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
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6 comments:
Hi Cliff!
It's been a while since you blogged here but it's nice to see a new post, anyways :]
For me, it's always hard to do the big dumb decision because I can't differentiate between it and taking someone's idea and throwing it in the garbage, especially when it's only the 2 people in the scene and the other person is supposed to lead/start the scene. Correct me if I'm wrong but, discarding someone's idea is making a big-dumb-decision in the middle of a functional scene that's going somewhere? I think that's it ahah
Also, the dumb decision has to somewhat present itself and make itself related to the scene going on so progress happens; you can't start talking about aliens when you were already talking about pie, or something. I think this is important because the emotions that started the scene have to change with the big-dumb-decision... wouldn't it be awkward to make a decision where it requires horrified emotions but the scene was fading off with emotions that were uncertain (uncertain as to what they should come up with to save the scene)
On another note, I'm sad that I missed that session :[ say hi to Colin for me! (even though he probably doesn't remember me)
I think our improv group is pretty amazing. Even though I have never been on any other improv group, I still think we're great. Very supportive of each other! I'm honoured to have the opportunity to be with them :]
Also, you have given us extremely helpful advice and input so... we're as good as our teacher ;P
~Now-known-as-aia
ps: I have to say, I'm disappointed that everybody knows who I am... that wasn't supposed to happen... and even if it was going to happen, I wanted to see everybody's reaction :P too late now
Hey Sparklingtree/Aia
Thanks for your comments.
The biggest realization for me with regards to making a Big Dumb Choice actually came during Monday's practice. I realized that while people in the scene can be talking about things, those things are not ultimately what the scene is going to be about. The term 'Big Dumb Choice' doesn't mean the choice is dumb or unreasonable, it's merely a big decision made in the context of the scene. Since the performers have spent time establishing the platform (the where and the who), the audience will go along with them no matter what the big dumb choice is. If that choice ends up going sour later on, then it doesn't matter, because you still have that solid platform of where and who to fall back on. Does that make sense?
Your comment regarding emotions coming from choices is interesting. The Big dumb choice can be used to provide a natural reason to heighten emotions again. No matter what the emotions were in the scene, the big dumb choice can change them or heighten them, depending on how the improvisers are feeling.
I just thought of likening the big dumb choice to the inciting force of the story, the thing that happens that gets the ball rolling. Sure, you have to have an introduction to the story, but that's not what the story is going to be about. If we're writing a fairy tale, we can't begin on the line "Suddenly, a beanstalk sprouted from the ground and shot up to the sky!" That line has no platform, and it lost on everybody who reads it. However, if we build a platform slowly, talking about Jack and his mother, about trading the family's cow for magic beans in a moment of desperation, etc, then we can make the big choice of the beanstalk, and that becomes what the scene is about. The scene isn't about Jack and his mother, or Jack buying beans. It's about Jack climbing a beanstalk into the sky and infuriating a giant. Does that make sense?
Thanks for your comments, Aia, they've gotten me thinking. On the other hand, they've kept me up, and I really should be sleeping by now.
Cheers,
Cliff
Also, I made a spelling error in that comment. I believe I wrote an 'it' in place of an 'it's'. My apologies.
Grammatically yours,
Cliff
hello, again!
I do apologize for keeping you up but... I AM learning from these blogs :P
I see your point in establishing a platform and that's the first thing that should be made clear. In such short scene though, it's sometimes rushed and that makes scenes a little hurried = not as effective in eliciting the wanted emotions from the audience. Usually, we just end up laughing.
I think I'd relate the big decision making to "that day", a day where something epic happens (whether it be good or bad)...
So the big decision doesn't have to be...big? just something that makes the scene more interesting?
~sparkles
ps: Grammar matters not!
also, keep thinking.
Hello Aia!
Sorry this response took me forever to get to writing, but you're right! The 'big' choice doesn't necessarily have to be a huge or ridiculous thing. That choice becomes the 'what' of the scene, or what the scene is about. As long as you keep that in mind, you'll know what you're working towards when you're establishing the platform.
Second, I understand what you're saying regarding how rushed scenes can feel in shortform improv. Honestly, though, take a little bit of time to establish that platform. Don't worry about rushing though. It'll set you up for much better scenes later on.
Hope this helps! Sorry about taking forever!
Cheers,
Cliff
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