Know (Relationships)
Characters Should Know Each Other
Scenes will be stronger right off the bat if characters already know each other, have a history together, and have strong opinions of each other. This allows scenes to start in the middle instead of having to establish relationships.
Relationships are more than just the name, however the naming will help establish that relationship. Relationships are how the characters know each other. Are they friends, co-workers, siblings, spouses, roommates, or mortal enemies?
Naming Each Other
One way to establish that relationship quickly is to give your scene partner a name near the start of the scene. Let the name reveal itself in the scene and let the emotion and attitude inform that naming. Think of it like when Jerry and Newman encounter each other and their utter disdain for each other comes through in almost every acknowledgement.
Jerry Seinfeld has said that the reason his character hated Newman is because they just thought it was really funny to hate him.
Remember Character Names by Repeating Them
One of the hardest things for most people is keeping track of character names. One easy solution that will help that is to make a point to use the other character’s name at least three times or more throughout the scene.
This will help cement the name in your brain. This will also come in handy in upper level classes when we start bringing scenes and characters back multiple times!
Walk Ons
Another scene edit is the Walk On. A Walk On is when someone from the back line or sidelines that isn’t in the scene comes into the scene. It can be a great help to scenes, but it also has potential to distract from the scene.
Here are the ideal times to do a Walk On:
- If a character is named within the scene.
- “Mom’s going to be home soon and she’s pissed!” That’s an opportunity for someone to come in as the angry mom.
- If the Who, or Where is missing from the scene – we don’t know specifics about the characters’ relationship or they haven’t established clearly where they are right now – that’s an opportunity for someone to come in and bring them that information.
- “Mom… Dad… you’re embarrassing us!”
Never do a Walk On because “I’m not in this scene.” Walk Ons should be shining a spotlight on the improvisers who started the scene. Doesn’t mean you can’t be funny, but you want to honor what they’ve built. If what you’re walking on with doesn’t do that, hold on to your idea and start the next scene with it instead.
Pop Ins
Pop-Ins are a type of Walk On where someone pops their head into the scene briefly, brings a gift to the players, and then gets out of the way. These should be done in threes and heighten when possible.
“Hey guys, five minutes before the curtain goes up…”
“Hey guys, we’ve only got two minutes before you’re out there…”
“Hey guys, there’s an empty stage – why aren’t you out there?”
Give Characters Gifts
When setting up for a Named Walk-Ons, give your new character(s) some gifts like personality traits, regional accents, weird quirks, etc.
Your character already knows them, and anything they say to describe them becomes true! That gives the other improviser something to play with. It’s a gift!