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
Monday, January 17, 2011
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
Sunday, October 17, 2010
Robert Bateman Improv Team - October 15th, 2010
Hello improvisers
My apologies for updating so late. When the weekend began, I thought 'Dang, a whole weekend! Sweet deal!' Now, I wonder 'Hey...what happened to that weekend I was supposed to have?' Such is life, I guess.
On a less depressing note, here's my reflection.
Darling If You Love Me
...Won't you please, please smile? My gratitude to Graeme (I hope, now, I am spelling your name correctly) for suggesting and then running this game. It seemed like it was a great deal of fun for everybody!
Coon-Jah
I learned how to play this game not two days before running it. Everybody chants 'Coon-Jah, Coon-Jah' repeatedly. Somebody says 'Bunny Bunny, Bunny Bunny' while opening and closing their hands at themselves and then somebody else. When that person receives the 'Bunny Bunny', they begin their own 'Bunny Bunny', and so on. The two people next to a person saying 'Bunny Bunny' must yell 'Toki Toki Toki Toki' while waving their arms and jumping. During this game, at any given point, somebody is saying Coon-Jah, Bunny Bunny or Toki Toki.
Rather than put words in everybody's mouth (an action I am striving to do much less when coaching Improv), I will ask: What makes this game easier to play? When do you feel supported by your teammates?
I certainly have my own ideas. I am interested to hear your ideas!
Mirror
This exercise served two purposes. Primarily, it was to have everybody feel what it's like to directly lead and to direct follow. It's a good, tangible exercise for showing that certain actions and motions can make people feel more supported than others. (For example, I recall hearing that people found the exercise easier to follow when the movements were smoother.) Think about your experiences in the game. When did you feel as though you understood your partner's intentions?
The second purpose of the game was to switch up the partners, and to have everybody work with somebody new. Hence why Brian and I distributed cards at the beginning of the game!
Number Call
Six people go on stage, each with an assigned number. The host calls out two numbers at random, and those two corresponding people begin a scene.
I enjoyed this game a lot. Personally, I enjoyed the scenes when there were clearly defined viewpoints right from the beginning. Wink. Remember the example I gave, during which I kicked down the door only to yell 'Who are you?!' dramatically? That's a terrible way of beginning a scene because there is no real information given. There's much more (for the audience, your scene partner and you) in kicking down the door and shouting 'Dad, my car's been stolen!'
This example makes me think of the variation I introduced to Number Call:
No Questions
First, I must apologize. I asked everybody in the audience to scream when a question was asked. What I didn't anticipate was the volume of the screaming. Don't be concerned that I asked everybody to stop screaming. I should have realized that asking people to scream gets very loud. From now on, when I run this game (or a game like this game), I will take on the responsibility of politely reminding improvisers to stray away from asking questions.
Now then. I asked that Improvisers try doing scenes without asking questions. This request seems simple enough, but is very, very difficult in practice. And now I'll tell you why it's difficult.
Asking a question puts the decision-making responsibility on the other person in the scene. It's much less trying, thinking-wise, to ask 'What are you eating?' rather than simply stating 'I see you're eating KFC's Double Down sandwich.'*
When you are forbidden to ask questions, then you must make every decision that comes your way yourself. You can't toss the ball back at the pitcher if you didn't like the pitch. Rather, you have to hit every pitch that comes your way. That can be very, very tough. But it will also lead to some exceptionally entertaining Baseball games.
Clearly I don't understand enough about Baseball to keep this analogy from falling apart.
I remember once, I was playing this game (At the McMaster Improv Team, we used to call this game Statements Only) with Carson (you'll meet him if you come to the Workshop on Thursday!). The scene began with us building a house, but ended with us having an awkward encounter about our unspoken feelings for each other. The scene wasn't anything we could have planned for, but it was very entertaining. I would hazard that it was entertaining and unique because we continually forced ourselves to make decisions.
Admittedly, this game has some limits. Realistically, you can ask question in Improv. In life, people ask questions all the dang time. That's life, that's real. In good Improv scenes, improvisers will ask each other questions, and no one in the audience will bat an eyelash. Heck, you've probably scene wildly entertaining Improv scenes where improvisers do nothing but ask questions! (Remember the game Questions Only?) Asking questions becomes inappropriate when improvisers use them as a means to avoid making decisions. Hence why we practice getting out of that comfort zone by encouraging improvisers to avoid questions of any kind.
It's a tough skill to work on, but believe me when I say that the rewards will be plentiful. The quality of your scenes will sharply increase when everybody makes decisions.
~
I think that's just about everything that we did on Friday. Once again, I apologize for updating the improg so late after the fact.
Your homework, as always, is to Reflect and to become Inspired. Watch videos, read books! Check out the Improv Encyclopedia! (Found in the 'Links Awakening' section on the right-hand side of the improg.)
Thanks for a great session, gang. I look forward to seeing you all this week.
Cheers,
Cliff
*delicious
My apologies for updating so late. When the weekend began, I thought 'Dang, a whole weekend! Sweet deal!' Now, I wonder 'Hey...what happened to that weekend I was supposed to have?' Such is life, I guess.
On a less depressing note, here's my reflection.
Darling If You Love Me
...Won't you please, please smile? My gratitude to Graeme (I hope, now, I am spelling your name correctly) for suggesting and then running this game. It seemed like it was a great deal of fun for everybody!
Coon-Jah
I learned how to play this game not two days before running it. Everybody chants 'Coon-Jah, Coon-Jah' repeatedly. Somebody says 'Bunny Bunny, Bunny Bunny' while opening and closing their hands at themselves and then somebody else. When that person receives the 'Bunny Bunny', they begin their own 'Bunny Bunny', and so on. The two people next to a person saying 'Bunny Bunny' must yell 'Toki Toki Toki Toki' while waving their arms and jumping. During this game, at any given point, somebody is saying Coon-Jah, Bunny Bunny or Toki Toki.
Rather than put words in everybody's mouth (an action I am striving to do much less when coaching Improv), I will ask: What makes this game easier to play? When do you feel supported by your teammates?
I certainly have my own ideas. I am interested to hear your ideas!
Mirror
This exercise served two purposes. Primarily, it was to have everybody feel what it's like to directly lead and to direct follow. It's a good, tangible exercise for showing that certain actions and motions can make people feel more supported than others. (For example, I recall hearing that people found the exercise easier to follow when the movements were smoother.) Think about your experiences in the game. When did you feel as though you understood your partner's intentions?
The second purpose of the game was to switch up the partners, and to have everybody work with somebody new. Hence why Brian and I distributed cards at the beginning of the game!
Number Call
Six people go on stage, each with an assigned number. The host calls out two numbers at random, and those two corresponding people begin a scene.
I enjoyed this game a lot. Personally, I enjoyed the scenes when there were clearly defined viewpoints right from the beginning. Wink. Remember the example I gave, during which I kicked down the door only to yell 'Who are you?!' dramatically? That's a terrible way of beginning a scene because there is no real information given. There's much more (for the audience, your scene partner and you) in kicking down the door and shouting 'Dad, my car's been stolen!'
This example makes me think of the variation I introduced to Number Call:
No Questions
First, I must apologize. I asked everybody in the audience to scream when a question was asked. What I didn't anticipate was the volume of the screaming. Don't be concerned that I asked everybody to stop screaming. I should have realized that asking people to scream gets very loud. From now on, when I run this game (or a game like this game), I will take on the responsibility of politely reminding improvisers to stray away from asking questions.
Now then. I asked that Improvisers try doing scenes without asking questions. This request seems simple enough, but is very, very difficult in practice. And now I'll tell you why it's difficult.
Asking a question puts the decision-making responsibility on the other person in the scene. It's much less trying, thinking-wise, to ask 'What are you eating?' rather than simply stating 'I see you're eating KFC's Double Down sandwich.'*
When you are forbidden to ask questions, then you must make every decision that comes your way yourself. You can't toss the ball back at the pitcher if you didn't like the pitch. Rather, you have to hit every pitch that comes your way. That can be very, very tough. But it will also lead to some exceptionally entertaining Baseball games.
Clearly I don't understand enough about Baseball to keep this analogy from falling apart.
I remember once, I was playing this game (At the McMaster Improv Team, we used to call this game Statements Only) with Carson (you'll meet him if you come to the Workshop on Thursday!). The scene began with us building a house, but ended with us having an awkward encounter about our unspoken feelings for each other. The scene wasn't anything we could have planned for, but it was very entertaining. I would hazard that it was entertaining and unique because we continually forced ourselves to make decisions.
Admittedly, this game has some limits. Realistically, you can ask question in Improv. In life, people ask questions all the dang time. That's life, that's real. In good Improv scenes, improvisers will ask each other questions, and no one in the audience will bat an eyelash. Heck, you've probably scene wildly entertaining Improv scenes where improvisers do nothing but ask questions! (Remember the game Questions Only?) Asking questions becomes inappropriate when improvisers use them as a means to avoid making decisions. Hence why we practice getting out of that comfort zone by encouraging improvisers to avoid questions of any kind.
It's a tough skill to work on, but believe me when I say that the rewards will be plentiful. The quality of your scenes will sharply increase when everybody makes decisions.
~
I think that's just about everything that we did on Friday. Once again, I apologize for updating the improg so late after the fact.
Your homework, as always, is to Reflect and to become Inspired. Watch videos, read books! Check out the Improv Encyclopedia! (Found in the 'Links Awakening' section on the right-hand side of the improg.)
Thanks for a great session, gang. I look forward to seeing you all this week.
Cheers,
Cliff
*delicious
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