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
Friday, October 22, 2010
Sunday, October 17, 2010
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
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
Tuesday, October 12, 2010
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
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
Saturday, October 9, 2010
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
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
Tuesday, October 5, 2010
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
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
Sunday, October 3, 2010
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
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
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