tag:blogger.com,1999:blog-89563715668191981052024-02-19T07:13:18.512-08:00General Billyimprovthekidhttp://www.blogger.com/profile/01728326991095156848noreply@blogger.comBlogger8125tag:blogger.com,1999:blog-8956371566819198105.post-74753464274109265782013-03-22T00:35:00.000-07:002013-03-22T00:40:05.368-07:00I played a show tonight - and it fit me like a glove.<!--[if gte mso 9]><xml>
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">Let’s say tonight was the first night in a long time that I
improvised to my potential. If we
believe that this is true, surely it wouldn’t be difficult to assume that I
felt quite satisfied by the experience.
Looking back, I agree with all the choices I made during various moments
in scenes in the show and am certain the result was fun for everyone involved. One could presume arrogance on my part, but
that one would be a fool for I am honorable and what I speak is truth. A hey o na na nay. Teaching improv over the years has shown me
that people respond and grow more quickly when positively encouraged. Teaching with the cans and wills and the does,
man. i'Takes patience, lord; it feels easy
and natural to incline toward the negative, but turning your energy toward the
positive is truly worth the mental struggle it takes to overcome a negative mental
space and more – embrace confidence and temper it with objectivity. </span><br />
<br />
<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"> <span class="Apple-style-span" style="font-size: xx-small;">ooo</span><span class="Apple-style-span" style="font-size: x-small;">o</span>o<span class="Apple-style-span" style="font-size: large;">o</span> </span><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">Hay ah ah oo oh, Hai ah
ah oo oh, Hai ah ah oo oh, Hay! <span class="Apple-style-span" style="font-size: large;">o</span>o<span class="Apple-style-span" style="font-size: x-small;">oaah</span></span></div>
<div class="MsoNormal">
<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><o:p></o:p></span></div>
<div class="MsoNormal">
<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><br /></span></div>
<div class="MsoNormal">
<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">After this short paragraph of pertinent and valuable information,
please watch the video of the show and then read the rest of my blog post to be
“in on the post show notes”. For the sake of clarity in those, by the way, we’ll
call the players MO, TT, KL, KE, SU, ML, TG. I’ll describe the moments now just
before the camera was turned on and the video starts. Make sure to turn the lights
off and the sound up, you silly gooseberry! This video is our 40ish minute free form <i style="mso-bidi-font-style: normal;">Harold</i> type thing, which was open
to player’s choice edits. We played to a house of 90 or so at the UpFront and after an
intermission and a rockin’ Satellite set, which put on a performance that
yielded plenty of earnest post-show compliments, we took the stage to a lively crowd. Lively in a good way, not like… talkative lively. Anydamn,
TG got us the suggestion of <i style="mso-bidi-font-style: normal;">Beard </i>and
we began from a blackout. I chose to just stay standing in my line spot as the
lights went down because I wanted to greet the first scene as the sun rose - KE
almost ran into me but he didn’t cuz we are black out pros. <o:p></o:p></span></div>
<div class="MsoNormal">
<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><a href="http://dcgbu32113.html/" target="_blank"><click for="" here="" show="" video=""></click></a> <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">Post show notes: (hypothetically)<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">“Great show guys!” <o:p></o:p></span></div>
<div class="MsoNormal">
<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">“That was a lot of fun, people.”<o:p></o:p></span></div>
<div class="MsoNormal">
<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">“Nothing wrong with having a great show now and again!” <o:p></o:p></span></div>
<div class="MsoNormal">
<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">“If you leave here craving notes or information from me
because I’m your artistic director, know this: if you crave growth you should evaluate your own play, every choice if you want, and consider alternate options and how they would have altered the outcome of the scene. Reconsider each decision made during the show, which most fucking certainly includes the choice to go on to the
stage and the choice to stay off of the stage. Those one are important, mates. And
decide for yourself, ‘did your choices have the impact on the scene that you
thought them capable of having done?’ and ‘was my line received by my scene
partner the way I intended it to be?’ Upon consideration of your answers to the
previously mentioned questions, was the impulse that led you to make the decision
in questche a good one or a bad one?<span style="mso-spacerun: yes;">
</span>Answer with honor! Deal with how you feel about the result of the last question!" </span></div>
<div class="MsoNormal">
<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><br /></span></div>
<div class="MsoNormal">
<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><span class="Apple-style-span" style="font-size: xx-small;"> oo</span><span class="Apple-style-span" style="font-size: x-small;">oo</span></span><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">o</span><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><span class="Apple-style-span" style="font-size: large;">o </span></span><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">A heyo na na ney, I heyo nah nah heyyo nah nah new,
hayo nanna new. <span class="Apple-style-span" style="font-size: large;">w</span>w<span class="Apple-style-span" style="font-size: x-small;">w</span><span class="Apple-style-span" style="font-size: xx-small;">ww</span><o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">Love you, <o:p></o:p></span></div>
<div class="MsoNormal">
<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">Dilby kjvhp</span><o:p></o:p></div>
<!--EndFragment-->improvthekidhttp://www.blogger.com/profile/01728326991095156848noreply@blogger.com0tag:blogger.com,1999:blog-8956371566819198105.post-33517480186285391722013-02-17T23:05:00.002-08:002013-02-17T23:05:27.208-08:00Satellite Session 02-16-13<!--[if gte mso 9]><xml>
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This week in the satellite jam session the ensemble members
worked in two groups of six on Harold openings, and each group played an open free form 25-minute improv set. The rest of our time was spent warming up and discussing the improv. No names are mentioned so you are more inclined to be objective and empathic.<br />
<br /></div>
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I had the groups working on a “static line” free-association
opening. The goal of the opening is the players will popcorn words and ideas back and forth for 45 to 75
seconds before morphing into the first scene of the
set by someone stepping out of the line and initiating the first scene. Challenges in this opening are to stay
connected by keeping eyes up off the ground and on their fellow players. Words should be spoken with decisiveness and clear enunciation. The purpose of the opening
is to litter the stage with offers, that they may be picked up as in-the-moment inspiration throughout the improv
set. The pacing of the piece is greater than that of bringing a good or creative offer to the mix. Hit the beat when it needs to be hit, and try not to overlap. That's the whole game, the content is secondary to the <i>flow.</i> </div>
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<br /></div>
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<b>1<sup>st</sup> Set Notes: </b></div>
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<br /></div>
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A scene starts and a player sits typing with determination, the second player immediately kneels beside them, watching over and concerning
themselves with their scene partner’s task. The kneeling
improviser will enjoy more success and momentum in scenes when they think before acting, not just following their first impulse. Their <i style="mso-bidi-font-style: normal;">initial </i>direction of focus when the
scene starts should be in agreement with the co-created reality of the scene. Say to yourself <span class="Apple-style-span" style="font-size: large;"><i>I agree with what's going on here.</i> </span>And then the only decisions needed to be made are in regard to how you'd like the scene to progress, choosing the paths you are interested in taking, and then developing opinions about the offers that come up in the scene and being surprised and changed by them. All other energy goes to being playful and scenes thrive.<br />
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A couple scenes started interestingly with fun, productive, scene moving offers and as they walked the path, progress fizzled. They experienced a sense of, “Well, what do we
do now?” The note here is that the offers given at the beginning of the scene
are integral to the scene as a whole, and as long as we are paying attention in
the moment we will give ourselves gifts to use later in the scene. Follow
through with the games you create for yourself! A scenic example of this opens on two players huddled behind a block at center stage. They concernedly discussed and gossiped about what was happening around them, referencing people getting
shot instead of just fired. A third character entered and joined the two behind the box, asking for a Sprite. At this point the scene fizzled and ended oddly. There was no need for the scene to fizzle. The world they had created had two major things going on. The severity of
the world outside of their bubble was contrasted with the childlike nature of
drinking sodas and gossiping while hiding behind a mini-fridge in an office. In these moments players need only play and heighten both sides of the world to follow the productive, wide-open path. The world around them becomes more severe and their bubble becomes
more innocent. Rinse, rather, repeat.<br />
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The set ended with a lengthy callback scene about a couple who,
in the first scene, had been about to get married and the Groom had walked in
on the Bride and they ended up having brown-chicken-brown-cow relations right then and
there, mere minutes before the service. In this second scene, the Mother was laying
into the Daughter about the state of her wedding dress during the service, and
the Daughter eventually confessed to making love with her Husband before the
ceremony. The Mother was shocked and outraged and a third character entered
with the wedding tape, which, as he described, was mainly just thirty
minutes in the Bride’s quarters before the Wedding. The Mother was outraged and furious and
then the Husband comes in and the scene became heated between he and the Mother. The Father of the Bride
entered the scene and, oblivious to the facts, became quite eager to see the wedding tape. At this point
the Mother was trying to stop the Father from viewing the tape and the Husband
wanted the Father to watch. This pattern looped until I side-coached the
Mother to stop arguing (1) and then we got to see the Father turn on
the tape and have a reaction. After he turned on the tape but before his reaction, a player swept the scene yet I side-coached to have the scene continue and ignore the edit. The Father could have chosen any honest reaction and it would be the best response, and it was, he was okay with it because they were both adults.<br />
The notes for this scene are the two
side-coached moments.<br />
1) Roadblocking forward movement in a scene is fine, momentarily, if a character
disagrees with a course of action; support, though, comes from allowing the
scene-partner to make up their own minds about what they want to bring to the
scene after the roadblock has been expressed. A player should be opinionated with their character points-of-view and allowing of space and time for response.<br />
2) The scene edit happened to come right as the journey was finishing, which would have disallowed the audience a chance to see a moment that was being built up to. Regardless of the length of the improv set, if you cut the scene now to come back to it later the audience will never see the Father's particular response; they may be informed of what it <i>was </i>but the don't get to be in on it. Let them be in on it. We drove all the way to Disneyland and right when we got inside the gates BOOM. Edited. And we wouldn’t have had the opportunity to view the Father
reacting to watching the tape. Put in the work to buildup an idea, and then
enjoy the spoils.</div>
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<br /></div>
<div class="MsoNormal">
<b>2<sup>nd</sup> Set Notes: </b></div>
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<br /></div>
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A scene starts with a nervous character being welcomed into
a Disney Tattoo Parlor by a confident tattoo artist. The scene was a negotiation of
what type of tattoo was going to be given and whether the artist was capable or
not. The tattoo artist made a couple of bold offers in the scene but did not
revisit them. One of the bold offers came after the customer claimed to want a
tattoo of Mickey <i style="mso-bidi-font-style: normal;">and </i>Minnie, to which
the artist stated, “Dirty.” The setup the tattoo artist immediately provides for themselves
with this offer is for any time the customer makes a choice the artist can
state their judgment of said choice. The second bold offer came after the
artist drugged the customer. While describing the tattoo procedure and noticing
the effects of the drugs in the customer, the artist stated that she was a man.
The setup here is that the artist has given herself the go ahead to reveal
secrets to the customer while the customer is drugged. These things should be continued. The artist will enjoy
more success and momentum in scenes when they play along with the tune they’ve
created for their own scenes. <br />
</div>
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Another scene took place between a Mother and Daughter. At one point, the
Mother turned to her daughter and, although she was several feet away, the
Daughter said, “Don’t touch me!” The Mother agreed and continued along with the
story. The note here is to be <i style="mso-bidi-font-style: normal;">aware </i>that
the “Don’t touch me!” offer is bigger than face value, and implies subtext that
doesn’t so much need to be addressed as respected. If the Daughter is saying “Don’t
touch me!” she is either over-dramatic or has real concern because of things that
have happened in the past. The awareness of the undertone is key for the success
of the relationship between the two improvisers. This lesson was echoed in
another scene, where a child flinched when their parent arrived to take them
away. The parent character can continue to act nice and kind and doesn’t need
to address the flinching but being aware of the possible truths behind it, without selling it out as nothing, is paramount. Awareness brings choice-clarity. </div>
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<br />
I hope the notes are helpful to your own improv. Thanks for reading! </div>
improvthekidhttp://www.blogger.com/profile/01728326991095156848noreply@blogger.com0tag:blogger.com,1999:blog-8956371566819198105.post-58101691541461884672013-02-13T00:16:00.002-08:002013-02-13T00:16:45.874-08:00Improviser Metaphor
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Prepare your offers as if you were a chef preparing the
ingredients of a meal. Your carrots, for example, represent an offer you are
about to make, and the meal is the scene. You get to decide how you should prep your ingredients before you present
them. What kind of thought do you want to put into your offers? With
improvisation you can become a chef who, while following the right path, may be
able to chop more and more swiftly and precisely until eventually you just look
at the carrots and they fucking <i style="mso-bidi-font-style: normal;">cut
themselves </i>into perfectly cubed pieces and <i style="mso-bidi-font-style: normal;">you didn’t even mean to</i>. The trained improv mind will minimize the
time needed for choice consideration and impulse checking before the line is
delivered. This minimization relates to the time it takes to cut the vegetable;
the time needed to be safe cutting near your fingers while holding the tool
steady. The untrained mind is erratic displaying various levels of severity, which
could range from the chef slashing the carrots wildly to throwing them in whole
without rinsing to slicing their finger and giving up on the offer or the scene
or themselves. <o:p></o:p></div>
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<br /></div>
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Your scene partner is your co-chef in the kitchen, occupying
the same level of hierarchy with no difference in status. You build the meal
together. Of course, in the scene you would have characters that would have
varying levels of status, sometimes similar sometimes not, but person to
person, regardless of skill level or experience, the players, as people, as
chefs, should be equal in status. Line by line you build the scene, you cook the meal. </div>
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<br /></div>
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Your combined outspoken lines of dialogue make the scene;
they are your meal finalization and delivery. Playing a show is like creating
many different meals for many people with, depending on the show, a plethora of
co-chefs. <o:p></o:p></div>
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<br /></div>
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Also, this metaphor is not recommended for permanence as
having a healthy variety of processes for thought and action while improvising will
positively impact ones play and ones heart. Experimenting in your kitchen,
finding new recipes and improving your ingredients will yield new lines, new
laughs, and renewed interest. Find ingredients that are satisfying, that people
appreciate and avoid the stale ingredients or the ones that <i style="mso-bidi-font-style: normal;">taste good immediately </i>but eventually
make you feel like shit. <o:p></o:p></div>
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<br /></div>
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How do you want to operate in the kitchen? What’s your
process? <o:p></o:p></div>
<!--EndFragment-->improvthekidhttp://www.blogger.com/profile/01728326991095156848noreply@blogger.com0tag:blogger.com,1999:blog-8956371566819198105.post-91886842936722547202013-02-04T22:22:00.002-08:002013-02-04T22:22:40.710-08:00The secret to improv, believe it or notThe <i><span class="Apple-style-span" style="font-size: large;">secret to improv</span></i> is to believe in what you and your scene partners say and do and feel. Bold statement, right? Well, dernit, I feel it in my heart.<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmvtnC83DlA-XCgyqcsooodf6KO8_aEG50UNmSUuR0qAT412J4xdPqXRA6RRP_yhXRQ6YgIvATpXbm-qdDIE7nxmD289glKZ-EpkdlNkpTZZWmmVdNyAh5xNl9daWHYhbtkPghB5R3y8Fq/s1600/BillyLandingStrip.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="153" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmvtnC83DlA-XCgyqcsooodf6KO8_aEG50UNmSUuR0qAT412J4xdPqXRA6RRP_yhXRQ6YgIvATpXbm-qdDIE7nxmD289glKZ-EpkdlNkpTZZWmmVdNyAh5xNl9daWHYhbtkPghB5R3y8Fq/s200/BillyLandingStrip.jpg" width="200" /></a></div>
In short, belief brings sincerity. Sincerity makes people care about watching and when they care about watching a person they laugh delightedly.improvthekidhttp://www.blogger.com/profile/01728326991095156848noreply@blogger.com1tag:blogger.com,1999:blog-8956371566819198105.post-62904343351963182472012-11-19T17:31:00.001-08:002012-11-19T17:31:48.458-08:00Billy's Improv Notes: Post 4 <!--[if gte mso 9]><xml>
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<b>Be Playful</b> </div>
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<br /></div>
<div class="MsoNormal">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGy83R888dsoB_qoV5ZTP9quQztAWHhaD5ex5mF1uyWTPv6_WQZN9n8UYNt2DuUzAvdf6mr-H5F6nqrbnNNh7HO2POMCvWFg8hYrGlg6z71LOp0Bd982IeaozoQWWVYr1hpxScnf4Z31UZ/s1600/BillyKentGif.gif" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="171" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGy83R888dsoB_qoV5ZTP9quQztAWHhaD5ex5mF1uyWTPv6_WQZN9n8UYNt2DuUzAvdf6mr-H5F6nqrbnNNh7HO2POMCvWFg8hYrGlg6z71LOp0Bd982IeaozoQWWVYr1hpxScnf4Z31UZ/s200/BillyKentGif.gif" width="200" /></a>In my first blog post I wrote that part of the fabric of my
improv toolbelt was -Be Playful- and I wasn’t joking around. I bet if you asked
hundreds of people what they think <i style="mso-bidi-font-style: normal;">being
playful </i>means you’d get hundreds of answers. Well, of course you would. But
I mean hundreds of DIFFERENT answers. What does being playful mean to you? For
me it’s a very serious word, not a synonym to wacky or goofy but instead a word
that encompasses an energy of good-natured mischief, a willingness to be
foolish, and an awareness of the game (even if there is no game). Are you able
to <i style="mso-bidi-font-style: normal;">become</i> playful when you want to?
Or is it a state of being that comes upon you occasionally and is otherwise
elusive? When improvisers warm up before a show, they’re warming up their
playfulness. You <i style="mso-bidi-font-style: normal;">play </i>improv games to
warm up. Certainly, they also get you connected to your fellow players and can
help you get present, taking the place of whatever it is in your life that
preoccupies your brain, but the most valuable part about getting ready for an
improv show is to get PLAYFUL. Maybe for you that means meditating on the floor
for 5 minutes, to center you chakra’s and shit, and maybe for me it’s dancing
circles around you while you meditate singing an explicative version of Rudolph
the Rednose Reindeer (hopefully we’ll both get playful if I ruin your
meditation this way). <br />
<br />
All these things are inner-connected; when you get playful you become present in
the moment and stop paying attention to your head noise because you are just
playing. Combining playfulness and vulnerability creates the ultimate improv
energy, heightened by the sincerity you bring to the moment. I’ve heard it said
that some people just won’t ever be in the category of a good or great
improviser and, although I disagree with that statement wholeheartedly, I
believe that the people that get put into that category have trouble getting
playful. This can be seen in how someone plays improv warm-ups; too focused
that you miss what’s going on? too concerned with how other people might view you’re
warming up? Also, don’t confuse playfulness with competitiveness. The competitive
person who is not playful takes the game too seriously and is subsequently hard
on themselves or mad at themselves when they don’t win or angry at the winner
for winning. They should focus on taking the play seriously. Especially in
improv warm ups, there is nothing to win or lose, and accepting that fact frees
you up to win or lose the best you can (yes, this is even true in the improv
games that have a clear winner). Improvisers who warm up aggressively and
trying to be the BEST at the warm up game invoke a feeling of mistrust in their
fellow improvisers because they are saying, “I will do anything to be the best
at this game.” rather than “I will play this game the best I can.” One of those
ways of thinking is supportive, the other is not. I am way more interested in
improvising with people who are being playful and trying to <b style="mso-bidi-font-weight: normal;">do their best</b> versus improvisers who
are being competitive and trying to <b style="mso-bidi-font-weight: normal;">be
the best</b>. </div>
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<br /></div>
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Be playful, seriously, and be serious, playfully. All else
will be fun. </div>
improvthekidhttp://www.blogger.com/profile/01728326991095156848noreply@blogger.com0tag:blogger.com,1999:blog-8956371566819198105.post-89360201140570736542012-11-12T15:20:00.001-08:002013-02-04T22:03:33.479-08:00Billy's Improv Notes: Post 3<b>Sincerity.</b><br />
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Here’s a quick post about Sincerity. In whatever character I
play or whatever situation I find myself in I want to react from a place of
sincerity. Sincere reaction is noticed and appreciated by an audience. (To react
sincerely an improviser must be vulnerable!) Keeping in mind the improv tenants
of saying yes and accepting the reality and supporting your scene partner,
reacting sincerely adds realism and weight to what’s going on. I often think
that what separates a “naturally talented” actor from someone who “tries real
hard” is the amount of sincerity the actor brings to their work. An example is
when an improviser makes a BIG offer to a scene; something like, “I want a
divorce.” or “I’ve been sleeping with your sister.” Regardless of the choice
you make in responding to this offer, if it’s done with sincerity, drawn from
your emotion, it’ll be the right choice.<span style="mso-spacerun: yes;"> </span>A common impulse here is to be funny and
offset the depth of meaning in the divorce offer with a nonchalant response
like, “Okay, who is going to get the dog?” This bypasses the strength of
responding sincerely, never touching the emotion it may bring out in you. I’m
not saying that to respond to this offer with sincerity you need to be an
emotional wreck, but <i style="mso-bidi-font-style: normal;">caring </i>that your
wife/husband is telling you they want a divorce will lead you to discovering
how to respond. Caring about what your scene partner is telling you is the key
to reacting sincerely. Don’t assume that I’m saying you should care more or
less in relation to how big or small the verbal offer your scene partner makes,
rather <i style="mso-bidi-font-style: normal;">everything </i>your scene partner
says to you has meaning so it is up to you to determine <i style="mso-bidi-font-style: normal;">how much you care </i>about any offer. By that, I mean even an offer as
simple as “I saw that the mailbox was empty.” is something that you, in your
character, could care about hearing and be affected by. I try to open my ears
to my scene partners offers with the thought <i style="mso-bidi-font-style: normal;">why is it important that they are telling me this. </i>This is a
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Get sincere people, it’s much more engaging and REAL. Be
vulnerable, start to care, get sincere, enjoy what happens! <br />
<br />
PS And as fake-Alastor Moody once said, it takes "CONSTANT VIGILANCE!" </div>
improvthekidhttp://www.blogger.com/profile/01728326991095156848noreply@blogger.com1tag:blogger.com,1999:blog-8956371566819198105.post-36966818943782381792012-11-05T12:32:00.004-08:002012-11-05T14:30:57.107-08:00Billy’s Improv Notes, Second Post. <!--[if gte mso 9]><xml>
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<b style="mso-bidi-font-weight: normal;">Blocking. </b></div>
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<br /></div>
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Blocking is saying ‘No’ and accepting is saying ‘Yes’,
right? Well, hold on now, partner. I’m going to go ahead and have to… disagree…
with you on that one. As I wrote in my last post, blocking is the negation of
an established reality in a scene. So what does that mean? The reality of any
scene changes as quickly as 24 frames a second. If we accept, which we should,
that making an offer is doing ANYTHING at all on stage, AND we accept that
offers define the reality of an improv scene, which they do, THEN the reality
of the scene is being molded ALL THE TIME. A quirk of an eyebrow, a change of
direction in movement, breaking or creating eye-contact with a scene partner,
throat clearing, being too pre-occupied with a physical task to respond to your
scene partner’s verbal offer, all of these things are offers to the scene that
affect the reality that is being co-created moment by moment. To BLOCK an offer
is to ignore or disregard or shut down or negate what’s been given to the
scene. This frequently occurs with improvisers who are not <i style="mso-bidi-font-style: normal;">present</i> in the scene, instead being elsewhere in their mind
wondering about where the story is going to go or what on earth they are going
to do if they actually have to improvise climbing a mountain or something. <br />
<br />
I’m going to switch gears here and interject on my own thoughts because I’d
like to clarify that I don’t think blocking is evil and totally destructive to
a scene. Frankly, some offers deserve to be blocked. BUT, the point of this
post is to bring blocking more into conscious awareness, so that we may make
informed decisions while improvising. It’s like driving a car… there are rules
of the road which should be followed and you shouldn’t flip a U-ey or turn
brodies in the parking lot or speed or drive the wrong way on a One Way street…
BUT SOMETIMES THAT’S FUN TO DO and more importantly sometimes it’s necessary. Have
you ever driven the wrong way down a One Way? Did you do it on purpose or was
it on accident? When you drive the wrong way on a One Way on accident, I think
the tendency is to feel like an idiot… this is largely due to the fact that
there are other drivers honking at you or looking at you like you’ve farted in
their personal elevator. Who likes that feeling? It’s pretty similar to the
feeling you get when you’ve blocked a scene or offer in a BIG WAY. When you’re
going to be late getting to an interview and you can see your destination a
half a block away on the wrong end of a One Way street, and no traffic is
coming, and your alternative is to loop around the three city blocks it’ll take
to go the LEGAL way and be late for your chance to get a job, you might drive
the wrong way and feel AWESOME about it. Seriously, though, follow the rules of
the road people; there are enough bad drivers out there. Point is, blocking
doesn’t end a scene and sometimes it serves the scene by giving it forward
progress or adding crucial information. I love this (paraphrased) quote from
Randy Dixon about offers and I think it applies to blocks too: There are no bad
offers, only bad follow-throughs. <br /> </div>
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When I had been improvising for about 5 years I took a big ol’ Tour and
traveled to a bunch of cities and sat in on workshops and watched all sorts of
teachers teach and students improvise. At first, I was really bothered by the
amount of low-level blocking being done (Why can’t you just accept that you
wrecked the car?), but then I had a conversation in Winnipeg with a good friend
of mine, Mr. Sim, and he reminded me that regardless of what another improviser
“does to me” on stage with their offers or blocks, it’s up to me to choose how
I respond. It’s the follow through that is important. If I’m in a scene and I
make a sweet-ass offer to my scene partner and their head is elsewhere and they
absently block my offer, the audience is either going to hate <i style="mso-bidi-font-style: normal;">them</i> or love <i style="mso-bidi-font-style: normal;">them</i> based on <i style="mso-bidi-font-style: normal;">MY RESPONSE</i>.
If I react with anger and call them out for blocking me, I’ve made them look
bad (and sure, they may have deserved to look bad) but if I ACCEPT that their block
is the new reality of the scene I have no time to make them pay, only time to exist
in the new reality. <br />
<br />
So here, let me get back to the example I gave in my previous post: </div>
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<br /></div>
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P1 walks out on stage and sits on a block and begins whimpering
while holding their hand. P2 walks out and stage and they strike up a
conversation. P1 tells P2 that they’ve slammed their hand in the door and it
hurts real bad. <br />
P2: That sounds horrible, here, let me cut it off for you. <br />
P1: Yes, and after you’re done I’d like my stub wrapped up real nice with Toy
Story bandages.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
And I asked the question: If P1 had said: “No thank you, I’d
prefer to keep my hand.” would that have been a ‘Yes’ or a block?</div>
<div class="MsoNormal">
<span style="mso-spacerun: yes;"> </span>“No thank you, I’d
prefer to keep my hand.” Is an acceptance of the reality of the scene; which is
that someone, in this case a stranger, has offered to cut off a perfectly good
hand that has only been hurt in a door-slamming. There is no ‘and…’ involved in
the line, but it certainly accepts the reality. To further the example to a
‘Yes, and…’ the line could be, “No thank you, I’d prefer to keep my hand. I’m
just waiting on my pain medication.” This could inspire the psychopath (P2) to
slam his hand in the door to get some pain meds, or maybe indicate that he is
here for a job interview and he only asked to severe the hand because he wanted
some job experience. Accepting moves the scene forward, blocking stalls the
scene… generally. If you are in a scene and it feels stalled, rest assured some
blocking has happened. </div>
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<br />
<b style="mso-bidi-font-weight: normal;"> </b></div>
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<b style="mso-bidi-font-weight: normal;">Trust. </b></div>
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<br /></div>
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Trust is wonderful and lack of trust is terrible. Most often
I see improv trust in the relationships between performers, determined, of
course, by past experiences that no longer mean anything. Someone who trusts me
as a fellow performer will improvise with me differently than they improvise
with someone they don’t trust as a fellow performer. I will let that person
down, from time to time, but because I’ve built a lot of “past performance”
trust, it’s “That’s cool man, didn’t work this time.” The person they don’t
trust, however, just can’t do anything right. Every time they are let down by
someone they don’t trust, it’s “OF COURSE they just destroyed that, OF COURSE
they did.” This is all just personal judgment, and my preference is to not allow
that to come into the equation at all. Every scene is a new scene.<span style="mso-spacerun: yes;"> </span>Every show is a new show. Every moment is a
new moment. A decision shouldn’t be made on how much to trust the people you’re
improvising with, you just keep your set point at <b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;">full trust</i></b>. And if you
are let down again? Just full trust again. And again? Full trust again. Does
this sound difficult? Impossible? That’s all on you, bro. It’s all up to you to
give trust, it’s not up to your fellow improviser to gain it back. And what if
you don’t want to? Well, that’s the problem.<br />
<br />
For me, my toolbelt is made up of<span style="mso-spacerun: yes;"> </span>-Be
Present-<span style="mso-spacerun: yes;"> </span>-Be Playful-<span style="mso-spacerun: yes;"> </span>-Be Confident-<span style="mso-spacerun: yes;"> </span>and my improv suit is made up of<span style="mso-spacerun: yes;"> </span>-Trust-<br />
<span style="mso-spacerun: yes;"> </span><br />
Trust in improv extends WAY beyond just interpersonal trust, it extends to
trusting that the lights will come down when they need to, to trusting that the
scene won’t be victim to an ill-timed edit or trusting that the scene WILL get
edited when it needs to be, or trusting that the audience will “get it” and you
don’t have to over-explain yourself, or trusting that the audience is with you
even when they are quiet, or trusting that the scene doesn’t need to be saved
by a crazy 3<sup>rd</sup> character entry that’s super funny. My bottom line
here is that as improvisers it serves us to trust and it limits us to distrust.
It can feel risky to trust so unconditionally but I promise it pays off huge in
possibilities for the scene, show, on-stage relationship. <span style="mso-spacerun: yes;"> </span><br />
An improv game that trust is consistently on display is Freeze Tag. This is the
game where 2 people are in a scene and they go about their business and get
frozen by an offstage improviser who comes in and takes a player out and starts
a brand new scene. Sometimes this game will be a collection of scene snippets,
lasting no longer than 3 lines before another FREEZE is called and a new scene
snippet starts. (Sidenote: 3 line freeze scenes are FINE, but not if every
freeze scene is 3 lines. Variety is key here, people. I’ll post about variety
in a future blog post!) So what happens to make all the scenes 3 lines?
Individuals in the group start to believe that if they DON’T call FREEZE early
in the new scene they won’t get a chance to get into the game, because EVERYONE
is calling FREEZE to get into the game. There is no consideration for the fact
that maybe the audience was really enjoying the beginning of that scene and
maybe it had some legs to run on, instead the trust deteriorates and it’s every
improviser for themselves. This doesn’t happen all the time. Hardly. But when
it DOES happen, it’s glaringly obvious that no one trusts anyone else to allow
a scene to progress. This can happen in longform improvisational pieces too,
but the Freeze Tag is a great example of a shortform game where you can SEE THE
TRUST. Beyond just the editing from scene to scene, you’ll see distrusting improvisers
initiate even when they aren’t the ones tapping into the scene. “They didn’t
say anything when I thought they should have, so I just started talking.” TRUST
that the scene isn’t going to play out like you expect, and be okay with it. I
said something cool once in a workshop, on accident I bet, and I’ll put it here
because it ties into trust. <i style="mso-bidi-font-style: normal;">Don’t have
expectations, have anticipations. </i>Anticipating what your scene partner may
do is a wonderful tool and mindset, while expecting what they will do sets you
up for continual disappointment in your scene partners. <br />
<br />
How is it, do you think, that some improvisers who have never met can take the
stage for an improv set and come away with an inspiring piece of theatre full
of moments of deep trust and support? Are they just that good? Maybe they have
learned to trust unconditionally and it leads them to being able to improvise
with anyone. <span style="mso-spacerun: yes;"> </span><br />
Mutual trust, shared between scene-partners in improvisation will lead to magical,
glorious improv moments. Unexpected beauty in silence, only achieved through the
trust that silence is okay, is not possible if one of the improvisers is
distrusting. Trust opens up the doors of possibility; distrust prevents the
scene from leaving the room. </div>
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<br /></div>
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Again, any questions, comments, debate topics, are welcome.
Happy improvising. </div>
improvthekidhttp://www.blogger.com/profile/01728326991095156848noreply@blogger.com0tag:blogger.com,1999:blog-8956371566819198105.post-42270379168435957152012-11-02T18:00:00.000-07:002012-11-02T18:00:51.659-07:00Billy’s notes on Improv for people who improvise, or have thought about improvising.<!--[if gte mso 9]><xml>
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Improv: The Beginning</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Ever taken an improv class? Yeah, but have you really ever <i style="mso-bidi-font-style: normal;">taken </i>an improv class? I’ve seen
students and improvisers with the attitude that they “got through” the first
couple levels of an improv curriculum to get to the good stuff. The good stuff
being long form improv or advanced techniques/narrative/environment or blah
blah blah. This is a bit of a shame, because the first couple levels are packed
with good stuff; stuff that challenges your comfort zones and teaches you
subliminally how to be a good improviser. <i style="mso-bidi-font-style: normal;">Teaching
</i>early level improv classes is a great learning experience for the teacher,
too! This is because there are layers of insight in the exercises and absurd
warm-up games taught in beginner level improv classes. Learning improv is like
reading a book. You can finish the book and if you like it then you can read it
again and again and get more out of it every time. Of course, this is up to the
individual as much as the environment they find themselves in. What kind of
individual are you? Do you re-read every word, or just skim through to the good
parts? In improv class, there are people who are sponges for every word, who
find the content so interesting they can bypass their inherent discomfort at
playing silly games to be present in the moment, and there are the people that,
regardless of interest in the content, are only partially present (due to one
or several of millions of possible mental distractions – Does my hair look
good? What does this guy think of what I just did? Does that girl have a
boyfriend? Is this instructor judging me? My cats don’t make me do this. Do I
smell like alcohol?), which of course means they are generally not present.
DING DING DING. This is important. <b style="mso-bidi-font-weight: normal;"><br />
</b><i style="mso-bidi-font-style: normal;">Being present leads to attentive
listening and empathic communication</i> (sidenote: this brings improv groups
to a state they call “group mind”). You have to consciously work on being
present, easier for some than others, but everyone can work on it. <br /> </div>
<div class="MsoNormal">
TANGENT. I must mention my improv toolbelt. You see, I have this improv
toolbelt that I use when I’m improvising, and on it I’ve got all these
different tools that I’ve picked up from instructors around the world during my
time studying the craft. I use these tools for creating characters, dynamic
relationships, interesting choices, character backstory, relationship backstory
and etcetera, etcetera. Without the belt, I could use one or two tools at a
time during a scene, but my play would be limited and my scenes would not be as
good as they could be. I bring it up here because I’m talking about being
present, and that is one of the core states of being that comprise my toolbelt.<br />
<b style="mso-bidi-font-weight: normal;"></b></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;">Billy’s Improv Toolbelt is comprised of 3
states of being. <span style="mso-spacerun: yes;"> </span></b>-Be Present- <span style="mso-spacerun: yes;"> </span>: <span style="mso-spacerun: yes;"> </span>-Be Playful-
<span style="mso-spacerun: yes;"> </span>: <span style="mso-spacerun: yes;"> </span>-Be Confident-<br />
These are the foundation of my improv. Being present is me being conscious of
being in the moment and aware of what’s going on around me. I think everyone
should try to make their own toolbelt out of these same three core states of
being. -Be Present- is a skill to work on and the end goal is similar for every
person, either you get conscious of being present and can control it at will or
you are in varying degrees of being able to or unable to get present. The other
two, the playful and confident aspects, will be different for every individual
and will allow them to find their own particular individual improv ‘style’. Your
playful will be not exactly my playful; your confidence will be not exactly my
confidence. BUT I DIGRESS. BACK TO THE BEGINNING. <br /></div>
<div class="MsoNormal">
Among the first things introduced to a new student, typically, is the concept
of ‘Yes, and…’ – the golden rule of improv, a mantra to survive the improv
stage by, words to ignite positive creation and scene momentum. This is a
crucial concept, and I believe that most people familiar with it have not
harnessed its FULL POTENTIAL. That’s right, lots of improvisers drive their “Yes,
and…” car around without taking it out of second gear; these are improvisers
who subscribe to the concept quite literally and have trained themselves to say
the words, “Yes,” when an offer is given to them and then they follow it up with
the word, “…and…” and then they add their own idea to the scene. A scene with a
player who is trained in that way may look like this: <span style="mso-spacerun: yes;"> </span></div>
<div class="MsoNormal">
<br />
P1 walks out on stage and sits on a block and begins whimpering while holding
their hand. P2 walks out and stage and they strike up a conversation. P1 tells
P2 that they’ve slammed their hand in the door and it hurts real bad. <br />
P2: That sounds horrible, here, let me cut it off for you. <br />
P1: Yes, and after you’re done I’d like my stub wrapped up real nice with Toy
Story bandages. <br /> </div>
<div class="MsoNormal">
Well what was P1 supposed to say to that offer if not ‘yes’? I mean, he couldn’t
have said NO. THAT WOULD HAVE BEEN A BLOCK. Incorrect, actually. A block negates
the reality of the scene, as offered by an improviser. Saying NO doesn’t mean
blocking. If P1 had said: “No thank you, I’d prefer to keep my hand.” would
that have been a ‘Yes’ or a block? More on that in another blog post. <br />
To unlock the FULL POTENTIAL of “Yes, and…” it is essential to understand that
the concept really has two parts, the ‘Yes’ and the ‘and…’. The ‘Yes’ is an
agreement; it means ‘I agree with the reality we’re creating’ and the ‘and…’ is
your own personal addition to the reality, your contribution to the scene. The
more an improviser buys into the reality of the scene, as it’s being created
moment by moment, the easier it is for them to provide a productive and awesome
‘and…’ to the scene. Understand that ‘Yes’ is a <i style="mso-bidi-font-style: normal;">mindset </i>rather than a word, a mindset made up of allowance and
acceptance of an ever-changing reality. Getting into that mindset 100% means
that it doesn’t matter who you are improvising with or what offers they are
giving you or not giving you. The reality is bigger than the improvisers. It’s half
Zen and half Creationism, you know? What is, is. And we can make it whatever we
want.<br />
<b style="mso-bidi-font-weight: normal;">This is a PARADOX</b>. Paradox is
everywhere in improvisation, there is no Democrat and Republican there is only
Depublicrat. You can’t change the established reality, and yet you establish
the reality. OK OK OK, so BACK TO THE BEGINNING. <br /> </div>
<div class="MsoNormal">
Everyone know the clap game? The basic, stand in a circle, one person has the
focus and they clap at someone in the circle and then that person has the focus,
game? The most basic improv warm up game? It teaches the most basic sense of
these concepts, about making offers (looking at someone and clapping at them), ‘Yes’ing
(being aware that you were clapped at and now have the focus) and ‘and…’ing (continuing
the game and clapping at someone else in the circle). Even though the game is
simple it takes time to become masterful while playing it. Some believe that
the goal of the game is to go as quickly as possible, but that’s just a <i style="mso-bidi-font-style: normal;">byproduct </i>of being present in the game
and playing it to <i style="mso-bidi-font-style: normal;">the best of your
ability</i>. This is a key concept, <i style="mso-bidi-font-style: normal;">because
even when the game has no end goal, it can be played to the best of your
ability. </i>You won’t win, you won’t lose, but the game teaches you to play<i style="mso-bidi-font-style: normal;">.</i> </div>
<div class="MsoNormal">
<br />
An unmentioned aspect connected to everything I’ve written in this post is TRUST.
I mean trust in yourself and trust in your scene partner and trust in the scene
itself and in the show and in the audience and in the tech and in the offers
within the scenes and so on and so forth, onward and upward into the great improvised
unknown. An improvisers trust must be unflappable! Because it will be dropped
time and time again, but it doesn’t have physical properties so it really truly
really is OKAY for it to be dropped. And it doesn’t have true, sincere roots
into your personal life. It has fake, sincere roots into the personal lives of
your characters. In your real life, at home with your family or at work with
your coworkers or hanging with your friends, when trust is dropped its really
hard to pick it back up and dust it off like nothing’s happened, I mean, it’s
basically impossible, right? When someone in your real life breaks the trust,
that shit needs to get sorted out or things just won’t be the same. That doesn’t
need to be the case in improv! The impermanence of the craft should allow us to
accept that our trust will be raised up and honored or dropped and shattered
and either way we should be able to continue on with trust in our hearts. I
could do a whole blog post on Trust, though, so I’ll save that for later. <br /> </div>
<div class="MsoNormal">
Actually, I plan on bringing many more of my improv thoughts/notes to the blog,
starting with the couple things I said I'd talk about in future blogs, namely
Blocking and Trust. <br /> </div>
<div class="MsoNormal">
If you’ve read this and it’s inspired a question or comment or debate topic in
you, please post it! </div>
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table.MsoNormalTable
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mso-tstyle-rowband-size:0;
mso-tstyle-colband-size:0;
mso-style-noshow:yes;
mso-style-priority:99;
mso-style-qformat:yes;
mso-style-parent:"";
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mso-para-margin-top:0in;
mso-para-margin-right:0in;
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mso-para-margin-left:0in;
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mso-pagination:widow-orphan;
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mso-ascii-font-family:Calibri;
mso-ascii-theme-font:minor-latin;
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mso-fareast-theme-font:minor-fareast;
mso-hansi-font-family:Calibri;
mso-hansi-theme-font:minor-latin;}
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<![endif]-->improvthekidhttp://www.blogger.com/profile/01728326991095156848noreply@blogger.com1