Robert Bateman - November 22nd-29th

Hey improvisers

Here are the notes I made during the Macro Neato sets (AKA 'Sweep'). They're very choppy, so I apologize in advance. At the very least, you can use these notes to remember exactly what you did during your scenes.

November 22nd

Thinking

-         I’ve been thinking

o       Noticed the hair on my legs

§         Pondering over this dilemma

o       Dinner’s Ready

§         You don’t er your din

o       Paper or Plastic

§         One is good for the environment

o       Time Machine

o       Lumberjack

§         Tree was down

§         Did you hear a sound

o       To be or not to be

§         Do or do not

o       Do you love me?

§         “This has a lot of factors”

-         Ready for this Exam

o       Everything’s flying at me

o       I didn’t get your resume

o       Anchovies on this pizza

o       Honey I’m ready

o       Pilot

Time

-         Are we late?

o       Train

o       First day on the job

§         Too early cut Brian

o       First born child

o       Where were you at 7:30 PM

-         Urr urr urr urr

o       Time periods

o       Flat earth

o       Teaching gorilla

o       Inertia is a property of matter

o       Planes fly

-         Brian is a clock

o       In joke on death watch

o       Looked at the sky and wondered how insignificant we are

o       Wanna buy a watch

o       Is life, just, one big long TV show

-         Spaghetti – Put some thyme on it

Electronic – Give them a couple more seconds cos I started late

-         ACTIVATED

o       Robots are invading the Earth

o       Lightning Storm

o       Programmed to kill John Connor

o       Mr Roboto, don’t kill my family

§         DOMO ARTIGATO – LAME

-         Lol!

o       I can’t believe you’re in English

o       Elizabeth is Southern – Cell Phone confusion

§         What magickry is this

o       JUST GOT A HOME RUN

§         TWEET THIS

§         MYSPACE IT

§         GOOGLE IT

o       All you ever say is lol

o       Hitler is texting

-         Mr Electron, why so negative?

o       There’s nothing good in the world

o       iPhone 4.0

o       Sorry, sentenced to die by electric chair

o       Lightbulb

§         Pieces of the sun

-         Cool Video

o       Dancing with words on her arms

Eternal

-         Renan has seen many things in his life

o       I’m 61 is a gag

o       He shot Lincoln

-         Brian is dying

o       Graham, come closer

-         San Diego

o       Olympic Torch

-         So I’m thinking about living forever

-         Lines at the DMV

o       Bus is taking forever

o       Harry Potter

o       Clock just stopped

§         Middle of the Lecture

-         Give up my immortality for you

Eugene, don’t clap (You were clapping in the background, and it was distracting)

November 29th

Musical

Eugene and Renan

-         Problems in high school

-         Tap dancing and singing about the future

Elisabeth and Renan

-         Bet your bottom dollar (Amazing)

-         Renan, you should have sung

Brandon and Elisabeth

-         Baby baby baby oooooh

-         Brandon, don’t take out the driver

Eugene and Brandon

-         Justin BEEEEEEEEEEEEEEEEEEEEEEEEEEEE

SWEEP

Renan and Sahaj

-         Murder on our hands

-         B flat killed C sharp

-         A Sharp! And F Flat!

-         Needed a French horn

Eugene and Sahaj

-         Just can’t hit that A sharp

-         Gotta work at it

Renan and Sahaj

-         Wanna be just like Justin

-         Don’t cry

Callum and Renan

-         The Fat Lady is singing

-         You are going down in a pit of flames

Bilal and Callum

-         Listen Gila

-         NEVER GONNA GIVE YOU UP

Renan and Bilal

-         Got Rick Rolled

Fancy

Graeme and Renan

-         Disgusting bowl of soup

-         Hair in the soup

Sahaj and Graeme

-         Muddy Pigs

Eugene and Graeme

-         New Baby boy

Erin and Graeme

-         Close up

Sahaj and Graeme

-         Nobel Prize

Renan and Eugene

-         Nuclear bomb just destroyed everything

Elisabeth and Graeme

-         Hair in the soup

Erin and Graeme

-         Don’t touch me please

Callum and Graeme

-         Pants make me big

Bilal and Graeme

-         Cocktail dress

-         It’s revolting

SWEEP

Eugene and Sahaj

-         Hair is like a blonde ocean of blonde

Graeme and Eugene

-         Bunny

Callum and Eugene

-         It’s so CUTE

-         Leprechaun

Elisabeth and Eugene

SWEEP

Renan and Sahaj

-         Order for a Golden Watch

Bilal and Renan

-         Bilal – Don’t delay too much when going in

-         Balrog

Be more engaged in the background!

~

There you have it. From what I can recall, here are some specific notes:

1) Take time to establish your platform. It will make the characters more clear and it will make the 'driver' more defined. 

2) The driver is the same character in every scene. Put him or her in more and more heightened scenes! (i.e. play the Game, raise the stakes!)

3) Be engaged in the background. Think of Macro like a sporting event. You're all on the bench at a basketball game. Be ready to jump in at any point!

4) Once the Game has been heightened a few times, sweep the scene! Don't worry about coming up with an idea. Go for the Object, Emotion, Visceral and you'll be fine.

5) If you feel as though a scene is tanking, sweep it! You need not be polite!

And boom goes the dynamite.

See you all next week!

Cheers,

Cliff

Robert Bateman - November 8th, 2010

Hello improvisers

What?! An update? How uncharacteristic!

I'm sorry, gang. There seems to be two forces that are working against my routinely updating the improg. They are an increasing workload at Stamford, and the fact that the days and weeks are getting shorter and blending into each other. I think that's one of the symptoms associated with being a teacher: time loses all meaning.

Anyway!

Colin

Colin did some fantastic stuff with you on Monday. Your improv was really, really good. You all performed at a level that experienced improvisers aspire to achieve. Congratulations, seriously. You were fantastic.

That's So True

This exercise works on having students respond naturally to comments. It's boring as hell to watch, but it's getting you to understand the platform upon which your scene should be based. Don't worry about making a big 'What' decision at the beginning. Focus on where you are and who you are and make your 'what' decision later on.

Big Dumb Choice

After you've established your platform to a reasonable level, an improviser can drop a 'Big Dumb Choice'. Basically, this means you make a huge decision that affects the people in the scene, and the course of the scene itself. The Big Dumb Choice becomes the 'what' of the scene. As Colin described, making a big dumb choice after you've established your platform forces the audience to believe in the reality of the scene. If you ran out on stage and shouted 'There's way too many eggplants!', you may get a laugh, but the scene would likely ultimately flop. On the other hand, if you spent some time talking with the other character (let's say it's your spouse) about whatever, commenting on the events of last night, or your spouse's hair, or any other things, while really establishing your relationship, and THEN you say 'There's way too many eggplants', then BOOM! You have a directed scene with a solid platform!

Great example, Cliff. That was good!

The audience would likely not want to see a scene about random people handling an abundance of eggplants. The audience would find out that they were interested in seeing a scene about hangling an abundance of eggplants if that situation presented itself to established and familiar characters. Hence, establish the platform and then drop the big dumb choice.

Make sense?

Try thinking about your scenes with this concept in mind. It will definitely create layers that you likely weren't considering. Don't worry about getting to the 'what' or the big dumb choice early in the scene. Take some time to establish your platform. If the foundation is shaky, then the house probably won't stay up.

~

Seriously good stuff, gang. Mr Disyak said it best: You may not realize it, but you've come a long way. You're all becoming very confident improvisers. Keep it up!

Cheers,

Cliff

Del Close and the Harold

Hey improvisers

My suggestion is to take 10 minutes to watch this video. Del Close is Improv.



Also, thanks to the video, I now know where to eat lunch. I'll see you at Boloney's!

Cheers,

Cliff

Robert Bateman Improv Team - October 18th, 2010

Hello improvisers

Oh gosh, I am just the worst. If my Deal is 'Post Reflections really late' then by gum I'm succeeding. I am sorry for not updating sooner.

That being said, here are my thoughts on Monday's Improv session.

Warmups

A big thanks to the Captains for running KQPH! Be sure to thank them the next time you see them! (Thanks, Captains!)

My advice for this game is to try finding partners that you haven't worked with yet. KQPH is a great opportunity to meet new people and to build community! What a fantastic gift that the Captains have provided!

We also played Do Ron Ron and Coon-Jah. From what I was able to gather, everybody is becoming more familiar (read: having more fun!) with these games. I'm certain that everybody is finding their way with these games. Here are a couple points to help you along.

Do Ron Ron
 - Be Loud! You'll instantly improve your effectiveness as an improviser if you speak up! You'll enable the audience to forge a stronger connection while giving your teammates more ammunition for the scene.
 - Try to fill up the whole line! (e.g. "Well, I went to the store and I bought some snacks" instead of "I like snacks")

As a sidenote, your enthusiasm and skill while playing this game are remarkable. I'll explain why I'm making this observation. I recently attended a McMaster Improv Team practice. During the practice, Colin and Matt (who you now know!) were teaching Do Ron Ron. We were going around the circle, having a good time and making silly rhymes, when one gentleman decided to begin the next round of rhymes with the line 'This game sucks'. Talk about a mood-killer!

Now, there may be several reasons why he chose to say this line. I won't assume that he simply didn't like the game. Do Ron Ron is silly and goofy and fun, practically the shortform improviser's dream game (It's my personal favourite for just these reasons). It may not be everybody's cup 'o tea, but as an improviser, it's your job to say 'Yes' to everything. Perhaps he was nervous about his participation. Rather than admitting his nervousness and uncertainty, he elected to take the stance of 'aloof and disconnected coolness', which in actuality just killed the mood that Colin and Matt had established. Perhaps he viewed himself as being 'better' than the game, though I'm not certain why. Really, now that I think of it, I could be completely missing the mark here. I shouldn't make assumptions about his character. He's more than likely a great guy who is charming and funny and entertaining (just like all improvisers). The next time I see him, I'll ask him why he elected to make such a noticeably negative comment.

Anyway, my point is that I have never seen this sort of attitude with the Robert Bateman Improv Team. You have always been enthusiastic and happy and positive. Your attitude is what makes the RBIT such a wonderful community. Keep it up!

Coon-Jah
 - Again, volume! Be loud!
 - Be expressive! If it's your turn to Toki Toki, then fling your arms about wildly and dance! It will be more fun! Take a risk!

Two-Line Scenes

Players form two lines, running vertically along stage left and right. Two players (the downstage-most players) enter. One person says a line and the other person responds to it. Players then switch sides and move to the back of the line.

These scenes were wonderful. Everybody made strong decisions and heightened beautifully. Highlights include Jude's brilliant 'Door Contractor', who made appearances all throughout the game. Highlights also include Callum's impersonation of me. That was brilliant, Callum. Honestly, though, the whole game was wonderful. You all took to the game quickly and confidently.

Here are some tips:
 - Again, volume! Too often I see improvisers that are too quiet on stage. I have never seen an improviser who was too loud.
 - When you were the person responding to the first line, when did you feel most supported? When did you feel like you had a clear idea of your viewpoint? How can you make it so that your teammates experiences these same feelings of support?
 - When you were the person initiating the scene, when did you feel as though your scenes were successful? Was there something that you said or did that led to a more successful scene? What can you take away from this game?

I will do my best to provide you with advice on how to begin scenes. This advice is best communicated through practice, though. I will keep this in mind for the next time we meet.

Doublemint Twins

One person enters a scene as a person with certain characteristics. Another person enters the scene as a different character, with the exact same characteristics.

Basically, Doublemint Twins is an exercise in accepting viewpoints and heightening them. Ideally, it demonstrates that taking on similar viewpoints is not a poor choice, but more often than not a very entertaining one! Now, admittedly, having two characters who are exactly the same isn't realistic. You're not going to find a situation similar to Doublemint Twins in reality. (Well, maybe you will, but I don't feel like arguing probability). However, Doublemint Twins does not ask that your characters share the same opinions or ideas about everything. It merely asks that you accept the same characteristics. You could have a scene about two political candidates, both huffy and irritable (and with a characteristic tic each time they speak), who have entirely different stances on political issues. It's people with similar characteristics, but not necessarily similar ideas. Does that make sense?

Basically, just become the character that your teammate has established. If you're the second person in, when did you feel most supported? When did you feel as though you were in the 'zone'? What did your teammate do that made your role easier?

Say One Thing, Do Another

Two people act out a relatively simple or common task, all the while talking about anything but the task they are doing. For example, two Kindergarten teachers clean up a room while talking about the kids that they teach.

Who here has made a sandwich? I know I have! When you're making the sandwich, do you narrate everything that you're doing? Or do you make the sandwich while you talk about Baseball, or your plans for the day, or Minecraft? You'd be surprised how often improvisers run a scene with the entire focus being on the 'What' aspect. Put the 'What' aside. Focus on your relationship. Let the 'What' initiate the scene, but make a move towards exploring your relationship. In Improv, an honest and truthful human connection is always a worthwhile pursuit. I would hazard that this advice extends to reality, too. This game helps you to make the transition from single-dimension 'What'-driven scenes to truthful, fully-fledged, multi-dimensioned scenes about connections and relationships. That's definitely a transition worth making.

~

I believe that, unless I am mistaken, I have covered everything we did during Monday's session. I hope that it has made sense, at least in part. As always, if you post your comments or reflections, I will read and respond to them.

Thanks for a great session, gang.

Be on the ready,

Cliff

Robert Bateman Improv Team - October 15th, 2010

Hello improvisers

My apologies for updating so late. When the weekend began, I thought 'Dang, a whole weekend! Sweet deal!' Now, I wonder 'Hey...what happened to that weekend I was supposed to have?' Such is life, I guess.

On a less depressing note, here's my reflection.

Darling If You Love Me

...Won't you please, please smile? My gratitude to Graeme (I hope, now, I am spelling your name correctly) for suggesting and then running this game. It seemed like it was a great deal of fun for everybody!

Coon-Jah

I learned how to play this game not two days before running it. Everybody chants 'Coon-Jah, Coon-Jah' repeatedly. Somebody says 'Bunny Bunny, Bunny Bunny' while opening and closing their hands at themselves and then somebody else. When that person receives the 'Bunny Bunny', they begin their own 'Bunny Bunny', and so on. The two people next to a person saying 'Bunny Bunny' must yell 'Toki Toki Toki Toki' while waving their arms and jumping. During this game, at any given point, somebody is saying Coon-Jah, Bunny Bunny or Toki Toki.

Rather than put words in everybody's mouth (an action I am striving to do much less when coaching Improv), I will ask: What makes this game easier to play? When do you feel supported by your teammates?

I certainly have my own ideas. I am interested to hear your ideas!

Mirror

This exercise served two purposes. Primarily, it was to have everybody feel what it's like to directly lead and to direct follow. It's a good, tangible exercise for showing that certain actions and motions can make people feel more supported than others. (For example, I recall hearing that people found the exercise easier to follow when the movements were smoother.) Think about your experiences in the game. When did you feel as though you understood your partner's intentions?

The second purpose of the game was to switch up the partners, and to have everybody work with somebody new. Hence why Brian and I distributed cards at the beginning of the game!

Number Call

Six people go on stage, each with an assigned number. The host calls out two numbers at random, and those two corresponding people begin a scene.

I enjoyed this game a lot. Personally, I enjoyed the scenes when there were clearly defined viewpoints right from the beginning. Wink. Remember the example I gave, during which I kicked down the door only to yell 'Who are you?!' dramatically? That's a terrible way of beginning a scene because there is no real information given. There's much more (for the audience, your scene partner and you) in kicking down the door and shouting 'Dad, my car's been stolen!'

This example makes me think of the variation I introduced to Number Call:

No Questions

First, I must apologize. I asked everybody in the audience to scream when a question was asked. What I didn't anticipate was the volume of the screaming. Don't be concerned that I asked everybody to stop screaming. I should have realized that asking people to scream gets very loud. From now on, when I run this game (or a game like this game), I will take on the responsibility of politely reminding improvisers to stray away from asking questions.

Now then. I asked that Improvisers try doing scenes without asking questions. This request seems simple enough, but is very, very difficult in practice. And now I'll tell you why it's difficult.

Asking a question puts the decision-making responsibility on the other person in the scene. It's much less trying, thinking-wise, to ask 'What are you eating?' rather than simply stating 'I see you're eating KFC's Double Down sandwich.'*

When you are forbidden to ask questions, then you must make every decision that comes your way yourself. You can't toss the ball back at the pitcher if you didn't like the pitch. Rather, you have to hit every pitch that comes your way. That can be very, very tough. But it will also lead to some exceptionally entertaining Baseball games.

Clearly I don't understand enough about Baseball to keep this analogy from falling apart.

I remember once, I was playing this game (At the McMaster Improv Team, we used to call this game Statements Only) with Carson (you'll meet him if you come to the Workshop on Thursday!). The scene began with us building a house, but ended with us having an awkward encounter about our unspoken feelings for each other. The scene wasn't anything we could have planned for, but it was very entertaining. I would hazard that it was entertaining and unique because we continually forced ourselves to make decisions.

Admittedly, this game has some limits. Realistically, you can ask question in Improv. In life, people ask questions all the dang time. That's life, that's real. In good Improv scenes, improvisers will ask each other questions, and no one in the audience will bat an eyelash. Heck, you've probably scene wildly entertaining Improv scenes where improvisers do nothing but ask questions! (Remember the game Questions Only?) Asking questions becomes inappropriate when improvisers use them as a means to avoid making decisions. Hence why we practice getting out of that comfort zone by encouraging improvisers to avoid questions of any kind.

It's a tough skill to work on, but believe me when I say that the rewards will be plentiful. The quality of your scenes will sharply increase when everybody makes decisions.

~

I think that's just about everything that we did on Friday. Once again, I apologize for updating the improg so late after the fact.

Your homework, as always, is to Reflect and to become Inspired. Watch videos, read books! Check out the Improv Encyclopedia! (Found in the 'Links Awakening' section on the right-hand side of the improg.)

Thanks for a great session, gang. I look forward to seeing you all this week.

Cheers,

Cliff



*delicious

King Queen Princess Horse (KQPH) - Courtesy of Erin

Hello improvisers

Erin kindly posted a summary of KQPH on my October 7th reflection. Here is her explanation:

The game is called KQPH (King Queen Princess Horse). Basically, it is a physical game (obviously) and one person calls out either King, Queen, Princess or Horse however fast or ordered they want. The people on the floor have to do the corresponding actions to whatever the caller says. The caller then decides who is out of the game and you then proceed until there is a winner.

~

Thanks, Erin!

See you all soon!

Cheers,

Cliff

Robert Bateman Improv Team - October 7th, 2010

Hello improvisers

I hope that you'll all enjoying the long weekend!

Knights, Princesses, Kings and Queens

Big ups to Graham and Erin for running this game. It looked like a blast!

I'm not entirely certain what the rules are (or even what the name of the game is, to be honest), so here's what I'll suggest. Graham or Erin, if you post a summary of the game (and any tips or tricks, etc) in the comments section, then I will add it to the main site (i.e. I'll make a new entry for your game). Sound cool?

Beastie Boy

I had a good time with this game. It was fun to see everybody get into the music (Particularly Sahaj). Remember, attitude will get you through this game. Get into the music! Have fun with it! It'll get you moving and having a good time (which will make you less nervous) and it'll be entertaining for the audience.

Here's the version of Fight for your Right that we used:



Now you can practice making up lyrics in the comfort of your own home, car, or swimming pool!

Here are some tips for Beastie Boy:
- Fill up the whole line. Instead of saying "I like cats", try saying "You may like dogs, but I...like...cats!"
- If you're stuck for a rhyme, run through the alphabet. For example, with cat, try thinking "At, Bat, Cat, Drat, Fat", etc.
- Take care of your teammates! Although it might (or might not) get a laugh in the short run, 'claustrophobia' isn't the easiest word to rhyme with (for example). Take care of your teammates!

Now, as a heads up, the video may get pulled due to copyrights, or licensing, or something. In the 'Information' section, I made sure to specify that I didn't write the song (alas). Hopefully that will be enough to keep it up. I suppose we'll find out together.

Try it out!

Goalie

One person (the Goalie) stands downstage center. People enter the scene, one at a time, with a big character and a big offer. The Goalie accepts the offer and a short scene progresses. The person who entered the scene then finds a reason to leave and a different person immediately enters the scene as a different character with a different offer.

The key to this game? Say 'Yes' to everything. Accept the offers you're given. Accept, accept, accept. If you're coming into the scene, play with the goalie! Have a conversation! Explore the offer you're given or are giving!

We'll play this game some more in future sessions. It's a great way to enforce rapid acceptance of different ideas. I wonder how heightened the scenes can become in such a short amount of time?

~

I recently began reading Viola Spolin's Improvisation for the Theatre. Her techniques for teaching improvisation and training improvisers are markedly different from what I've experienced. Perhaps she's saying the same things that I've been told before, but in a way that makes more sense. In any case, I have a variety of new ideas for us to try during our next session.

As always, here is your homework:
1) Reflect! If you're not reflecting, you absolutely should be. Write down your thoughts, feelings, what you liked or disliked, what you were successful at, what you'll take away from each session, etc.
2) Watch videos!
3) Try this exercise: Imagine an object that you're familiar with using. Hold your hands in front of you, palms facing upward. Imagine that the object is placed on your palms. Feel its weight. How heavy is it? How do you hold it? How does your hand feel while holding it? Can you move it easily? How does it affect you? Mime using the object. Be as realistic as possible. Try picking up and using different mimed objects.

Thanks gang, I look forward to our next session!

Cheers,

Cliff

Robert Bateman Improv Team - October 4th, 2010

Hello improvisers

I hope you're all doing well, reflecting and watching Improv. It's a rainy, dreary afternoon, perfect for Improv reflection.

Tongue Twisters and Vocal Warmups

Now, I can't say I endorse the specific Tongue Twister that Sadie chose to run. However, my compliments to her for running the warm-up and getting things going! If you're looking for more, try these two:

She stood upon the balcony, inexplicably mimicking him and amicably welcoming him in.

The argyle gargoyle gargled gregariously.

The first one is much better than the second one. I came up with the second one. It's not that good.

Enunciation and pronunciation are very important for improvisers. If you're mumbling, your teammates won't be able to hear you. You're taking away their ammunition for the scene! Speak up!

Beastie Boy

This game is named for the Beastie Boys, who are simultaneously the worst and best rap group ever assembled. They're the best because their songs are catchy and entertaining. They're the worst because their songs are terrible and all follow a similar rhyme scheme. Their rhyme scheme is pretty similar to this one:

Badda badda badda badda ba ba rhyme!
(Dun da dun dun, dun da dun dun)
Badda badda badda badda ba ba rhyme!
(Dun da dun dun, dun da dun dun)Badda badda badda badda ba ba rhyme!
(Dun da dun dun, dun da dun dun)Badda badda badda badda ba ba rhyme!
(Dun da dun dun, dun da dun dun)
YOU GOTTA FIGHT! FOR YOUR RIGHT! TO PAAAAAAAAAARRRR-TAY!

And so on. Actually, a while back, I mixed a version of 'Fight for your Right' that is basically the music looped over and over and over again. (For Beastie Boy training purposes). Perhaps I'll bring that in and we can practice it again on Thursday.

Gosh, what a terrible song.

For your convenience, here are some tips and tricks for Beastie Boy:
 - Attitude will get you through this game! Kick it hardcore style, ya dig?
 - Remember to include the rhyming word at the end of the line.
 - Try to extend your lines so that they fill up the whole line. Rather than saying 'I like chips', trying saying 'I went out to the store and I bought some CHIPS!'
 - Practice! Try singing along and making up your own lyrics.

Hitchhiker

I hope that everybody enjoyed this game as much as I did.

I mentioned that I had modified Hitchhiker a little bit. Here's what I did. Normally, people enter the car as a new character and each person takes on that character. Once everyone has taken on the character, a new hitchhiker arrives, and the pattern continues as such.

Well, I added in another aspect! I told everybody to keep things going. You can only make things bigger in the scene. The 'Deal' of the scene is established in the first line or two. Don't abandon the deal. Stick to it like it's your best friend.

Let's say that someone begins a scene by eating something weird, like a Ketchup sandwich. Everybody else in the scene gets grossed out by the sandwich. So, the deal becomes 'eating things with Ketchup and getting grossed out'. The next person could pull out a Ketchup milkshake, and everybody gets grossed out. The third person heightens the deal by pulling out a Ketchup turkey, and everybody gets even more grossed out. Had there been a different reaction initially, the scene could very well have been about people loving Ketchup on everything. People could just be comparing food preferences. People could just be excited to see each other. Anything could happen, really.

I'll reference Sadie, Erin and Eugene's pregnancy scene. Sadie was clearly pregnant, and so Erin and Eugene became pregnant. They took it further when Sadie suddenly went into labour. This meant that Erin and Eugene had to go into labour. Sadie had her baby, and then Erin had her baby. All eyes turned to Eugene at this point, who pulled up his baby and cradled it. And everybody in the audience applauded. It was a wonderful scene.

Now, the scene could have played out in any number of ways and been successful. I don't want you to assume that the way that scene played out is a hard-and-fast example of how to play hitchhiker. However, here's why I viewed the scene to be successful. Eugene and Erin accepted Sadie's offer and heightened it wonderfully. They understood the progression and kept things going. Eugene, rather than taking a contrary stance (being the third person), accepted a similar viewpoint and also had a baby. Sadie, Erin and Eugene observed, accepted and heightened. It was splendid.

I would like to reiterate a point in the previous paragraph. Eugene, the third person in the scene, adopted a similar viewpoint as Sadie and Erin. In three-person scenes, it's generally a better idea to have all three people with similar viewpoints. If you come into a scene that has two people with similar viewpoints that have already been established, then join in on their viewpoint. Taking a contrary viewpoint doesn't have quite the same feel to it. If you're ever stuck for ideas, rather than going into your head, just roll with what's been established. The audience will love you for it.

In Improv, remember: Obvious is original.

Keith Johnstone makes the point that originality, or rather trying to be original on stage, will more often than not lead to poor scenes. Make the obvious choice. It may seem simple, but it works very, very well.

I'll make my point by giving two examples. Let's say in one scene, two people are on stage, raving about how much they love Timmy Timmerson, the hunky quarterback at their school. A third person comes in as one of the improviser's mothers. She discovers that they're talking about Timmy Timmerson, and starts raving about him as well. The scene ends with the three improvisers comparing notes on Timmy Timmerson's workout schedule.

In another scene, two people are on stage, raving about how much they love Timmy Timmerson, the hunky quarterback at their school. A third person copmes in as one of the improviser's mothers. She discovers that they're talking about Timmy Timmerson, and then tells them to 'grow up' and that Timmy Timmerson is a pathetic loser. The scene ends with the mother insulting the other improvisers, who look fearful and shamed.

In the first scene, we end up with three people who have made a wonderful agreement. The offers are accepted and heightened (the mother loves Timmy Timmerson, too?!), and we're left with a wonderful feeling of unity and acceptance. In the second scene, we end up with two people who have one viewpoint, and one person who has taken a strange second viewpoint. We're left feeling concerned, disappointed and, dare I say it, betrayed. Furthermore, a fair percentage of the audience probably dislikes the improviser who entered as the mother.

The obvious choice in this situation is to take on the established viewpoint ("Oh my gosh, Timmy TIMMERSON?! I LOVE Timmy Timmerson! He's such a hunksicle!). The 'original' or 'clever' choice is to be different ("Timmy Timmerson? That loser. You're both pathetic for liking him.")

I implore you, make the obvious choice. Accept the offers that have been made and heighten them to new, wonderful levels.

We'll practice this concept more in our future meetings.

~

This reflection ended up being a lot longer than I had anticipated. Hey, if my deal is 'writes longer reflections than anticipated', then I'm keeping with it and heightening to new, crazy levels. Haha, get it?

Yeah, I'll stop.

Anyway, your homework!
1) Reflect! Write out what we did and what you thought about it. Write out what you learned, or any things that you're wondering! If you post your reflection in the comments section, I'll read it and give you some feedback. If you bring your reflection, I'll read it and give you some feedback.
2) Watch Improv!
3) Practice singing and making up lyrics.

Thanks for everything, gang! See you on Thursday.

Cheers,

Cliff

Robert Bateman Improv Team - October 1st, 2010

Hello improvisers

I am pleased to see that there are several new comments posted on my reflection from Monday! That is wonderful! I will read them all and provide feedback.

On to Friday's practice.

There's nothing better...

I believe it was Luke Skywalker (read: the comment poster, not the Jedi) who suggested I bring my guitar to Improv to teach everybody my number one hit, "Beard with a Fork." As I read Luke's suggestion, I thought, 'Sure, why not?' I figured that, since I would have my guitar, I could continue on to teach everybody my favourite Improv game.

Do Ron Ron

Do Ron Ron is based off of a song released by The Crystals in the 1960s. Here is the original song:



Remember, the pattern is:

Ba ba ba badda badda ba
Da doo ron ron ron, Da doo ron ron
Ba ba ba badda badda ba
Da doo ron ron ron, Da roo ron ron
Budda buh buh
Yeah, badda ba ba ba
Budda buh buh
Yeah, badda ba ba ba
Budda buh buh
Yeah, budda ba ba ba
Da doo ron ron ron, Da doo ron ron


Did that make sense to you? Yeah, me neither. But there you have it anyway.

You took to this game like a duck takes to water. It was wonderful. I don't think I've felt more like a rockstar than when I stood in the center and played for everybody. We will play this game many more times, as it is always a blast. (Furthermore, I have yet to teach you the 'Expert Version' of Do Ron Ron. That will be fantastic.)

Panel of Experts


This game is relatively simple. Four people are experts on a subject. The host asks the experts about the subject. The experts accept offers, listen to each other, and create a wonderful and bizarre scene.

Don't preplan things. It doesn't matter if somebody says something that isn't true. Regardless of what they say, it will become true for your scene. The only way you can confuse people is if you say something that is in opposition to the reality that you and your teammates have already established.

So, just have fun with it. Respond honestly. Let your teammates share the spotlight. If you notice that someone hasn't said anything for a while, that's fine: Don't force your teammates into speaking. (That'll get them into their head like nothing else.) If you feel like speaking, great. If not, that's not a problem. Just roll with what's already been established. No one is asking you to change the entire course of the game. Just add a little bit to what's already been established. (Hmm...makes me think of the Canadian Improv Games' Story event...)

Although this game is not about character work or development, it was interesting to see the characters that people brought up. I also loved how people in the audience introduced themselves as members of the groups they established. That was exceptional. Talk about sticking to the established reality!

It was really funny when Chad stood up and said, "Hi, I'm Chad from Cat Baseball League." Dang, you got me.

Dr Know-it-All

Just like 'Word-at-a-Time Letter', Dr Know-it-All has improvisers developing responses one word at a time. The results are often truthful and hilarious.

Now, although I don't necessarily like to impose rules upon improvisers, I will strongly suggest that you don't preplan in this game. And I will extra strongly suggest that you avoid directly whispering words to say to your teammates. That's just silly.

I'll be perfectly honest here. Whatever joke it is you think you're cooking up when you're telling your teammates to say things won't be funny. It's as simple as that. You'll be more successful if you let things flow out organically. Plus, your teammates will like you more. (Going for the joke is in no way supportive of your teammates. In fact, it's pretty dang selfish. And notably less effective, to boot!)

So, just let things happen. Your ideas will get changed around when you're playing this game, and that is totally cool. If your turn comes around and there seems to be a word that fits perfectly, just say it! Don't think that you're not being clever by saying the obvious choice. In fact, the audience will think you more clever for saying the obvious choice. It's true! Keith Johnstone says it best: Obvious is original.

~

I believe that's everything. As always, your homework:

1) Reflect! Not for me, but for yourself! Reflection is an extremely powerful learning tool. Use it!
2) Watch Improv! If you find a cool video, share it in the comments section!
3) Remember to come to the October 21st Improv Workshop! Blakelock is tentatively confirmed! It will be facilitated by my Improv troupe, Moist Theatre! There will be lunch provided by the food school! It will be amazing! Exclamation marks!

Thanks for reading, improvisers!

Cheers,

Cliff

Robert Bateman Improv Team - September 27th, 2010

Hey gang

My apologies for not completing my reflection sooner. Here it is, though, in all its glory.

Handshakes

A grateful and sincere 'Thank You' to Sadie and Erin for running 'Handshakes'. That game was super fun! I hope everybody forged a new connection with somebody. Hey, if you see your partner in the hall, do your secret handshake. Why not, right?

That game was excellent and fun. I had a blast watching everybody.

Singsong Circle

It's very difficult to get up in front of people to talk or speak, let alone sing! This game is tough for some people, and that's alright. Part of the game involves becoming more comfortable with the people you'll be singing in front of. Once you overcome your initial hesitation, you'll find a surprisingly complex game of Association right in front of you.

Association is the process of relating two ideas. It happens all the time in Improv. You may hear someone utter the phrase 'What happens next?' That question merely asks that you associate the current situation with the next logical step. In the 'What happens next?' example, no one is asking you to shatter the world with your association. It could be as simple as the following exchange:

Person 1: "A young man opens a door and walks into a room."
Person 2: "What happens next?"
Person 1: "He sees an unopened letter on the table."
Person 2: "What happens next?"
Person 1: "He walks towards the table and picks up the letter."

Boom. Simple. With Singsong, you're being asked to associate lines of songs with other lines of songs. One thing will lead to another, and we will always get an interesting lineup of songs.

Person 1: "All you need is love..."
Person 2: "L is for the way you look at me..."
Person 3: "I'm looking through you, where did you go?"
Person 4: "I am slowly going crazy 1 2 3 4 5 6 switch..."
Person 5: "ABC! Easy as 123!"

And so on. We will play this game again in the future, as I find it's a simple and silly way to get people into a positive frame of mind. Fear dissipates when you're singing and having fun with friends.

Fear begets Thinking

Mick Napier, in 'Improvise: Scene from the Inside Out', puts together a thought-provoking series of events. When people become afraid, they will start thinking about the situation so that they may prevent an unwanted outcome. They will do and say things that they think are safe and appropriate. This process is called being 'in your head'. I'm certain you've experienced it before. Do you ever become quiet and unresponsive when you are seriously thinking about all the options that lie before you? I know for a fact that I have. You're trying to decide what to say or do to prevent embarrassment or harm. All the while you're thinking, though, things are going on around you.

Good Improv has nothing to do with safety or appropriateness. People don't come to Improv shows to see people mull over the options that are available. They come out to see people play. And they want to see you play like crazy.

When people start thinking, they often choose to engaging in protective behaviour. That is, behaviour that will put the most distance between them, and fear or embarrassment.

What does this look like in an Improv scene? It could look like any number of things. Perhaps people ask questions of other performers, rather than making decisions. They 'Hmm' and 'Haa' while trying to decide what should happen. They retreat to the back of the stage. They break character or lose track of their 'Deal'. (You'll learn the term 'Deal' soon enough.) They accuse other performers' characters of being crazy. They could talk about things rather than doing them. Lots of things can be interpreted as being protective behaviour. The point, though, is that it is not preferable on stage.

So, let's work to eliminate fear. It's a lofty goal, but no one said that we were going to set our sights at anything lower than incredible.

If you're looking to read a book, I definitely suggest Napier's 'Improvise'. (Also, Johnstone's 'Impro'. And Halpern's 'Truth in Comedy'. Also? Malcolm Gladwell's 'Outliers'. I'm sort of getting off-track.)

Truthful 'Love' Monologues

What a spectacular experience. Watching as everybody made the move from professing love to arbitrary objects (perhaps out of fear!), to describing things they actually love and care about.

I mean, sure, they're nice windows, and the floor was definitely very clean and shiny. I personally preferred hearing people say they love their grandmother, or how they love writing with ballpoint pens. Those moments are truthful, sincere, real. They're wonderful.

I spoke with Sadie briefly after her monologue. I observed that her hands were shaking. She admitted that it was nerve-wracking to get up in front of everybody and say things she loves. I told her that her feelings were legitimate, as she wasn't on stage, acting as a character. She was on stage as herself, sharing things about herself. And that's a tough thing to do. But dang if it isn't a wonderful exercise in trust and truth.

~

We didn't do very many different games on Monday, but I hope that they were worthwhile. I certainly enjoyed everything that we did. On Friday, I would like to start doing some scene work. We'll see how that goes. I think we'll be just fine.

As always, here is your homework:
1) Reflect! If you post your reflection in the comments section, I will read it. If you want me to read your reflection, but don't feel comfortable posting it on the improg, then bring it with you on Friday. I will read it.
2) Become inspired! Look up Improv books and watch Improv videos. Get ideas!
3) Greet every improviser you see. Use names!

Thanks again gang. Monday was great.

Cheers,

Cliff

Robert Bateman Improv Team - September 24th, 2010

Hello improvisers

I am sincerely, truly, honestly humbled at the sheer amount of people who came out for Improv. It was absolutely wonderful to see so many people creating and working together. I do not have experience coaching such a large group of people, but I will do my best to make sure each meeting is worthwhile to everyone. Hey, let's hear it for learning together.

Daggers

Hopefully, everybody has a good idea of how daggers works. Our version of daggers turned into something different with the addition of the angry cat, the bowling ball and the balloon. When playing a game like this, keep in mind how you would actually throw and catch these objects. I loved walking around, watching as people collapsed on the ground from the bowling ball, or reeled back in terror while struggling with the angry cat. It was simply wonderful to watch.

Daggers helps to reinforce Observation and Acceptance of ideas and offers while simultaneously working on Object Permanence (Not permeance, as I said several times. Permeance isn't even a word.) Plus, it's fun as heck. Heck, say I!

Red Ball

Red Ball works similarly to Daggers, except all objects are the same weight and size. The difference lies in the colour, and therein lies the new trick. In this game, it's imperative to make direct eye contact before throwing a ball. Otherwise you end up with several people, all of whom claim to have the same colour ball! (Now, if something like this were to happen on stage, you would roll with it. A scene won't be derailed by the simple addition of a ball.)

So, Observation absolutely comes into play in this game.

Narration Game

I really should get a better name for this game. Apparently, the 'Harold' style of Improv got its name from someone assigning a completely arbitrary name, which ended up sticking. So, that being said, I'm going to start calling this game Steven.

Steven

This game is used to highlight a wide variety of different Improv concepts. There's listening, acceptance, making decisions, team-building, and a whole host of other ideas. It's a pretty wild experience, too. I believe our groups were:

2 - Helicopter
3 - Armchair
7 - Dragon

Sometimes I have groups of 5 make Tanks, or the whole group create a working Assembly Line, but that didn't come up on Friday.

I really have to hand it to everyone who played Steven. It was a blast to watch, primarily because you all got into the game so quickly and so enthusiastically.

Now, you may be asking yourself what the purpose of the game was. I unfortunately don't have much of a solid answer outside of 'It's fun'. However, that's not the entire truth. Though it was a fun game, it really stressed the importance of going along with ideas and making rapid, strong decisions for the purpose of achieving a group goal. (For example, using seven people, create a dragon in under 10 seconds). I've been stressed support from the beginning. You know how you support your teammates? By making big decisions right at the beginning of a scene. If people didn't know what to do when making a dragon, you bet they felt supported when somebody stepped up and started creating.

(That concept does seem a little contradictory, doesn't it? "Cliff, you've been telling us to be supportive and to share the spotlight! How the heck does making strong decisions support my team?" We will talk about that more in the coming weeks. Wink.)

Tug of War


If you feel as though your partner wants to win, then by george let them. If you feel as though your partner is giving in, then give an extra pull to seal the deal. Allowing your partner to win makes the whole scene more real, more truthful. And besides, it's more entertaining to watch.

Lauren vs. Team Super Strong

Now, that being said, there is nothing wrong with giving the audience what they want. If you have to lose to let that happen, so be it. The audience should be your priority. You can trust them. They're never wrong.

7 Things

This game was fantastic. I did not plan for the person speaking to be in the center, or for the person speaking to do a circle of high-fives after completing their 7 Things. But it happened! And it was AMAZING. Damn, what energy! What excitement! What support! Nobody panicked and froze and the results were incredible.

Caitlin (I hope I'm spelling your name right, I don't have my Cards in front of me), I must apologize for putting you on the spot with my analysis of your list. That was inappropriate of me. I should have prompted you to continue going, rather than changing your subject. That was a poor decision on my part, and I apologize. I'll apologize in person on Monday. 

Anyway.

Thinking back, I'm reminded of...somebody's 7 Things List, in which 'Talha' came up three times. That would be hilarious! A scene with three Talhas encountering each other for the first time? Dang, that would be so great to watch. 7 Things is a great game for encouraging truthful brainstorming, as once people work through their initial two 'Clever/Original' thoughts, they start listing things that would actually be in the environment. Sometimes, they get through things that are actually in the environment, and then really weird things come up that add a whole new dimension to the scene. It's a blast, it's a great exercise in brainstorming and creating space and it's also a great exercise in adding layers.

~

I think that's it for this session. I had a blast (I'm not certain my voice had a blast, but he works for me, so I'm calling the shots). I'm hoping you all did as well.

Your homework for the weekend:
1) Reflect! Somebody posted a reflective comment on one of the other posts I made, and it was wonderful to read! (Thanks, Sparklingtree!) If you want to post your reflection, I will read it and give you feedback.
2) Find Improv videos and watch 'em. Might I suggest the search terms 'harold improv' and 'longform improv'?
3) Say hello to fellow improvisers and ask them how it's going. Use names. If you see me, say hello! If I don't remember your name immediately, then please forgive me. Although I'm good with names, it's trying to learn 50 new names in a week.
4) Forget the Gilligan's Island thing. That was some idea I had that isn't very funny. Improv doesn't work when you go for the jokes. I went for the joke, and I definitely didn't feel the response I was hoping for. And that's totally cool. I should have known better. My apologies.

Thanks again, gang. I look forward to seeing you all on Monday!

Cheers,

Cliff

How to be Interesting

Hello friends

I read Keith Johnstone's Impro about 2 years ago. Ever since then, it has been one of my favourite books. I can pick it up, even after having read it cover-to-cover several times, and find new things to learn and try.

In this video, Keith explains, in simple terms, how to be interesting. (I'll give you a hint: His answer is different than what you are expecting).



"Just be human here. I mean, it's not the most difficult thing of all, but be yourself. Do whatever is most obvious. Have a good time. If you're not having a good time, switch what you're doing. Find...change it around until you are having a good time. And the best way to have a good time is to give your partner a good time because it will bounce back on you."
 - Keith Johnstone

Cheers,

Cliff

Robert Bateman Improv Team - Septemer 20th, 2010

Hello Bateman improvisers

This is the improg. I started it in 2008 when I was coaching the McMaster Improv Team (MIT). I used it to post reflections on the improv work we did.

So, here we are, now, in 2010, and the improg has sat unused for more than a year. That will change, though. Lo, the improg will henceforth be used again!

Remember the end of the Robert Bateman Improv Team (RBIT) meeting on Monday? I said that learning without reflection is essentially meaningless. I sincerely believe in the power of reflection, and so I, too, will be reflecting on the work we do in the Bateman Improv Team.

Without further ado, here we go.

"I don't have to like you, but I have to work with you, and I have to show you respect."

As I said at the beginning of the meeting, I will, in no way, associate myself with an Improv team that is neither supportive or respectful. As such, everything we will do will boast undertones (perhaps that's an oxymoron) of respect and support. Rest assured, if we work in a respectful, supportive environment, you will all become amazing improvisers. The best improvisers are not the people who always have the best jokes, or the loudest voice. The best improvisers are the ones who will bend over backwards to make their teammates look good. That is the kind of team we will be creating. That will be the Robert Bateman Improv Team.

Mname Mnemonics

Apparently, people remember lists better when there are associated actions. Saying names alongside simple actions helps everyone to remember names. And remembering names is dang important. Dale Carnegie, in How to Win Friends and Influence People, writes that, to any one person, their name is the most beautiful and sweetest sounding word. Think about the emotions that are conjured up when someone says your name. I believe there's no better way to build community than by learning names and using names. S'why I'm having every improviser greet every other improviser with their name and action.

Plus, it's fun to do Brandon-like kicks and punches, or Sahaj-like stripping, in front of people who have no idea what's happening. Comedy!

Zip Zap Zop

If you're concerned about this game, that's reasonable. Believe me when I say that you'll all get better. I was glad to see that no one was laughing or excluding people when errors were made. If you've never played a game before, why shouldn't you make errors? If you've played the game a bunch of times, errors will still happen, and that is perfectly fine! There are no such things as mistakes in Improv!

Allow me to provide an example. I was listening to a podcast released by Kevin Patrick Robbins (KPR) of the Impatient Theatre Co. KPR was talking to a fellow by the name of Dave (his last name eludes me), who referenced a scene he had been in recently. Dave said that one of the actors, instead of saying "Welcome to Athlete's World", said "Welcome to Athlete's Foot". That's HILARIOUS. And it brings a whole new angle to the scene. Dang, I mean, that was a complete error, but it is brilliant at the same time. Damn.

I was playing a game called Where Have My Fingers Been (Don't worry, we're going to play it) with Moist Theatre (my improv troupe) the other day. It came time for me to give Carson a location to do a scene in, and instead of saying 'In a Jet Plane', I said 'In a Jet Pilot'. I tried to correct myself, but Colin yelled "NO! It's Jet PILOT now!" So, rather than being a perfectly normal scene about a plane, Carson did a scene about multiple personalities arguing within a jet pilot. And it was really funny (albeit strange).

Admittedly, when people screw up in Zip Zap Zop, it tends to be the funniest part of the game. Why laugh at somebody (rather than with) for screwing up, in an environment where screw-ups are celebrated? Why, I ask you? Why!!

Daggers

This game works on a lot of different concepts, including Acceptance and Object Permanence. Essentially, it reinforces the ideas of working with offers provided by other improvisers. Somebody throws a dagger at you, and if you catch it or get stabbed, then you've accepted the offer. Boom. Plus, it's fun as heck to throw daggers around.

I will learn to love to lose

When every member of a team seeks out personal glory, then nobody on the team will win. This concept comes back to the idea of support. You can't support your team when you're hogging the spotlight. (Hell, I'd commend the people supporting the person in the spotlight before I would ever commend the person, that selfish jerk.) Think of it this way. If you've played any sort of sporting event, you know that there's often one person who tries to get all the points without any assistance. Not only is this strategy completely ineffective, but it makes the other team members hate the person. Worse yet, it could make the audience hate the person, or worse yet the team. Could you imagine if an entire audience started to hate a team as a result of the selfish actions of one member?

In Hockey, I'd hazard an assumption that assists are often just as important as goals. Every now and then, someone will get a breakaway, and it'll be fantastic. But it's not going to be the same person all the time. If it were one person getting breakaways all the time, then that'd be boring as hell after a while.

So, you dang-well better learn to love to lose. Because you will lose. And it will be brilliant.

Slow-Mo Samurai

I love this game. If you're going to get stabbed or hit, then let it happen! Let another member have their glory! In this game, it's plainly obvious who is playing for the team and who is being selfish, as the selfish people clearly speed up. Don't do that. Gosh, that's, like, so, whatever.

Fun Fact: While we were playing, a man and a young girl (maybe around 4 or 5 years old) walked by. The man didn't seem to notice, but the girl walked by with wide eyes and a huge smile. And that's pretty dang cool.

~

So, gang, as a summary, that was a fantastic meeting. I had a blast, and I really enjoyed meeting everybody! I'm looking forward to what we're going to be able to do.

Remember, your assignment for this week is:
1) Reflection - Write up a summary of what we did and how you felt about it.
2) Watch Improv - Find Improv videos online and watch 'em. Pick out thinks you like and things you don't like.
3) If you see another improviser, greet them and do their action.

Great stuff gang.

Cheers,

Cliff