Robert Bateman Improv Team - Thoughts on February 4th

Hey gang

You know, watching today's Improv practice really highlighted the importance of establishing a solid platform. A lot of improvisers will likely jump into scenes with an immediate 'what' offer. I suppose I can understand why they may choose to take this action: it's a safe choice. If you slam down a big offer (for example, "Let's start corralling these horses!"), then you know exactly what to expect in the scene.

Problem is, without a solid platform, this type of offer is inherently weak. Personally, I'm not certain why I would care to see two people corralling horses. There's no value in this presentation for me, it doesn't mean anything to me. However, if I were to have some kind of connection to the performers, or if they were to show me that their actions were directly affecting each other in an interesting way, then I would likely become interested in the scene. I don't want to see people corralling horses, I want to see people affected by the choice to corral horses.

For example:

Person A: Let's start corralling these horses!
Person B: What's that supposed to mean?
Person A: I'm sorry?
Person B: I mean, what do you mean by that?
Person A: I mean, it's time to corral the horses.
Person B: Do you think I'm stupid?
Person A: What?
Person B: Do you view me as being inherently without worth or value?
Person A: I'm...uncertain how to proceed with this.

And so on. I'm not certain that conversation what entirely a good example, but perhaps if it were to be acted out, with subtle status manipulations and character flaws, it could be entertaining. In any case, it's an example of characters being affected by choices, rather than going though the motions simply because it's what the scene's about.

Dropping a strong 'what' choice can make the scene worthwhile, provided it has a solid platform of character and environment (This situation would be your Big Dumb Choice, or your Red Flag style of scene). Highlighting the 'what' of the scene at the beginning could also be an effective choice, providing that you explore how that choice affects the characters in the scene. I don't want to see a scene about corralling horses. I want to see a scene about people being affected by corralling horses.

I feel as though I should mention that nothing I've observed is a hard-and-fast rule about Improv. I'm certain everyone can think of a scene they thought was successful but defied any number of Improv 'rules'. I suppose I'm observing that in general, scenes tend to be more entertaining and memorable if they focus on the relationships and characters. Essentially I would like you to take these observations with a grain of salt.

See you all on Monday!

Cheers,

Cliff