Hey Blakelock gang
Thanks for inviting me to join you this afternoon. I had a great time. You're all a swell bunch of improvisers. Here's a summary of what we did, and a few tips for each exercise:
Clap Focus
Everyone stands in a circle. You point and clap at the person you want to send the energy to. Simple enough!
Tips:
- Make eye contact!
- Be direct with your points and claps
Circuits
Everyone raises an arm. One by one, each person points at someone else, saying an item under a certain category. This afternoon, we did a 'Countries of the World' circuit, an 'Actors' circuit, and a 'Things you can eat' circuit. When the circuits are established, we mask them all together, and we try to keep them all going at the same time. It gets crazy!
Tips:
- Make eye contact!
- If someone doesn't hear your offer, keep saying it until they recognize it.
- Acknowledge that you have received an offer with a quick nod, or some kind of physical acceptance. (Lots of people make big excited eyes.)
Boom Sha Lack Lack
Everyone loves a good improvised rap. Everyone sings the refrain, and we go around the circle, rhyming with the last word of each lines. For example, "Boom Sha Lack Lack Boom! I walked outside, and sat on the lawn! Boom Sha Lack Lack Boom! I got tired so I started to yawn!" Keep it going until you run out of rhymes, and then start a new one.
Tips:
- Be loud and be proud!
- Try to think of a bunch of rhymes ahead of time, in case your choice is pilfered. I go down the alphabet in my head. For 'At' rhymes, I'll think "At, Bat, Brat, Cat, Drat, Ex-pat, Frat, Fat, Flat" etc.
Zulu
Several improvisers stand in a row on the stage. They are given a category, and they must say things in that category until someone repeats an idea, or they hesitate. We played a version today in which screw-ups mean you get to die in a fantastic fashion.
Tips:
- If you screw up, screw up spectacularly! Admit your defeat, and wish those remaining the best of luck.
Rant
You all played this game beautifully. Everyone has a chance to talk about a certain subject. Normally it's a good idea to pick lighthearted subjects. Certainly you could talk about heavier subjects, but leave that choice until you're more experienced improvisers.
Tips:
- Whatever you begin talking about, that's your 'deal'. When it's your turn to talk again, keep on the same deal you established. If you begin by talking about your obsession with cats, keep talking about that subject when the focus comes back to you. Makes things consistent for the audience, and it makes you look bloody brilliant!
- The first few times you play this game, pick a character that is close to yourself. When you get more experienced, feel free to make big choices with your characters and opinions.
Yes And
The fundamental idea of improv is 'Yes, And'. You say 'Yes' to an idea, and then you add a little information to the scene. Pretty straightforward, and it makes for exceptional improv. We played a few simple scenes in which every person had to say 'Yes, and' at the beginning of each sentence. As you all saw, it got pretty crazy. Wasn't it exciting, too, though?
Tips:
- Sometimes you may hesitate, because the scene may be taking you in a bit of a weird, or unanticipated direction. That's okay! Let the scene go where it wants! It's a collaborative thing, and it's beautiful.
Who, What, Where
We did a couple of exercises that focus on the Who, the What and the Where of the scene. These elements are collectively called the 'platform'. If you have a strong, well-established platform, you can get a better, longer lasting scene. If you ever feel as though your scene is falling flat, it may be as a result of a poorly defined platform. Take a second, and see if you can think about your Who, your What, and your Where.
Tips:
- Try to get your platform established in the first few lines of your scene. If you do it early, you have more time to explore what can happen on your platform!
- Don't feel as though you need to personally get each part of the platform out. Remember, improv is collaborative! Your scene partner can add something. If you come out guns a-blazin' and say everything in the first line, that's fine, but it's what we call a 'Heavy offer'. Heavy offers are okay, but they can prevent truly collaborative improv from happening.
Other general tips
Mime a gun and a phone properly, as if you were actually holding them. Don't do those silly finger-based placeholders. If you can add 'ON THIS MOON BASE' to the end of your 'Where' establishing statement, you probably haven't defined your Where well enough. Avoid making cancer jokes.
Thanks again for having me! Post a comment if you have a question.
Cheers,
Cliff
Friday, December 6, 2013
Friday, October 4, 2013
Holy Trinity Improv - October 3rd
Hey gang
Here is a summary of the things we did yesterday afternoon.
Clap Focus
A lot of improv practices begin with a few rounds of Clap Focus. It's an easy enough game for everyone to get into, and it brings up everyone's focus pretty nicely. You make eye contact with someone, and then you clap in that person's direction. They then clap in another person's direction, and so on. The important thing to remember about this game is the eye contact. Make sure that you are listening and looking at everyone in the circle. The game moves fast; clapping could come from any direction. Be directed with your decisions, and confidently send the energy around the circle.
In this game, clapping is an offer. In improv, an offer is any idea or suggestion made that can add to or advance the scene. You need to be paying close attention while performing improv, as offers are made continuously, and with varying degrees of subtlety.
Yes Circle
To be honest, I don't really know what to call this game. 'Yes Circle' will work just as well as any other title, I suppose. During this game, an improviser will start by pointing at someone else. The person being pointed to has to say 'Yes', at which time the person pointing will begin to walk across the circle to their position. The person who just said 'Yes' must now point at a new person, getting permission before being allowed to move across the circle.
It's a simple enough game, though it can get a bit messy. It's important to remember not to move until you have been given permission to move. You need to know that your scene partners have noticed your offer of movement, and that they are agreeing to proceed. Again, it's a metaphor for improv in general. Make sure your offers are being heard!
This game gets trickier when you aren't allowed to speak. Offers aren't always verbal, so keep your ears and eyes open!
Coon-Jah
Ah, how do I explain this game? What a wacky time. Everyone pats their legs and chants 'Coon-Jah, Coon-Jah, Coon-Jah'. One person begins by moving their hands in front of their face and saying 'Bunny Bunny', and then directing their hands to another person and saying 'Bunny Bunny' again. The person who receives the energy also says 'Bunny Bunny, Bunny Bunny', and keeps sending the energy around the circle. It gets more confusing when the people beside 'Bunny Bunny' are asked to dance and yell 'Toki Toki, Toki Toki'. It gets wild.
How do we relate this game to improv in general? In scenes, lots of offers are being thrown around continually. You have to pay attention to lots of different things at the same time, which can be overwhelming initially, but you'll all become more accustomed to paying attention to as much as you can. So, this game helps practice listening, acceptance, and generally being silly.
Association Circles
One person says a word. The next person says the first thing that comes to mind when they hear that word. The third person says the first thing that comes to mind when they hear the second person's word. And so on.
The important thing to remember about this game is that every responses is absolutely, 100% correct. No matter what comes to mind when you're free associating, you are correct! The only way to be incorrect is to avoid saying anything at all. When you are playing this game, be grateful when people give responses. Don't think (or say!) 'Ugh, what a bad word. I'm much more clever.' Every answer is the correct one! It's a liberating philosophy, wouldn't you agree?
Yes, And
In improv, the biggest concept we reference is 'Yes, And'. We say 'Yes' to an idea, and then we add a little bit. You don't need to add a wealth of information, just a little bit will advance the scene and add more to the reality of the world you're creating. Try running scenes in which every line has to begin with the words 'Yes, And'. Take this example:
1: I am going to pick strawberries.
2: Yes, and I would like to come with you!
1: Yes, and I would love to invite you!
2: Yes, and we can tell our friends we went on a date!
1: Yes, and I can tell my friends I went out with the prettiest girl in the school!
And so on. You can honestly go in any direction with your scenes, as long as you're accepting offers by saying 'Yes', and you're adding just a little bit. In the example, I went from picking strawberries to going on a date with someone in five lines simply by saying 'Yes'. Granted, I could have taken the scene in a complete different route, but this is what happened here. There you have it!
In summary:
- Pay attention to your scene partners
- Make eye contact
- Say 'Yes' to the offers that are made
- Try to add just a little bit to the scene you're in
Next time, we'll talk more about the concept of the Platform, which will help you to create more realistic scenes with many more options to draw creativity from.
Cheers,
Cliff
Here is a summary of the things we did yesterday afternoon.
Clap Focus
A lot of improv practices begin with a few rounds of Clap Focus. It's an easy enough game for everyone to get into, and it brings up everyone's focus pretty nicely. You make eye contact with someone, and then you clap in that person's direction. They then clap in another person's direction, and so on. The important thing to remember about this game is the eye contact. Make sure that you are listening and looking at everyone in the circle. The game moves fast; clapping could come from any direction. Be directed with your decisions, and confidently send the energy around the circle.
In this game, clapping is an offer. In improv, an offer is any idea or suggestion made that can add to or advance the scene. You need to be paying close attention while performing improv, as offers are made continuously, and with varying degrees of subtlety.
Yes Circle
To be honest, I don't really know what to call this game. 'Yes Circle' will work just as well as any other title, I suppose. During this game, an improviser will start by pointing at someone else. The person being pointed to has to say 'Yes', at which time the person pointing will begin to walk across the circle to their position. The person who just said 'Yes' must now point at a new person, getting permission before being allowed to move across the circle.
It's a simple enough game, though it can get a bit messy. It's important to remember not to move until you have been given permission to move. You need to know that your scene partners have noticed your offer of movement, and that they are agreeing to proceed. Again, it's a metaphor for improv in general. Make sure your offers are being heard!
This game gets trickier when you aren't allowed to speak. Offers aren't always verbal, so keep your ears and eyes open!
Coon-Jah
Ah, how do I explain this game? What a wacky time. Everyone pats their legs and chants 'Coon-Jah, Coon-Jah, Coon-Jah'. One person begins by moving their hands in front of their face and saying 'Bunny Bunny', and then directing their hands to another person and saying 'Bunny Bunny' again. The person who receives the energy also says 'Bunny Bunny, Bunny Bunny', and keeps sending the energy around the circle. It gets more confusing when the people beside 'Bunny Bunny' are asked to dance and yell 'Toki Toki, Toki Toki'. It gets wild.
How do we relate this game to improv in general? In scenes, lots of offers are being thrown around continually. You have to pay attention to lots of different things at the same time, which can be overwhelming initially, but you'll all become more accustomed to paying attention to as much as you can. So, this game helps practice listening, acceptance, and generally being silly.
Association Circles
One person says a word. The next person says the first thing that comes to mind when they hear that word. The third person says the first thing that comes to mind when they hear the second person's word. And so on.
The important thing to remember about this game is that every responses is absolutely, 100% correct. No matter what comes to mind when you're free associating, you are correct! The only way to be incorrect is to avoid saying anything at all. When you are playing this game, be grateful when people give responses. Don't think (or say!) 'Ugh, what a bad word. I'm much more clever.' Every answer is the correct one! It's a liberating philosophy, wouldn't you agree?
Yes, And
In improv, the biggest concept we reference is 'Yes, And'. We say 'Yes' to an idea, and then we add a little bit. You don't need to add a wealth of information, just a little bit will advance the scene and add more to the reality of the world you're creating. Try running scenes in which every line has to begin with the words 'Yes, And'. Take this example:
1: I am going to pick strawberries.
2: Yes, and I would like to come with you!
1: Yes, and I would love to invite you!
2: Yes, and we can tell our friends we went on a date!
1: Yes, and I can tell my friends I went out with the prettiest girl in the school!
And so on. You can honestly go in any direction with your scenes, as long as you're accepting offers by saying 'Yes', and you're adding just a little bit. In the example, I went from picking strawberries to going on a date with someone in five lines simply by saying 'Yes'. Granted, I could have taken the scene in a complete different route, but this is what happened here. There you have it!
In summary:
- Pay attention to your scene partners
- Make eye contact
- Say 'Yes' to the offers that are made
- Try to add just a little bit to the scene you're in
Next time, we'll talk more about the concept of the Platform, which will help you to create more realistic scenes with many more options to draw creativity from.
Cheers,
Cliff
Monday, December 19, 2011
On Truthfulness
Hey gang
I've been thinking about character development, and inspiration, and making the obvious choices. Certainly, it's one thing to pick a physical trait you exhibit and heighten it to make a character. This choice is a perfectly acceptable means of creating a character, as is any other character creation strategy. However, this strategy may lead to creating superficial characters, or characters that are hinged on one or two simple traits or ideas.
Now, this result isn't necessarily a bad thing. Creating a simple character is an easy way to jump right into a scene while making offers. We can try, however, to create more real and truthful characters, which will ultimately lead to a more satisfying experience for the audience.
It's been observed that I have a tendency to create superficial characters, so I'd like to try my hand at creating characters based on who I am
So, how can we do this? Consider again the 'physical trait' aspect of character creation. You take a trait and heighten it a little to make a unique character. Maybe you notice that you lead with your shoulders, so you heighten that trait a little and you end up with a character who hunches over and lurches about. There you have it! A new character. What if, though, instead of accentuating physical aspects, we pick personal aspects, such as opinions or views or abilities, and heighten those. Perhaps you view yourself as being very attractive, and you heighten that view to create a character who is self-centered and proud. Maybe you're uncertain of yourself, so you heighten your uncertainty to create an apprehensive, nervous character. Perhaps you know you take a little while to understand instructions, despite your best efforts. In this case, you could end up with a character who tries to learn and succeed, but takes a while. These characters are much more real and interesting, as they stem from a truthful core.
Here's the tricky part: it's tough to perform in front of people, demonstrating characters that are based on your own views, opinions, or even insecurities. I mean, damn, how much more real can you get? It's worthwhile, though, and can lead to better Improv.
Catch you all soon!
Cheers,
Cliff
I've been thinking about character development, and inspiration, and making the obvious choices. Certainly, it's one thing to pick a physical trait you exhibit and heighten it to make a character. This choice is a perfectly acceptable means of creating a character, as is any other character creation strategy. However, this strategy may lead to creating superficial characters, or characters that are hinged on one or two simple traits or ideas.
Now, this result isn't necessarily a bad thing. Creating a simple character is an easy way to jump right into a scene while making offers. We can try, however, to create more real and truthful characters, which will ultimately lead to a more satisfying experience for the audience.
It's been observed that I have a tendency to create superficial characters, so I'd like to try my hand at creating characters based on who I am
So, how can we do this? Consider again the 'physical trait' aspect of character creation. You take a trait and heighten it a little to make a unique character. Maybe you notice that you lead with your shoulders, so you heighten that trait a little and you end up with a character who hunches over and lurches about. There you have it! A new character. What if, though, instead of accentuating physical aspects, we pick personal aspects, such as opinions or views or abilities, and heighten those. Perhaps you view yourself as being very attractive, and you heighten that view to create a character who is self-centered and proud. Maybe you're uncertain of yourself, so you heighten your uncertainty to create an apprehensive, nervous character. Perhaps you know you take a little while to understand instructions, despite your best efforts. In this case, you could end up with a character who tries to learn and succeed, but takes a while. These characters are much more real and interesting, as they stem from a truthful core.
Here's the tricky part: it's tough to perform in front of people, demonstrating characters that are based on your own views, opinions, or even insecurities. I mean, damn, how much more real can you get? It's worthwhile, though, and can lead to better Improv.
Catch you all soon!
Cheers,
Cliff
Monday, November 14, 2011
Robert Bateman Improv Team - November 14th, 2011
Hey gang
Hope you're all profiting gloriously in your lives. Apologies for not posting about last week. Here's what we did last week. (I think.)
Status
Last week's practice involved a lot of status interactions. We played with the Pecking Order, and got into some rounds of 'Taking the Hat'. In general, these exercises were used to allow everyone to experience feelings of high and low status. For 'Taking the Hat', remember to throw hats at each other's feet. The game isn't about watching improvisers scramble across the room to get hats. The hats merely provide some physical reminders of status and pecking order offences. Ya dig?
Now, here's what we did today.
Association Circle
Today, we began things with a simple Association Circle. We begin with a word, and travel around the circle associating each word with a new word, until we naturally reach the first word again. It's a simple exercise that places a focus on acceptance. What's interesting is that you can select a word that is completely obvious to you, but will seem wildly original to someone else. This game speaks well to the notion of being obvious. In improv, try to stay with the obvious choice. Things look silly and uninteresting when everyone is trying to be witty and clever. Immediately, you may think 'If I'm making the obvious choice, won't that make me uninteresting?' Not so! As I said earlier, what's obvious to you isn't obvious to everyone. Be yourself and make the choices that are obvious to you, and the audience will be thrilled. Trying to be original and witty by saying what you think the audience wants to hear isn't a great strategy. You may get a cheap laugh from a few people, but they'll leave feeling disconnected from you as a performer.
The catch, however, is that by making the obvious choices, you'll reveal who you are as a person. That's certainly an intimidating prospect. (Though, really, improv is at its best when you feel a connection to the performers.)
Theatresports
Theatresports is a style of Improv performance developed by Keith Johnstone. It's a form of competitive Improv, though everybody involved is on the same team. Improvisers are split into two teams, with three improvisers being selected as the Judges. There is also a Referee (Initially, this role will be played by me) who keeps everything moving and serves as a connection between the improvisers and the Judges.
Teams take turns challenging each other to games or scenes involving particular aspects. For example, a scene involving the audience, or a scene involving words, or a scene involving numbers, or a scene involving love/hate/other emotions, etc. Challenges can be specific, or weird or whatever. Always accept the challenge, even if it's a little weird. The audience wants to see something happen. That something is happening tends to be more important than what is happening. (And, no, 'denying challenges' doesn't count as something happening.)
After scenes are performed, the Judges award points, and teams boo or applaud in response. After two or three challenges are issued, the Judges declare a winner, and everyone celebrates. (Everyone wins because everyone plays together.) The next time a Theatresports game happens, different people may be on different teams, and there may be different Judges. Everyone will have a chance to play in different roles, and everyone will have a good time.
In the weeks to come, we'll brainstorm types of challenges and practice games that can be used to play these challenges. We'll get a nice, hefty list going, and then we can start performing for the Friday group, and then ultimately the general school population. Boom.
Great practice today, gang!
Cheers,
Cliff
Hope you're all profiting gloriously in your lives. Apologies for not posting about last week. Here's what we did last week. (I think.)
Status
Last week's practice involved a lot of status interactions. We played with the Pecking Order, and got into some rounds of 'Taking the Hat'. In general, these exercises were used to allow everyone to experience feelings of high and low status. For 'Taking the Hat', remember to throw hats at each other's feet. The game isn't about watching improvisers scramble across the room to get hats. The hats merely provide some physical reminders of status and pecking order offences. Ya dig?
Now, here's what we did today.
Association Circle
Today, we began things with a simple Association Circle. We begin with a word, and travel around the circle associating each word with a new word, until we naturally reach the first word again. It's a simple exercise that places a focus on acceptance. What's interesting is that you can select a word that is completely obvious to you, but will seem wildly original to someone else. This game speaks well to the notion of being obvious. In improv, try to stay with the obvious choice. Things look silly and uninteresting when everyone is trying to be witty and clever. Immediately, you may think 'If I'm making the obvious choice, won't that make me uninteresting?' Not so! As I said earlier, what's obvious to you isn't obvious to everyone. Be yourself and make the choices that are obvious to you, and the audience will be thrilled. Trying to be original and witty by saying what you think the audience wants to hear isn't a great strategy. You may get a cheap laugh from a few people, but they'll leave feeling disconnected from you as a performer.
The catch, however, is that by making the obvious choices, you'll reveal who you are as a person. That's certainly an intimidating prospect. (Though, really, improv is at its best when you feel a connection to the performers.)
Theatresports
Theatresports is a style of Improv performance developed by Keith Johnstone. It's a form of competitive Improv, though everybody involved is on the same team. Improvisers are split into two teams, with three improvisers being selected as the Judges. There is also a Referee (Initially, this role will be played by me) who keeps everything moving and serves as a connection between the improvisers and the Judges.
Teams take turns challenging each other to games or scenes involving particular aspects. For example, a scene involving the audience, or a scene involving words, or a scene involving numbers, or a scene involving love/hate/other emotions, etc. Challenges can be specific, or weird or whatever. Always accept the challenge, even if it's a little weird. The audience wants to see something happen. That something is happening tends to be more important than what is happening. (And, no, 'denying challenges' doesn't count as something happening.)
After scenes are performed, the Judges award points, and teams boo or applaud in response. After two or three challenges are issued, the Judges declare a winner, and everyone celebrates. (Everyone wins because everyone plays together.) The next time a Theatresports game happens, different people may be on different teams, and there may be different Judges. Everyone will have a chance to play in different roles, and everyone will have a good time.
In the weeks to come, we'll brainstorm types of challenges and practice games that can be used to play these challenges. We'll get a nice, hefty list going, and then we can start performing for the Friday group, and then ultimately the general school population. Boom.
Great practice today, gang!
Cheers,
Cliff
Tuesday, November 1, 2011
October 31st, 2011 - Environment and Platforming
Hey improvisers
I've decided to continue updating the Improg. As we progress throughout the year, I'll post summaries of what we've done alongside my reflections on the process. If you have any questions, or wish to post a thought of your own, then by all means please leave a comment.
That said, here we go!
Where, Who, What
The 'Who What Where' of the scene establishes who you are (and what your relationship is), what you're doing (or what the scene is about), and where the scene is taking place. They're the three essential components of most shortform scenes. (I say most, as I've seen some shortform scenes that have been successful without one or two of these components.) In a lot of amateur improv, you'll observe improvisers who perform scenes with a focus exclusively on the 'What'. They'll spend the entire time making a sandwich, or building a robot, or something along those lines. That's all fine and dandy, but the problem arises when the improvisers run out of ideas on that subject. When the 'What' stops, there's nothing to fall back on if nothing else has been established. That's the reason why so many amateur improv scenes leave the audience feeling unsatisfied: there's less for the audience to connect to.
So, what can we do? We can establish a solid platform for our scenes to take place upon. The 'Where' and the 'Who' often go disregarded, but they provide a wealth of interesting opportunities and lead to better, more real scenes in general.
First, take some time to establish the 'Where'. Where the heck is this scene taking place? The 'Where' involves more than merely stating where you are: you can interact with things in the environment as well. Even beginning by miming interactions with the environment, and then stating where you are, can build the 'Where' of the scene. As you saw in the Environment Creation exercise (remember the Antique Shop?), you can get big laughs out of the audience just by interacting with your environment. Establish a defined environment and you'll always have a wide variety of material to fall back on.
(On this note, remember the concept of Object Permanence. If someone creates a table, or mimes opening a cabinet, don't walk through the table or cabinet later on in the scene. If you take a small amount of time to remember where everything is, then the audience will be all the more impressed by your scene.)
Next, establish who you are. More importantly, what is your relationship to each other? Do you like the other person or do you hate them? We can see two very different scenes occur between a boss and employee that hate each other, and a boss and employee that love each other. It's a simple choice, but it'll add a huge layer of depth to your scene. As well, if you make the decision to feel a certain way about the other person in the scene, then your scene is practically developed for you. Even if you run out of ideas for the 'What', you will have a wonderfully established 'Who' to fall back on.
(On that note, if you're looking to add something else to the scene, just establish something else about your character. Pull out a yo-yo or something. Who knows!)
As a summary, amateur improv scenes tend to stagnate as there isn't an established 'Who' or 'Where' to fall back on. Take time at the beginning of the scene to establish the 'Where' and then the 'Who', and your scenes will become more real and interesting.
There you go, gang! See you all on Friday!
Cheers,
Cliff
I've decided to continue updating the Improg. As we progress throughout the year, I'll post summaries of what we've done alongside my reflections on the process. If you have any questions, or wish to post a thought of your own, then by all means please leave a comment.
That said, here we go!
Where, Who, What
The 'Who What Where' of the scene establishes who you are (and what your relationship is), what you're doing (or what the scene is about), and where the scene is taking place. They're the three essential components of most shortform scenes. (I say most, as I've seen some shortform scenes that have been successful without one or two of these components.) In a lot of amateur improv, you'll observe improvisers who perform scenes with a focus exclusively on the 'What'. They'll spend the entire time making a sandwich, or building a robot, or something along those lines. That's all fine and dandy, but the problem arises when the improvisers run out of ideas on that subject. When the 'What' stops, there's nothing to fall back on if nothing else has been established. That's the reason why so many amateur improv scenes leave the audience feeling unsatisfied: there's less for the audience to connect to.
So, what can we do? We can establish a solid platform for our scenes to take place upon. The 'Where' and the 'Who' often go disregarded, but they provide a wealth of interesting opportunities and lead to better, more real scenes in general.
First, take some time to establish the 'Where'. Where the heck is this scene taking place? The 'Where' involves more than merely stating where you are: you can interact with things in the environment as well. Even beginning by miming interactions with the environment, and then stating where you are, can build the 'Where' of the scene. As you saw in the Environment Creation exercise (remember the Antique Shop?), you can get big laughs out of the audience just by interacting with your environment. Establish a defined environment and you'll always have a wide variety of material to fall back on.
(On this note, remember the concept of Object Permanence. If someone creates a table, or mimes opening a cabinet, don't walk through the table or cabinet later on in the scene. If you take a small amount of time to remember where everything is, then the audience will be all the more impressed by your scene.)
Next, establish who you are. More importantly, what is your relationship to each other? Do you like the other person or do you hate them? We can see two very different scenes occur between a boss and employee that hate each other, and a boss and employee that love each other. It's a simple choice, but it'll add a huge layer of depth to your scene. As well, if you make the decision to feel a certain way about the other person in the scene, then your scene is practically developed for you. Even if you run out of ideas for the 'What', you will have a wonderfully established 'Who' to fall back on.
(On that note, if you're looking to add something else to the scene, just establish something else about your character. Pull out a yo-yo or something. Who knows!)
As a summary, amateur improv scenes tend to stagnate as there isn't an established 'Who' or 'Where' to fall back on. Take time at the beginning of the scene to establish the 'Where' and then the 'Who', and your scenes will become more real and interesting.
There you go, gang! See you all on Friday!
Cheers,
Cliff
Friday, March 4, 2011
Robert Bateman Improv Team - Friday, March 4th
Hey gang
Here are the letters you wrote earlier today:
Here are the letters you wrote earlier today:
(Arlene and Graeme)
Dear Mother
I am here because I am missing my pet rabbit. He is very very very sick. And going to die. If I don’t resuscitate his brain. He is not going to make his appearance look good unless I feed him other kinds of rabbits. Unfortunately I can’t find any more rabbits. Do you know if there are pet rabbits at your store because I can’t find other rabbits. I’ve being attempting to use snakes to resuscitate his brain but it doesn’t have any effect. He is not going to be alive for long unless I get more rabbits. Do you know if parakeets will work on my rabbit because I am desperate to resuscitate his brain. Please inform.
Prince Charles’ rabbit is going to be dead if I want to save my own rabbit.
Sincerely,
Queen Elizabeth II
(Priya and Jenn)
Dear John and Mary
We got a dragon for you! So enjoy your new dragon because it is a dragon. Don’t kill the dragon or I will kill you. Please feed him one rabbit a day or he will die. Don’t feed him dogs because he will barf and die. Please refrain the dragon from eating dogs. Due to his actions. The dragon also blows bubbles and fire so beware of evil dragon bubbles and fire.
Sincerely,
David and Jigsaw
(Peter and Eugene)
Dear James
Hi! It’s been a long time. How are you? I’ve been really sad because my wife has gone to Burma. It’s been very very hard to cope with the absence of my wife. She always bakes delicious muffins with sprinkles and icing. These muffins have brought much joy to my village. You would love these muffins. They bring much ecstasy to my local people. Once she placed three muffins on the altar and sacrificed a lamb then ate the muffins while pulling the intestines of the lamb. The village children danced gracefully around the altar as she squirted the lamb’s intestinal fluid on them.
Anyway, what is the haps?
Sincerely,
John
(Sarah and Liam)
Dear Ghost!
I cannot see anymore. This is because you are crashing my parties. I wish you wouldn’t crash my parties because I am very hurt by this action. It makes me very upset! I can no longer bear this pain and I cannot see any longer. I need to sleep now because you keep being so evil! And I desperately need to eat because I cannot eat! There is a very large mouse in my throat! I cannot speak or eat or eat! See indeed. This is very very unfortunate. I wish I need kill mouse the the mouse because he is very scratchy. My mother is so so very very sickly sickly unfortunately. So, I cannot write this letter any longer. So please do not crash my parties.
Sincerely,
Window
~
There you have it.
Cheers,
Cliff
Tuesday, March 1, 2011
Re: CIG
Hey gang
You were successful this evening. You were courteous and respectful while keeping a focus on the group and sharing the stage. You listened and heightened and played a wide variety of fun games. I was thoroughly entertained throughout your performance.
You were successful and don't let anybody tell you differently.
So there.
Cheers,
Cliff
You were successful this evening. You were courteous and respectful while keeping a focus on the group and sharing the stage. You listened and heightened and played a wide variety of fun games. I was thoroughly entertained throughout your performance.
You were successful and don't let anybody tell you differently.
So there.
Cheers,
Cliff
Monday, February 21, 2011
Robert Bateman Improv Team - Friday, February 18th
Hey gang
Here's a quick summary of some of the things we tried on Friday. Essentially, I wanted to provide you with a few strategies for group scenes that will make them more successful. (In this case, group scenes involve more than two people.)
In general, it is best to keep the idea of 'dynamics' in mind when thinking about group scenes. For our purposes, the term 'dynamics' will refer to the interactions happening between two people, groups, or ideas. In a two-person scene, there is only one dynamic to follow: the dynamic between the two people on stage. Even if person one shouts 'I am eating papayas!' and person two begins to mime assembling a model airplane, there is only one dynamic to follow (however weird this example may be). The audience can follow along no matter what you throw at them. (Remember, in the situation with papayas and airplanes, it's far more important that you do something than what you do).
In a group scene, there are naturally more dynamics to follow as there are simply more people on stage. In this situation, though, which dynamic does the audience follow? More than likely, one improviser will either become dominant, controlling the entire progression of the scene, or be ignored entirely. This trend occurs because there are too many dynamics present. Basically, there's too much going on. Improvisers will become confused and worse yet, the audience will become confused. Recall the example I gave during practice: Who are you going to pay attention to? The dynamic between the strawberry picker and the prisoner, the dragon and the barbeque dad, the barbeque dad and the strawberry picker? In any of those situations, something will be lost. So, what do you do?
You can mirror each other!
Mirroring, as you recall, refers to the act of becoming the exact same character as somebody else. You take on their physical traits, their voice, their actions and their perspective. It is important to try to mimic everything that the other person does. The minute you do something that differentiates your character from theirs, you've stopped mirroring and you've create a schism that the audience will detect.
When you are mirroring, if somebody says a line, you say that line back heightened a little bit. If one of you says 'It's a beautiful day today', then the other person could say 'This is the most gorgeous day I've seen all week'. Strangely enough, even though you're basically saying the exact same thing, the very fact that you have heightened it a touch makes the audience think things are moving forward.
Bear in mind that while mirroring, you will have to add things to the conversation as well. You can't merely wait for the first person to say and do everything. It will make you all look like much better improvisers if you can give and take freely. Take turns leading and following. If one of you begins a train of thought, then let somebody else begin a train of thought.
"Why does this technique work?" You may be thinking. "Isn't there still a new dynamic to follow for each additional character on stage?" I'm glad you asked that question, hypothetical other person! There certainly is a new dynamic between a new character and each character on stage, but if they're mirroring, then it's the same dynamic! Instead of having to watch the dynamic between the prisoner and the barbeque dad, the dragon and the strawberry picker, the prisoner and the dragon, etc, you're watching the dynamic between the waiter and the waiter, the waiter and the waiter, the waiter and the waiter, and so on. It's easier to follow because the audience understands exactly what is going on.
Furthermore, (and this is pretty dang cool) you can show how good of an improviser you are by creating the same character four times over. Could you imagine? A whole stage of unique people, doing the same brilliant character? All the agreement and heightening would be a joy to watch. You'll know exactly what you're doing ("I'm just copying what the first person did, and adding a little to each line they're saying") and the audience will think that you're brilliant.
Alliances
Four people sit around a table. The lights go down, they laugh comfortably, and the lights go up. The first three people to speak have an 'alliance' (they will mirror each other throughout the scene). The final person to speak gets to be the wildcard. They don't have to mirror, and they can basically say what they want, though in general it will likely work if they say something different than the people with the alliance.
This type of mirroring exercise works on the same principles as the scenes in which everybody mirrors each other. There is still only one dynamic to follow. (In this case, it is alliance and wildcard, alliance and wildcard, alliance and wildcard). I could see there being another dynamic between the members of the alliance, but if everybody in the alliance is mirroring each other, then there shouldn't be a new dynamic there.
Summary
If you're uncertain what to do in a scene, try mirroring the other person. That action will create the game of the scene for you. If you mirror and heighten, mirror and heighten, the audience will be delighted. If you find yourself in a group scene, mirror one of the other players. It will make your groups scenes much more cohesive and far more entertaining for the audience. You'll look mad professional, too. What a better way to show your support for your teammates than by saying "That character is so awesome that I'm going to do it too. I am going to heighten it with you and make it even more awesome."
Keep up the great stuff, gang!
Cheers,
Cliff
Here's a quick summary of some of the things we tried on Friday. Essentially, I wanted to provide you with a few strategies for group scenes that will make them more successful. (In this case, group scenes involve more than two people.)
In general, it is best to keep the idea of 'dynamics' in mind when thinking about group scenes. For our purposes, the term 'dynamics' will refer to the interactions happening between two people, groups, or ideas. In a two-person scene, there is only one dynamic to follow: the dynamic between the two people on stage. Even if person one shouts 'I am eating papayas!' and person two begins to mime assembling a model airplane, there is only one dynamic to follow (however weird this example may be). The audience can follow along no matter what you throw at them. (Remember, in the situation with papayas and airplanes, it's far more important that you do something than what you do).
In a group scene, there are naturally more dynamics to follow as there are simply more people on stage. In this situation, though, which dynamic does the audience follow? More than likely, one improviser will either become dominant, controlling the entire progression of the scene, or be ignored entirely. This trend occurs because there are too many dynamics present. Basically, there's too much going on. Improvisers will become confused and worse yet, the audience will become confused. Recall the example I gave during practice: Who are you going to pay attention to? The dynamic between the strawberry picker and the prisoner, the dragon and the barbeque dad, the barbeque dad and the strawberry picker? In any of those situations, something will be lost. So, what do you do?
You can mirror each other!
Mirroring, as you recall, refers to the act of becoming the exact same character as somebody else. You take on their physical traits, their voice, their actions and their perspective. It is important to try to mimic everything that the other person does. The minute you do something that differentiates your character from theirs, you've stopped mirroring and you've create a schism that the audience will detect.
When you are mirroring, if somebody says a line, you say that line back heightened a little bit. If one of you says 'It's a beautiful day today', then the other person could say 'This is the most gorgeous day I've seen all week'. Strangely enough, even though you're basically saying the exact same thing, the very fact that you have heightened it a touch makes the audience think things are moving forward.
Bear in mind that while mirroring, you will have to add things to the conversation as well. You can't merely wait for the first person to say and do everything. It will make you all look like much better improvisers if you can give and take freely. Take turns leading and following. If one of you begins a train of thought, then let somebody else begin a train of thought.
"Why does this technique work?" You may be thinking. "Isn't there still a new dynamic to follow for each additional character on stage?" I'm glad you asked that question, hypothetical other person! There certainly is a new dynamic between a new character and each character on stage, but if they're mirroring, then it's the same dynamic! Instead of having to watch the dynamic between the prisoner and the barbeque dad, the dragon and the strawberry picker, the prisoner and the dragon, etc, you're watching the dynamic between the waiter and the waiter, the waiter and the waiter, the waiter and the waiter, and so on. It's easier to follow because the audience understands exactly what is going on.
Furthermore, (and this is pretty dang cool) you can show how good of an improviser you are by creating the same character four times over. Could you imagine? A whole stage of unique people, doing the same brilliant character? All the agreement and heightening would be a joy to watch. You'll know exactly what you're doing ("I'm just copying what the first person did, and adding a little to each line they're saying") and the audience will think that you're brilliant.
Alliances
Four people sit around a table. The lights go down, they laugh comfortably, and the lights go up. The first three people to speak have an 'alliance' (they will mirror each other throughout the scene). The final person to speak gets to be the wildcard. They don't have to mirror, and they can basically say what they want, though in general it will likely work if they say something different than the people with the alliance.
This type of mirroring exercise works on the same principles as the scenes in which everybody mirrors each other. There is still only one dynamic to follow. (In this case, it is alliance and wildcard, alliance and wildcard, alliance and wildcard). I could see there being another dynamic between the members of the alliance, but if everybody in the alliance is mirroring each other, then there shouldn't be a new dynamic there.
Summary
If you're uncertain what to do in a scene, try mirroring the other person. That action will create the game of the scene for you. If you mirror and heighten, mirror and heighten, the audience will be delighted. If you find yourself in a group scene, mirror one of the other players. It will make your groups scenes much more cohesive and far more entertaining for the audience. You'll look mad professional, too. What a better way to show your support for your teammates than by saying "That character is so awesome that I'm going to do it too. I am going to heighten it with you and make it even more awesome."
Keep up the great stuff, gang!
Cheers,
Cliff
Friday, February 4, 2011
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
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
Robert Bateman Improv Team - Performance Notes
Hey gang
Hope you're all doing well and that second semester has been kind to you as yet.
It's been a little while since I've updated the improg, but to be perfectly honest, I don't think that's atypical at this point. Here are some thoughts on the games we will likely be doing during the competition.
Theme
Suggestion: Provided by CIG Judges
As I'm certain you all know, we will be playing Sweep for our Theme event. Sweep is essentially our version of Macro Neato, a performance style largely done by the Bad Dog Theatre in Toronto. Players form a back row, or stand to the sides of the stage (we will likely be standing to the side, as it will make the stage appear less cluttered). Performers create two-person scenes, focusing on their individual Deals while perhaps establishing a Game. At any point, people in the back row (or to the sides) can tap out one player, thus endowing the remaining player as the 'driver' of the scene. Players then depict the driver in a variety of different scenarios. When improvisers feel as though the characters have worn out their premise (i.e. the premise has been taken to the moon, the characters have been killed and are in heaven, or any other number of things), then any member of the back row (or the sides) can run in front, thus 'sweeping' the scene and beginning a new scene.
This game will prove an excellent opportunity to demonstrate your ability to create something out of nothing. Begin with your Deal. It doesn't matter what it is, that you are doing it is much more important than why you are doing it. Notice the other person and begin to do your thing because the other person is doing their thing. The very fact that you are doing your thing because of the other person creates an interesting relationship that will utterly delight the audience. Once you have the platform, the tiny, truthful and organic core around which you will build your scene, add in your Who/What/Where. This incorporation is your opportunity to tie the scene to the Theme, whatever it may be. Don't worry about trying to find that connection immediately. Build your Deal and trust that you will be able to make the connection, no matter what the Theme may be. You're all clever people. You can do it.
Once improvisers have clearly established their Deals, then it is easy to pick a Driver to further additional scenes. If an improviser chooses happiness as their Deal, and everything that happens only serves to make them happier, then we know that they will be the happy character in every scene they're thrown into. Once the character and scene has been heightened to the extreme (for example, "Welcome to the gates of Hell. Will it be the lake of fire or the river of excrement?" *met with laughter*), sweep the scene and become new characters with new Deals.
A few general tips and reminders:
-Nobody will care why everything is causing you to do your Deal harder. It will be entertaining that you do it. Audiences like to see situations that they wouldn't normally encounter.
- For heightening, remember the pattern Out Out In. If you choose 'Love' as your Deal, thus making you love everything, or love weirder and weirder things, then the ultimate choice is to turn your love to your scene partner. (for example, "I love this sweater. I love the floor. I love you!!!") Begin by associating yourself with external things (Out) and end with something on stage (In).
- If improvisers are killing, and the audience is bowled over with laughter, sweep them. It sounds counter intuitive, but you'll have just done those improvisers a huge favour. The audience will remember them as being hilarious, which will only work to their favour the next time they are in a scene. Good improvisers make other improvisers look good.
Life
Suggestion: A happy moment from your teenage years, or some iteration thereof
The Harold is a style of improvisation developed by Del Close. It consists of truthful monologues, two-person scenes and large-group games. These elements flow together and stem from each other in a way that is organic, truthful and wonderful to watch. Essentially, it's an opportunity for improvisers to demonstrate their prowess at performing with each other and acting as a group.
For our purposes, we will be doing a shorter, adapted version of the Harold. We will begin with a large-group word association/exploration, taking the chosen theme and associating it with other ideas/concepts. From there, we will naturally break into individual monologues based off of the themes explored in the initial word association. These monologues will be followed immediately by short scenes that further the themes explored in the monologue. Should it become necessary for other improvisers to take part in the scene, then they absolutely can. With this pattern in mind, we will explore all three elements of Del Close's original Harold format, albeit abbreviated for CIG time restraints.
A few general tips and reminders:
- During the initial word association/exploration, try to build the A to C thinking we've practiced during word association circles. Remember that every response is the correct response. Allow the words to flow through you, creating an emotion that will be expressed through your physical movements. Perhaps the emotion will be happy, perhaps sad, perhaps any other emotion. In any case, you will be priming yourselves and the audience for the rest of your scene.
- If you hear a monologue that may call for a large group (e.g. the Soccer team example), then be ready to jump into the scene. If you notice other people jump into the scene, though you are uncertain why, simply mirror everybody. No one in the audience will be able to tell you have no clue what you're doing. Notice what others are doing and do it harder.
- If you're telling a monologue, don't feel as though you need to change names or places. Real names and places will provide a better connection for the audience than fictitious ones. (I recall a scene when an improviser mentioned they were drinking Rumpelstiltskin cola. They would have made the scene more realistic, less silly and therefore less easily dismissed had they used a real soft drink. They also would have made less cognitive work for themselves.)
Story
Suggestion: A favourite animal and a favourite colour, or some iteration of an object and an adjective, to be combined to form the title of the story (for example, 'Purple' and 'Moose' become 'The Purple Moose')
For our Story event, we will be playing the game Typewriter. I would be lying if I said that I have never seen this game played before. However, our version will differ from any performance ever given in the sense that we will be creating a tiny, organic, truthful core and building outward from there.
Two improvisers will begin a scene in the fashion of 'That's so True'. After a short amount of time, one improviser will drop the Big Dumb Choice, thus fueling the rest of the scene. Graeme will act at the storyteller/typist for the rest of the scene. (I don't remember whether he volunteered or if we volunteered him, but regardless, he's the perfect fit for this role.) Taking the truthful platform and utilizing the Big Dumb Choice made by one improviser, Graeme will narrate the rest of the scene, incorporating storytelling elements (such as heightening/raising the stakes, reaching a conclusion/denouement, and a moral if needed). Other improvisers will continue to act throughout the scene, following Graeme's directions.
A few general tips and reminders:
- Even though the direction of the scene will be taken over by Graeme, keep the Deals established at the beginning of the scene. If someone is angry, they become angrier. If someone is fishing, they fish in more interesting and unique ways (basically, they fish harder).
- Build the actions of the improvisers in the scene until there appears to be no option left but a resolution. This moment of change, this turning point, if you will, can effectively serve as the end of the scene.
- For the improvisers who aren't directly involved in the scene, be ready to jump into the scene should your presence be needed. If Graeme mentions a shady character lurking behind a tree, somebody had better be ready to be a shady character. (Furthermore, perhaps somebody could act as a tree. Who do we know with tree-impersonation abilities?)
Character
Suggestion: A location that could fit on the stage, somewhere somebody in the audience spent money recently, or any location prompt that has the audience remember rather than create (we will also certainly not be asking for a non-geographical location)
For our Character event, we will be playing the game Pecking Order. This game will serve as an opportunity to showcase your character acting and your ability to incorporate status in your scenes. Furthermore, it will be exceptionally entertaining for the audience.
Four improvisers will be given a number. '1' will be the first person to enter and therefore the lowest status character. '2' will have a status higher than 1, but lower than 3 or 4. '3' will be higher than 1 and 2, though lower than 4, and '4' will be the highest status. 1 will enter the scene, establishing the location of items in the room and generally setting up the premise of the scene. 2 will enter, playing high status to 1. 3 will enter, playing even higher status, and then 4 will enter, playing the highest status of all. 4 will then find a reason to leave, followed by 3 and then 2, thus leaving 1 in the scene. 1 will find some way to give the audience a pleasing conclusion to the scene, thus ending the performance.
The humour in this scene will come from seeing higher status people continually lowered by even higher status people. The trick, however, will be in maintaining deals despite having status lowered. If you come into the scene with a gruff, 'trucker-esque' accent, you can't drop it simply because somebody else has come into the scene. In Start the Revolution without me, the King doesn't stop being the King simply because he has his status lowered. (For those of you who are interested, Start the Revolution without me is a wonderful film starring Gene Wilder and Donald Sutherland. It serves as a fantastic study of status, character, and the difference between status and class.)
A few general tips and reminders:
- As a result of there being so many improvisers on stage at once, you will certainly need to manage your speaking and pacing. Try not to talk over other people. I realize this will be difficult, but do your best to keep things sane on stage.
- Try speaking through the pecking order. Namely, 4 can give orders to 3, who then speaks to 2, who then speaks to 1.
- Again, maintain your character despite having your status raised and lowered. If you play a little girl, then you had best not suddenly become someone much older as a result of your change in status.
~
Hopefully these outlines will help focus your energy in scenes. If these outlines make you nervous or apprehensive, trust that you already have the skills to perform these scenes very well. Know that, should all else fail, you will have the platforms you establish to fall back to, and you will be surrounded by people who will support you no matter what happens during the performance.
I recall reading an interview with Colin Mocherie. He said that improv isn't scary or intimidating for him, because if he fails on stage, he knows that he's failing with his friends by his side.
Let's break some hearts.
Cheers,
Cliff
Hope you're all doing well and that second semester has been kind to you as yet.
It's been a little while since I've updated the improg, but to be perfectly honest, I don't think that's atypical at this point. Here are some thoughts on the games we will likely be doing during the competition.
Theme
Suggestion: Provided by CIG Judges
As I'm certain you all know, we will be playing Sweep for our Theme event. Sweep is essentially our version of Macro Neato, a performance style largely done by the Bad Dog Theatre in Toronto. Players form a back row, or stand to the sides of the stage (we will likely be standing to the side, as it will make the stage appear less cluttered). Performers create two-person scenes, focusing on their individual Deals while perhaps establishing a Game. At any point, people in the back row (or to the sides) can tap out one player, thus endowing the remaining player as the 'driver' of the scene. Players then depict the driver in a variety of different scenarios. When improvisers feel as though the characters have worn out their premise (i.e. the premise has been taken to the moon, the characters have been killed and are in heaven, or any other number of things), then any member of the back row (or the sides) can run in front, thus 'sweeping' the scene and beginning a new scene.
This game will prove an excellent opportunity to demonstrate your ability to create something out of nothing. Begin with your Deal. It doesn't matter what it is, that you are doing it is much more important than why you are doing it. Notice the other person and begin to do your thing because the other person is doing their thing. The very fact that you are doing your thing because of the other person creates an interesting relationship that will utterly delight the audience. Once you have the platform, the tiny, truthful and organic core around which you will build your scene, add in your Who/What/Where. This incorporation is your opportunity to tie the scene to the Theme, whatever it may be. Don't worry about trying to find that connection immediately. Build your Deal and trust that you will be able to make the connection, no matter what the Theme may be. You're all clever people. You can do it.
Once improvisers have clearly established their Deals, then it is easy to pick a Driver to further additional scenes. If an improviser chooses happiness as their Deal, and everything that happens only serves to make them happier, then we know that they will be the happy character in every scene they're thrown into. Once the character and scene has been heightened to the extreme (for example, "Welcome to the gates of Hell. Will it be the lake of fire or the river of excrement?" *met with laughter*), sweep the scene and become new characters with new Deals.
A few general tips and reminders:
-Nobody will care why everything is causing you to do your Deal harder. It will be entertaining that you do it. Audiences like to see situations that they wouldn't normally encounter.
- For heightening, remember the pattern Out Out In. If you choose 'Love' as your Deal, thus making you love everything, or love weirder and weirder things, then the ultimate choice is to turn your love to your scene partner. (for example, "I love this sweater. I love the floor. I love you!!!") Begin by associating yourself with external things (Out) and end with something on stage (In).
- If improvisers are killing, and the audience is bowled over with laughter, sweep them. It sounds counter intuitive, but you'll have just done those improvisers a huge favour. The audience will remember them as being hilarious, which will only work to their favour the next time they are in a scene. Good improvisers make other improvisers look good.
Life
Suggestion: A happy moment from your teenage years, or some iteration thereof
The Harold is a style of improvisation developed by Del Close. It consists of truthful monologues, two-person scenes and large-group games. These elements flow together and stem from each other in a way that is organic, truthful and wonderful to watch. Essentially, it's an opportunity for improvisers to demonstrate their prowess at performing with each other and acting as a group.
For our purposes, we will be doing a shorter, adapted version of the Harold. We will begin with a large-group word association/exploration, taking the chosen theme and associating it with other ideas/concepts. From there, we will naturally break into individual monologues based off of the themes explored in the initial word association. These monologues will be followed immediately by short scenes that further the themes explored in the monologue. Should it become necessary for other improvisers to take part in the scene, then they absolutely can. With this pattern in mind, we will explore all three elements of Del Close's original Harold format, albeit abbreviated for CIG time restraints.
A few general tips and reminders:
- During the initial word association/exploration, try to build the A to C thinking we've practiced during word association circles. Remember that every response is the correct response. Allow the words to flow through you, creating an emotion that will be expressed through your physical movements. Perhaps the emotion will be happy, perhaps sad, perhaps any other emotion. In any case, you will be priming yourselves and the audience for the rest of your scene.
- If you hear a monologue that may call for a large group (e.g. the Soccer team example), then be ready to jump into the scene. If you notice other people jump into the scene, though you are uncertain why, simply mirror everybody. No one in the audience will be able to tell you have no clue what you're doing. Notice what others are doing and do it harder.
- If you're telling a monologue, don't feel as though you need to change names or places. Real names and places will provide a better connection for the audience than fictitious ones. (I recall a scene when an improviser mentioned they were drinking Rumpelstiltskin cola. They would have made the scene more realistic, less silly and therefore less easily dismissed had they used a real soft drink. They also would have made less cognitive work for themselves.)
Story
Suggestion: A favourite animal and a favourite colour, or some iteration of an object and an adjective, to be combined to form the title of the story (for example, 'Purple' and 'Moose' become 'The Purple Moose')
For our Story event, we will be playing the game Typewriter. I would be lying if I said that I have never seen this game played before. However, our version will differ from any performance ever given in the sense that we will be creating a tiny, organic, truthful core and building outward from there.
Two improvisers will begin a scene in the fashion of 'That's so True'. After a short amount of time, one improviser will drop the Big Dumb Choice, thus fueling the rest of the scene. Graeme will act at the storyteller/typist for the rest of the scene. (I don't remember whether he volunteered or if we volunteered him, but regardless, he's the perfect fit for this role.) Taking the truthful platform and utilizing the Big Dumb Choice made by one improviser, Graeme will narrate the rest of the scene, incorporating storytelling elements (such as heightening/raising the stakes, reaching a conclusion/denouement, and a moral if needed). Other improvisers will continue to act throughout the scene, following Graeme's directions.
A few general tips and reminders:
- Even though the direction of the scene will be taken over by Graeme, keep the Deals established at the beginning of the scene. If someone is angry, they become angrier. If someone is fishing, they fish in more interesting and unique ways (basically, they fish harder).
- Build the actions of the improvisers in the scene until there appears to be no option left but a resolution. This moment of change, this turning point, if you will, can effectively serve as the end of the scene.
- For the improvisers who aren't directly involved in the scene, be ready to jump into the scene should your presence be needed. If Graeme mentions a shady character lurking behind a tree, somebody had better be ready to be a shady character. (Furthermore, perhaps somebody could act as a tree. Who do we know with tree-impersonation abilities?)
Character
Suggestion: A location that could fit on the stage, somewhere somebody in the audience spent money recently, or any location prompt that has the audience remember rather than create (we will also certainly not be asking for a non-geographical location)
For our Character event, we will be playing the game Pecking Order. This game will serve as an opportunity to showcase your character acting and your ability to incorporate status in your scenes. Furthermore, it will be exceptionally entertaining for the audience.
Four improvisers will be given a number. '1' will be the first person to enter and therefore the lowest status character. '2' will have a status higher than 1, but lower than 3 or 4. '3' will be higher than 1 and 2, though lower than 4, and '4' will be the highest status. 1 will enter the scene, establishing the location of items in the room and generally setting up the premise of the scene. 2 will enter, playing high status to 1. 3 will enter, playing even higher status, and then 4 will enter, playing the highest status of all. 4 will then find a reason to leave, followed by 3 and then 2, thus leaving 1 in the scene. 1 will find some way to give the audience a pleasing conclusion to the scene, thus ending the performance.
The humour in this scene will come from seeing higher status people continually lowered by even higher status people. The trick, however, will be in maintaining deals despite having status lowered. If you come into the scene with a gruff, 'trucker-esque' accent, you can't drop it simply because somebody else has come into the scene. In Start the Revolution without me, the King doesn't stop being the King simply because he has his status lowered. (For those of you who are interested, Start the Revolution without me is a wonderful film starring Gene Wilder and Donald Sutherland. It serves as a fantastic study of status, character, and the difference between status and class.)
A few general tips and reminders:
- As a result of there being so many improvisers on stage at once, you will certainly need to manage your speaking and pacing. Try not to talk over other people. I realize this will be difficult, but do your best to keep things sane on stage.
- Try speaking through the pecking order. Namely, 4 can give orders to 3, who then speaks to 2, who then speaks to 1.
- Again, maintain your character despite having your status raised and lowered. If you play a little girl, then you had best not suddenly become someone much older as a result of your change in status.
~
Hopefully these outlines will help focus your energy in scenes. If these outlines make you nervous or apprehensive, trust that you already have the skills to perform these scenes very well. Know that, should all else fail, you will have the platforms you establish to fall back to, and you will be surrounded by people who will support you no matter what happens during the performance.
I recall reading an interview with Colin Mocherie. He said that improv isn't scary or intimidating for him, because if he fails on stage, he knows that he's failing with his friends by his side.
Let's break some hearts.
Cheers,
Cliff
Monday, January 17, 2011
Robert Bateman Improv Team - Friday, January 14th - Notes
Hey gang
Here are the notes I took during the Orchard Park teaser workshop. I will do my best to write eloquently!
- Definitely bring people forward. As a result of there being less distance between you and your audience, they'll feel more engaged, and they'll have a better time. You'll have a better time. Improv is a warm-and-fuzzy, up-close sort of thing.
- Trent's Moo activity was enjoyable. I'm certain it would become decreasingly effective as the average age of people in the audience increases, but it worked well for this group. Watch your time, though. Try not to go for too long.
- Try to avoid being negative about your audience having never played Bus Stop. With regards to art forms, Improv is still pretty new. As a result, lots of people have no idea what goes into an Improv performance. Instead of saying "Oh, I can't believe you've never played Bus Stop!", say "You've never played Bus Stop! Oh, you're in for a real treat then." It'll get the audience enthused about playing, even though they're not entirely certain what they'll be playing.
- Aia, you reassured the audience nicely, telling them it's okay to take risks and whatnot. I think we should implement, as Mr Disyak mentioned, a brief overview of certain expectations for Improv (including, though not limited to, saying 'Yes', being enthusiastic, etc). Hopefully, we can run an overview like that will get students enthused without getting them into their heads. We'll have to keep it simple and straightforward.
- Elizabeth, try doing a different character. Not to say she isn't wonderful, but we've seen Margaret a few times now. Challenge yourself! If you're stuck for a character for whatever reason, mirror your scene partner. Take their character and do it better than they are. We're going to work on that for a bit this afternoon.
- Brandon, you did a shy, nervous character during Bus Stop. He was a lot of fun to watch. If your deal was 'Being nervous and giddy', then you nailed it.
- Kicking down doors is the foundation of good Improv.
- Let's try to avoid Bieber references. Brandon is becoming a better improviser each day. I would hate for his Improv career to be forever instantly associated with Justin Bieber. On the other hand, try saying that someone else looks like Justin Bieber. Perhaps Graeme?
- Go and get your volunteers! When you're developing your set list, note how many audience members you'll need for each game. Then you can send some people out to pick people to participate. Brandon and Callum, you did an excellent job of simply walking up to people and offering your hand. That was classy. Erin and Aia, I recall you following suit, which was similarly classy.
- I loved that you all repeated your volunteer's names. That was excellent. Extremely classy.
- During Bus Stop, if your volunteers are apprehensive, just 'That's so true' them. The audience will be entertained just for the sheer novelty of seeing their students on stage.
- Callum, you played one of my favourite games, which is to ask "Wait, do you mean Definition 1 or Definition 2?" Very funny.
- Sahaj, you started to make a game out of the word Swell, which was good, though I think you may have hammered it in a little too much too early. Try peppering games like these into scenes throughout your performance. This game reminds me of Karin's 'The Walmart' game from the Alexander's teaser workshop. They're both interesting little tidbits of extra information you can add to your scenes that give them an extra layer of quality. Does that make sense? Maybe it doesn't.
- Elizabeth, if you're lisping, keep your lisp up. Don't abandon the lisp - If it's your deal, then you can only do it bigger and harder.
- Brandon, your deal of being happy was excellent. No matter what your scene partner did, it made you happier and more excited. It was fantastic to watch.
- Trent, good on you for encouraging everyone to give another round of applause to the volunteers. Very classy.
- When you're illustrating an example of 'what not to do', always use hypothetical examples. You'll keep the audience from feeling like they've done something wrong, when really, they haven't. They may have done something that is often ill-advised, but as you know, there are very few, if any, hard-and-fast rules for Improvisation. This example reminds me of an art project I was doing in Grade 4. We had to make drawings of flowers, and one of the EAs in my classroom held up my drawing as an example of 'what not do to.' She announced it to the entire class! Honestly, what kind of a person does that? Who the hell tells a child that their drawing is wrong? Apparently, the experience stuck with me, as it's many years later and I still vividly remember it. What a terrible, inconsiderate woman. Anyway, yeah. Don't do that.
- Try to get your volunteers and then explain the game that you'll be playing. Volunteers will go with you if you ask them to, and more often than not they'll be genuinely delighted when they find out what they'll be doing.
- For Helping Hands, try to only have 2 or 3 groups on stage at once. Otherwise, it looks sloppy and confusing.
- Stop asking for Non-geographical locations from the audience. Have them remember things rather than create things. Plus, I'm certain that a good percentage, if not a majority percentage of the class had no idea what a non-geographical location is.
- Keep an eye on students who haven't participated yet and try to incorporate them into games, or try to interact with them in some way.
- Sawing wood is always hilarious.
- Avoid the guys/girls rift. Seriously, Improv is a cooperative effort between many people. Students shouldn't leave the workshop feeling as though one gender is superior to another in Improv. We all know that isn't true.
~
There you have it. Bonus points to Brandon, who appears to be a star player, based on what I've written.
Great stuff gang! See you in...thirty minutes!
Cheers,
Cliff
Here are the notes I took during the Orchard Park teaser workshop. I will do my best to write eloquently!
- Definitely bring people forward. As a result of there being less distance between you and your audience, they'll feel more engaged, and they'll have a better time. You'll have a better time. Improv is a warm-and-fuzzy, up-close sort of thing.
- Trent's Moo activity was enjoyable. I'm certain it would become decreasingly effective as the average age of people in the audience increases, but it worked well for this group. Watch your time, though. Try not to go for too long.
- Try to avoid being negative about your audience having never played Bus Stop. With regards to art forms, Improv is still pretty new. As a result, lots of people have no idea what goes into an Improv performance. Instead of saying "Oh, I can't believe you've never played Bus Stop!", say "You've never played Bus Stop! Oh, you're in for a real treat then." It'll get the audience enthused about playing, even though they're not entirely certain what they'll be playing.
- Aia, you reassured the audience nicely, telling them it's okay to take risks and whatnot. I think we should implement, as Mr Disyak mentioned, a brief overview of certain expectations for Improv (including, though not limited to, saying 'Yes', being enthusiastic, etc). Hopefully, we can run an overview like that will get students enthused without getting them into their heads. We'll have to keep it simple and straightforward.
- Elizabeth, try doing a different character. Not to say she isn't wonderful, but we've seen Margaret a few times now. Challenge yourself! If you're stuck for a character for whatever reason, mirror your scene partner. Take their character and do it better than they are. We're going to work on that for a bit this afternoon.
- Brandon, you did a shy, nervous character during Bus Stop. He was a lot of fun to watch. If your deal was 'Being nervous and giddy', then you nailed it.
- Kicking down doors is the foundation of good Improv.
- Let's try to avoid Bieber references. Brandon is becoming a better improviser each day. I would hate for his Improv career to be forever instantly associated with Justin Bieber. On the other hand, try saying that someone else looks like Justin Bieber. Perhaps Graeme?
- Go and get your volunteers! When you're developing your set list, note how many audience members you'll need for each game. Then you can send some people out to pick people to participate. Brandon and Callum, you did an excellent job of simply walking up to people and offering your hand. That was classy. Erin and Aia, I recall you following suit, which was similarly classy.
- I loved that you all repeated your volunteer's names. That was excellent. Extremely classy.
- During Bus Stop, if your volunteers are apprehensive, just 'That's so true' them. The audience will be entertained just for the sheer novelty of seeing their students on stage.
- Callum, you played one of my favourite games, which is to ask "Wait, do you mean Definition 1 or Definition 2?" Very funny.
- Sahaj, you started to make a game out of the word Swell, which was good, though I think you may have hammered it in a little too much too early. Try peppering games like these into scenes throughout your performance. This game reminds me of Karin's 'The Walmart' game from the Alexander's teaser workshop. They're both interesting little tidbits of extra information you can add to your scenes that give them an extra layer of quality. Does that make sense? Maybe it doesn't.
- Elizabeth, if you're lisping, keep your lisp up. Don't abandon the lisp - If it's your deal, then you can only do it bigger and harder.
- Brandon, your deal of being happy was excellent. No matter what your scene partner did, it made you happier and more excited. It was fantastic to watch.
- Trent, good on you for encouraging everyone to give another round of applause to the volunteers. Very classy.
- When you're illustrating an example of 'what not to do', always use hypothetical examples. You'll keep the audience from feeling like they've done something wrong, when really, they haven't. They may have done something that is often ill-advised, but as you know, there are very few, if any, hard-and-fast rules for Improvisation. This example reminds me of an art project I was doing in Grade 4. We had to make drawings of flowers, and one of the EAs in my classroom held up my drawing as an example of 'what not do to.' She announced it to the entire class! Honestly, what kind of a person does that? Who the hell tells a child that their drawing is wrong? Apparently, the experience stuck with me, as it's many years later and I still vividly remember it. What a terrible, inconsiderate woman. Anyway, yeah. Don't do that.
- Try to get your volunteers and then explain the game that you'll be playing. Volunteers will go with you if you ask them to, and more often than not they'll be genuinely delighted when they find out what they'll be doing.
- For Helping Hands, try to only have 2 or 3 groups on stage at once. Otherwise, it looks sloppy and confusing.
- Stop asking for Non-geographical locations from the audience. Have them remember things rather than create things. Plus, I'm certain that a good percentage, if not a majority percentage of the class had no idea what a non-geographical location is.
- Keep an eye on students who haven't participated yet and try to incorporate them into games, or try to interact with them in some way.
- Sawing wood is always hilarious.
- Avoid the guys/girls rift. Seriously, Improv is a cooperative effort between many people. Students shouldn't leave the workshop feeling as though one gender is superior to another in Improv. We all know that isn't true.
~
There you have it. Bonus points to Brandon, who appears to be a star player, based on what I've written.
Great stuff gang! See you in...thirty minutes!
Cheers,
Cliff
Thursday, January 13, 2011
Robert Bateman Improv Team - Notes and Thoughts
Hey gang
I figured it would be beneficial to post the notes I made from your teaser at Alexander's. So, here's what I thought of.
- Keep the energy up in Sweep. Remember your active stances. Seriously, go into it like you're getting off the bench at a basketball game.
- Don't worry about establishing your connection to the theme right away. Take some time to establish your Deal, you object/emotion/visceral. Once your scene partner and everybody else knows your deal (for example, you're the guy that's going to saw in response to everything, or you're the girl who is going to become happier in response to everything), then we can see them in different situations (which again relate to the theme). We can see happy girl in a whole bunch of different scenes. It'll be easy for everyone playing, as they'll know that no matter what happens, happy girl will only become happier. When the game has played itself out (i.e. you've died, are in jail or have gone to the moon), sweep.
- Just ask for a colour next time. The concept of 'theme' seemed to elude everybody.
- Pick people to participate before explaining the game. Just walk out to someone and ask 'Could you help me out on stage for this next game?' Then explain everything. People will be less likely to turn you down, and you'll have more interesting/genuine performances on stage.
- Play games with audience involvement first. Get them up and engaged. Perhaps keep Sweep for the end, if at all. You'll forge a better connection with everyone. I'm reminded of the ol' improv adage, "show, don't tell". So, show them!
- Get closer to the audience. If you're uncertain of yourself, you'll naturally retreat upstage. Don't do that. Keep the power.
- To reiterate, don't worry about making the connection right away in Sweep. Get your Deals established, and then make the connection. Everyone will think you're brilliant. AND YOU WILL BE BRILLIANT.
- Don't ask everyone if they want an example. Always give them an example. Just jump right into it.
- For Bus Stop, make sure that you have Bateman people interspersed between other people. It will get the students out of their heads, since they know they'll be on stage with someone experienced.
- For Bus Stop, watch yourselves in scenes to ensure that you're not dragging things out. If the energy starts to wane, edit yourselves. Get out of the scene and let someone else try. More than likely the energy died because you didn't establish your deal well enough, or play it hard enough.
- Allow your scene partners to play their deal. Don't drop yours to focus on theirs, but don't force your own ideas regardless of theirs. Marry your contributions and you'll find yourself in a completely new (and much more interesting) scene. Did that make sense? How couldn't it have, I explained it so clearly.
- Instead of saying "We need 6 people", just go get 6 people. There's 6 of you on stage anyway. Easy enough.
- Play with your scene partners. Mess them up playfully! Show the audience that you're familiar with your material and each other. If your scene partner is making fun of your (playfully), then let them. Roll with the punches. This moment is a great opportunity to show the audience how charming you are.
- Physical disincentives for repeating prop scenes? I'm not so certain I like that. Try implementing referees who will keep an eye out for repeats. Don't punish people, just call them on their error and move on. If you're doling out a physical punishment for certain actions, you'll just get everyone in their head trying to avoid those actions.
- Have the students get into the game of props earlier on. I really liked when you swapped yourselves out for other students. Eventually, you'll have a stage filled with students who are all playing and enjoying the game together. You can side-coach, but the focus should be on the students.
- If you find a game in a scene, or a joke that you'd like to keep playing, play it! The audience will revel in delight upon hearing a joke brought up again. If you're the person who always adds the definite article in front of nouns (e.g. 'The Walmart' or 'The Muffin'), then do that a few more times. You can't play a game like this indefinitely. Try bringing it up no more than three times.
- Campfires will likely only be funny to Bateman people. That doesn't mean you shouldn't do it, just recognize that we'll be laughing at it, while no one else will have any idea why. Same for sawing wood in a scene while saying "Just sawing some wood."
- Keep an eye on the time for props. Perhaps a maximum of 7 minutes? Play more rounds with different people, rather than one long round with the same people.
Really, really good teaser, gang. You set 'em up on Monday and knocked 'em down on Wednesday. I have no doubt that you'll do it again on Friday with Orchard Park.
Also, on Friday, I would like to have you try playing Sweep in front of the rest of the Bateman team. I'll set it up like C.I.G would, and you can try it once or twice. It'll be good practice and good exposure.
Great stuff, gang!
Cheers,
Cliff
I figured it would be beneficial to post the notes I made from your teaser at Alexander's. So, here's what I thought of.
- Keep the energy up in Sweep. Remember your active stances. Seriously, go into it like you're getting off the bench at a basketball game.
- Don't worry about establishing your connection to the theme right away. Take some time to establish your Deal, you object/emotion/visceral. Once your scene partner and everybody else knows your deal (for example, you're the guy that's going to saw in response to everything, or you're the girl who is going to become happier in response to everything), then we can see them in different situations (which again relate to the theme). We can see happy girl in a whole bunch of different scenes. It'll be easy for everyone playing, as they'll know that no matter what happens, happy girl will only become happier. When the game has played itself out (i.e. you've died, are in jail or have gone to the moon), sweep.
- Just ask for a colour next time. The concept of 'theme' seemed to elude everybody.
- Pick people to participate before explaining the game. Just walk out to someone and ask 'Could you help me out on stage for this next game?' Then explain everything. People will be less likely to turn you down, and you'll have more interesting/genuine performances on stage.
- Play games with audience involvement first. Get them up and engaged. Perhaps keep Sweep for the end, if at all. You'll forge a better connection with everyone. I'm reminded of the ol' improv adage, "show, don't tell". So, show them!
- Get closer to the audience. If you're uncertain of yourself, you'll naturally retreat upstage. Don't do that. Keep the power.
- To reiterate, don't worry about making the connection right away in Sweep. Get your Deals established, and then make the connection. Everyone will think you're brilliant. AND YOU WILL BE BRILLIANT.
- Don't ask everyone if they want an example. Always give them an example. Just jump right into it.
- For Bus Stop, make sure that you have Bateman people interspersed between other people. It will get the students out of their heads, since they know they'll be on stage with someone experienced.
- For Bus Stop, watch yourselves in scenes to ensure that you're not dragging things out. If the energy starts to wane, edit yourselves. Get out of the scene and let someone else try. More than likely the energy died because you didn't establish your deal well enough, or play it hard enough.
- Allow your scene partners to play their deal. Don't drop yours to focus on theirs, but don't force your own ideas regardless of theirs. Marry your contributions and you'll find yourself in a completely new (and much more interesting) scene. Did that make sense? How couldn't it have, I explained it so clearly.
- Instead of saying "We need 6 people", just go get 6 people. There's 6 of you on stage anyway. Easy enough.
- Play with your scene partners. Mess them up playfully! Show the audience that you're familiar with your material and each other. If your scene partner is making fun of your (playfully), then let them. Roll with the punches. This moment is a great opportunity to show the audience how charming you are.
- Physical disincentives for repeating prop scenes? I'm not so certain I like that. Try implementing referees who will keep an eye out for repeats. Don't punish people, just call them on their error and move on. If you're doling out a physical punishment for certain actions, you'll just get everyone in their head trying to avoid those actions.
- Have the students get into the game of props earlier on. I really liked when you swapped yourselves out for other students. Eventually, you'll have a stage filled with students who are all playing and enjoying the game together. You can side-coach, but the focus should be on the students.
- If you find a game in a scene, or a joke that you'd like to keep playing, play it! The audience will revel in delight upon hearing a joke brought up again. If you're the person who always adds the definite article in front of nouns (e.g. 'The Walmart' or 'The Muffin'), then do that a few more times. You can't play a game like this indefinitely. Try bringing it up no more than three times.
- Campfires will likely only be funny to Bateman people. That doesn't mean you shouldn't do it, just recognize that we'll be laughing at it, while no one else will have any idea why. Same for sawing wood in a scene while saying "Just sawing some wood."
- Keep an eye on the time for props. Perhaps a maximum of 7 minutes? Play more rounds with different people, rather than one long round with the same people.
Really, really good teaser, gang. You set 'em up on Monday and knocked 'em down on Wednesday. I have no doubt that you'll do it again on Friday with Orchard Park.
Also, on Friday, I would like to have you try playing Sweep in front of the rest of the Bateman team. I'll set it up like C.I.G would, and you can try it once or twice. It'll be good practice and good exposure.
Great stuff, gang!
Cheers,
Cliff
Tuesday, November 30, 2010
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
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
Thursday, November 11, 2010
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
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
Monday, November 1, 2010
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
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
Friday, October 22, 2010
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
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
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