Epiphany
My current Improv 501 class at UCBNY, taught by Chris Gethard, has been busily working through keeping scenes real and our reactions truthful. Gethard is a huge proponent of keeping scenes as truthful as possible and the more I follow his direction, the more I find my scenes go beyond my abilities as an improviser into something much more profound. Playing my scenes as realistically as possible has given me a lot more confidence in taking the stage because while I may not always/ever have something funny to say, I will always be able to react truthfully to a situation.
Let’s not get caught trying to be funny.
Chris Gethard
However, the impulse to be “funny” in a scene is also very tempting. As any improviser can attest, a minute on stage without a laugh can feel like an eternity. I’ve been in class shows where we have “funnied” it up for an audience’s enjoyment at the detriment to our scenes. Unfortunately a lot of this “if you’re not getting laughs, you’re failing” comes from my own insecurities as a performer. We are performing improv comedy right? Comedy is about laughs? Laughs are about jokes? Without laughs you’re just two people in a big black box standing in front of an audience right?
Read on…
After watching 36 hours of a 56 hour improv marathon, improv stops looking so much like improv and more like a math equation. You can see patterns forming between performers and see differences in the way geographic locales play. After watching 36 hours of improv, you become a bit of a machine, analyzing each scene for what worked and what didn’t.It was however in this haze of performers, dank body odor, and beef jerky that I truly saw improv for what it is, a groundwork for group mind. A set of traffic patterns to allow a group of performers act like one singular entity. When a group was acting as a whole, they seemed to be reading eachother’s minds, moving in time with one another. When it worked it was incredible (Buiscutville [Creepy guys in a Van], Delta Force 2 [What Happened? Where Were You?], Bruckheimer [An Army of Homeless People], Reuben Williams [Pierre Runs Away]) and when it didn’t, it wasn’t incredible.
Punctuating this mass of performances were the UCB 4 themselves, who got on stage frequently to talk to the audience and answer questions. That for me, was one of my biggest highlights of the marathon. I must have heard Ian Roberts talking over 3 hours about life, love, and improvisation and the majority was truly brilliant. When the 4 got on stage together they really did seem to transform the space. While they really were performing bits the entire time, the energy was contagious.
Read on…
Recently I had the oddest sensation about my improv — it just wasn’t working. Not working in the broader sense, that scenes were consistently turning problematic. I would go into scenes and for one reason or another they would fizzle out into a not so funny mess. My forward motion stalled and my scene partner and I would stare blankly at each other looking for another direction in the scene we might have missed. What had happened to my improv skills? Where did they go? And more importantly, could I get them back?
Truth be told, I have heard this from a lot of fellow students and I believe that everyone who improvises will feel this from time to time. The ol’ improv slump. What causes it? I do not know, perhaps it’s focusing on the other parts of improv like raising stakes, developing characters, or strengthening game. Perhaps it’s just the process of growing as an improviser. The good news is, that fixing it wasn’t really that difficult.
Read on…
Dear Improv Diary,
Finally my Improv 201 class, at UCB, is starting to come together. I’ve been having a rough time in class from the first day. I started Improv 201 directly after 101. In fact, I started 201 one day after finishing 101. This lack of time to reflect, sort of threw off my improv game. I jumped into 201 unprepared that the change in teaching styles and curriculum would effect my abilities, but it did.
I’ve always prided myself on having very little inner thought about my improv. I really try not to edit, think, or pre-plan my scene-work. Just jump out and hope for the best. My motto in improv has always been “dare to suck,” meaning that you have to be prepared to fail in order to be able to succeed. This motto had worked until I hit 201, where the sucking really wasn’t the problem, but rather the daring. Read on…
Today, while standing on the 96th Street train platform, I had an improv eureka moment. I began to really notice how people stand and how I perceived their status. Some slouched, some made eye contact, some crossed their hands across their chests, some walked past me their heads held high, some stuffed their hands into their pockets, and some held books like shields.
Status, in improv, is how your characters hold themselves. These mannerisms are some of the most basic tools used in improvisation as they define characters and situations very quickly without much effort. The effects of status are also very subliminal, and can have profound effects on an improv audience.
I would encourage you all, when you are next in a public place, to enjoy the act of people watching and study real people’s mannerisms.
Link: Status as defined by the Improv Encyclopedia
