive..."
Return of the Jedi
"Once you start down the Dark path, forever will it dominate your destiny!"
Substitute the concept of the Dark Side of the Force with blue humor, and you've got my position on the subject. Yes, it's quick and easy to make a fart joke or a Viagra joke. But it doesn't make for better improv. If you drop the F-bomb in a show for "shock value," you'll end up using it again and again throughout the rest of the show.
Improv comedy can be perfectly good without resorting to bathroom humor. Yes, sometimes more adult themes will surface in a show. There's no way to completely prevent it. It's how you deal with those situations that shows your true mettle as an improviser. Do you sink down to the level of poop jokes? Or do you find something more important going on in the scene? Good improv comes from the relationship between two characters. Find that.
Mind what you have learned. Save you it can. Never turn to the Dark Side.
The Empire Strikes Back
"Master Yoda, is the Dark Side stronger?"
"No! Quicker... easier... more seductive..."
Return of the Jedi
"Once you start down the Dark path, forever will it dominate your destiny!"
Substitute the concept of the Dark Side of the Force with blue humor, and you've got my position on the subject. Yes, it's quick and easy to make a fart joke or a Viagra joke. But it doesn't make for better improv. If you drop the F-bomb in a show for "shock value," you'll end up using it again and again throughout the rest of the show.
Improv comedy can be perfectly good without resorting to bathroom humor. Yes, sometimes more adult themes will surface in a show. There's no way to completely prevent it. It's how you deal with those situations that shows your true mettle as an improviser. Do you sink down to the level of poop jokes? Or do you find something more important going on in the scene? Good improv comes from the relationship between two characters. Find that.
Mind what you have learned. Save you it can. Never turn to the Dark Side.
Improv: Can anyone do it?
Whenever I taught an intro level improv class, I would always tell my students that "anyone can do improv." A bold claim? Perhaps. But I feel that this claim is justified.
First of all, the fact that the students are even IN the class shows that they're at least somewhat motivated to learn. Having motivation is the biggest key, in my opinion. It's the instructor's job to simply not kill this motivation (and hopefully encourage it).
Every student is going to face difficulties at some point in the course. For some, the concept of "Yes And" might be a tough one to figure out. Many students need to have the instinct to ask a lot of questions ritually beat from them. The goal, of course, is to create an environment where it's okay to make "mistakes" and to encourage students when things aren't going well.
No two students are going to learn exactly the same way. Hearing an improv concept explained one way might sound like a foreign language. Sometimes the instructor will have to explain or demonstrate these ideas multiple different ways. Sometimes it will even require learning from more than one instructor. This is by no means the fault of the beginning improviser. It is the responsibility of the instructor to ensure the learning.
What does it take to be a good improv instructor?
1. Be a good improviser yourself. Perform every chance you get. Perform with good improvisers and weak improvisers. Learn how to adapt to different players' styles. Take every workshop you can. Get notes from your director/coach on your performances and rehearsals. Discuss your shows with fellow players. Watch shows that aren't your own. Read books and blogs of experienced improvisers. Take classes, even intro level courses. Know the fundamentals of improv.
2. Be patient. Doubly so in beginner classes. Most have never done improv before meeting you. They will make mistakes that make you cringe on the inside. Don't try to fix everything right away. Focus on one fundamental concept at a time, and let the pieces fall into place.
3. Have fun. Enjoy what you're doing. If teaching improv comedy ever starts to feel like work, you're doing something wrong. The instructor should laugh the loudest. Nothing makes an intro level student feel better than knowing they did well enough to make the instructor laugh.
4. Praise often. Before class, during each exercise, at the end of every class, in your Facebook status updates... every chance you get. There has never been an improv class in the history of civilization that didn't have something positive come out of it. Accentuate it. Brag about your students.
5. Take notes and keep them. Not just from other classes you've taken and other instructors you've learned from (although those are extremely valuable), but notes on classes you've taught. Not just the good stuff that happened, but the bad, too. What worked in a lesson? What didn't work? Being able to refer to this later will help you refine your classes and build stronger improvisers.
6. Develop an arsenal of exercises. Know what exercises can help focus on and bring out different skills. However, don't rely on just the exercises. Be able to spot good and bad examples, and help your students to know the difference.
I feel that any improviser who wants to better their own skills needs to teach improv as well. Like going from Jedi Padawan to Jedi Knight to Jedi Master, an improviser should seek to further themselves. Not only is this valuable for those taking the class, but you learn more by teaching others. It forces you to recall and reinforce the fundamentals of improv yourself. You learn to evaluate a scene and recognize the good and bad points. You will find that your own performances are enhanced from the experience of teaching.
One goal of mine is to open an improv training center in the city of Nashville. However, more important than training new students is to train new instructors. The next generation of improvisers depends on this.
First of all, the fact that the students are even IN the class shows that they're at least somewhat motivated to learn. Having motivation is the biggest key, in my opinion. It's the instructor's job to simply not kill this motivation (and hopefully encourage it).
Every student is going to face difficulties at some point in the course. For some, the concept of "Yes And" might be a tough one to figure out. Many students need to have the instinct to ask a lot of questions ritually beat from them. The goal, of course, is to create an environment where it's okay to make "mistakes" and to encourage students when things aren't going well.
No two students are going to learn exactly the same way. Hearing an improv concept explained one way might sound like a foreign language. Sometimes the instructor will have to explain or demonstrate these ideas multiple different ways. Sometimes it will even require learning from more than one instructor. This is by no means the fault of the beginning improviser. It is the responsibility of the instructor to ensure the learning.
What does it take to be a good improv instructor?
1. Be a good improviser yourself. Perform every chance you get. Perform with good improvisers and weak improvisers. Learn how to adapt to different players' styles. Take every workshop you can. Get notes from your director/coach on your performances and rehearsals. Discuss your shows with fellow players. Watch shows that aren't your own. Read books and blogs of experienced improvisers. Take classes, even intro level courses. Know the fundamentals of improv.
2. Be patient. Doubly so in beginner classes. Most have never done improv before meeting you. They will make mistakes that make you cringe on the inside. Don't try to fix everything right away. Focus on one fundamental concept at a time, and let the pieces fall into place.
3. Have fun. Enjoy what you're doing. If teaching improv comedy ever starts to feel like work, you're doing something wrong. The instructor should laugh the loudest. Nothing makes an intro level student feel better than knowing they did well enough to make the instructor laugh.
4. Praise often. Before class, during each exercise, at the end of every class, in your Facebook status updates... every chance you get. There has never been an improv class in the history of civilization that didn't have something positive come out of it. Accentuate it. Brag about your students.
5. Take notes and keep them. Not just from other classes you've taken and other instructors you've learned from (although those are extremely valuable), but notes on classes you've taught. Not just the good stuff that happened, but the bad, too. What worked in a lesson? What didn't work? Being able to refer to this later will help you refine your classes and build stronger improvisers.
6. Develop an arsenal of exercises. Know what exercises can help focus on and bring out different skills. However, don't rely on just the exercises. Be able to spot good and bad examples, and help your students to know the difference.
I feel that any improviser who wants to better their own skills needs to teach improv as well. Like going from Jedi Padawan to Jedi Knight to Jedi Master, an improviser should seek to further themselves. Not only is this valuable for those taking the class, but you learn more by teaching others. It forces you to recall and reinforce the fundamentals of improv yourself. You learn to evaluate a scene and recognize the good and bad points. You will find that your own performances are enhanced from the experience of teaching.
One goal of mine is to open an improv training center in the city of Nashville. However, more important than training new students is to train new instructors. The next generation of improvisers depends on this.
Shortform v. Longform improv
For those of you reading this who aren't improv comedians or aficionados, a few definitions:
Short form improv: Sometimes known as theater games, improvisers get suggestions and act out a scene, perform a song, make puns, etc., often with some kind of rule, structure, or gimmick that needs to be followed. Most short-form games last in the 3-5 minute range, are ended, and then changed to something with a completely different set of instructions.
Long form improv: Although there can still be some kind of overall structure to the performance piece (i.e., "The Harold"), it's more of a free-form style, focusing on scenework. A wide variety of styles can fall under the umbrella of long form. Generally, the audience provides one suggestion to the cast, the cast uses that suggestion to generate ideas and use that as a starting inspiration point for the entire show.
I feel very fortunate. My early training and experience (mostly through Improv Nashville) allowed me the opportunity to see, rehearse, perform, and appreciate both longform and short form improv comedy.
Is one style "better" than the other? In my humble opinion, no.
Short form advocates say that playing 3-5 minute games forces players to focus on building the who/what/where of a scene right away, getting to the important part of a scene. But isn't that also an important skill for longform players?
Longform advocates tout the importance of focusing on the relationship between two characters. But shortform players need this just as much.
Which one do audiences prefer? I've seen good and bad shows for both skill sets. It's the quality of the performer, not the style of the show, that makes for good improv comedy.
Which should improvisers study? Both, if the opportunity presents itself. Studying only longform and refusing to study shortform (or vice versa) is like a boxer that will only practice punching with his right fist. Yeah, you'll be incredible with your one strength, but not being well-rounded will only make you suffer in the long run.
So for beginning improvisers wondering where to start, or experienced improvisers looking to better their performances, I say get yourself well-rounded. Some of the best longform players at iO that I've seen have their pictures on the wall at ComedySportz. Many have taken classes, taught classes, coached teams, and performed both styles.
What do I hope to have at any future improv theater venture? Anything and everything. I will encourage the ensemble to try their hand at different styles. Of course, play to your strength and do what you love the most, but don't ever stop trying to develop yourself as a player.
Short form improv: Sometimes known as theater games, improvisers get suggestions and act out a scene, perform a song, make puns, etc., often with some kind of rule, structure, or gimmick that needs to be followed. Most short-form games last in the 3-5 minute range, are ended, and then changed to something with a completely different set of instructions.
Long form improv: Although there can still be some kind of overall structure to the performance piece (i.e., "The Harold"), it's more of a free-form style, focusing on scenework. A wide variety of styles can fall under the umbrella of long form. Generally, the audience provides one suggestion to the cast, the cast uses that suggestion to generate ideas and use that as a starting inspiration point for the entire show.
I feel very fortunate. My early training and experience (mostly through Improv Nashville) allowed me the opportunity to see, rehearse, perform, and appreciate both longform and short form improv comedy.
Is one style "better" than the other? In my humble opinion, no.
Short form advocates say that playing 3-5 minute games forces players to focus on building the who/what/where of a scene right away, getting to the important part of a scene. But isn't that also an important skill for longform players?
Longform advocates tout the importance of focusing on the relationship between two characters. But shortform players need this just as much.
Which one do audiences prefer? I've seen good and bad shows for both skill sets. It's the quality of the performer, not the style of the show, that makes for good improv comedy.
Which should improvisers study? Both, if the opportunity presents itself. Studying only longform and refusing to study shortform (or vice versa) is like a boxer that will only practice punching with his right fist. Yeah, you'll be incredible with your one strength, but not being well-rounded will only make you suffer in the long run.
So for beginning improvisers wondering where to start, or experienced improvisers looking to better their performances, I say get yourself well-rounded. Some of the best longform players at iO that I've seen have their pictures on the wall at ComedySportz. Many have taken classes, taught classes, coached teams, and performed both styles.
What do I hope to have at any future improv theater venture? Anything and everything. I will encourage the ensemble to try their hand at different styles. Of course, play to your strength and do what you love the most, but don't ever stop trying to develop yourself as a player.
I shall return, in accordance with prophecy!
Well, almost three weeks have passed since I left the city of Nashville. I left with a plan. To see how I arrived at this plan, let's work backwards.
1. I don't want to work in a cubicle all day or be subject to the whims of management.
2. I like improv comedy. It was my one source of joy most weeks as a cop.
3. I would love to do improv for a living.
4. Simply performing improv shows won't pay the bills.
5. Owning/managing an improv theater won't make me rich, but I could make a living.
6. I would need a lot of performances every week to pay the bills.
7. I would need a lot of performers to fill those time slots.
8. Those performers would have to be good, so that people will keep coming back to see them.
9. Someone's gotta train them.
10. To be a good trainer, I need to know improv as well as possible.
11. To know improv very well, I need to go where the best instruction is.
12. Chicago is the Mecca of improv comedy.
13. To complete training programs at places like iO or ComedySportz, it'll take about a year.
14. Therefore, I must pack up and leave Nashville for a while, but will return better prepared to make improv comedy something big in Music City, USA.
There's a lot to consider between now and next year. Casting, show formats, auditions, classes, cast training, location, management staff, promotions, marketing, incorporation, business permits, alcohol permits, and lots more. Fortunately, I have plenty of time to get that sorted out.
In the meantime, I plan to publish blogs about the various things that I've learned from my improv instructors, highlights of shows that I've seen, things that I'm pondering about the future improv theater, and of course, some random nonsense. Enjoy.
-Dylan
1. I don't want to work in a cubicle all day or be subject to the whims of management.
2. I like improv comedy. It was my one source of joy most weeks as a cop.
3. I would love to do improv for a living.
4. Simply performing improv shows won't pay the bills.
5. Owning/managing an improv theater won't make me rich, but I could make a living.
6. I would need a lot of performances every week to pay the bills.
7. I would need a lot of performers to fill those time slots.
8. Those performers would have to be good, so that people will keep coming back to see them.
9. Someone's gotta train them.
10. To be a good trainer, I need to know improv as well as possible.
11. To know improv very well, I need to go where the best instruction is.
12. Chicago is the Mecca of improv comedy.
13. To complete training programs at places like iO or ComedySportz, it'll take about a year.
14. Therefore, I must pack up and leave Nashville for a while, but will return better prepared to make improv comedy something big in Music City, USA.
There's a lot to consider between now and next year. Casting, show formats, auditions, classes, cast training, location, management staff, promotions, marketing, incorporation, business permits, alcohol permits, and lots more. Fortunately, I have plenty of time to get that sorted out.
In the meantime, I plan to publish blogs about the various things that I've learned from my improv instructors, highlights of shows that I've seen, things that I'm pondering about the future improv theater, and of course, some random nonsense. Enjoy.
-Dylan
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