Intro to Improv
Week 1: Yes, And
Week 2: Beginnings and Endings
YES AND
LISTENING AND HONORING
GIFT INFORMATION: SENTENCES ARE BETTER THAN QUESTIONS
Sentences work much better for improv scenes than questions do. The main reason is because when you ask a question, more often than not, you are putting the weight of information on your scene mate, whereas a sentence gifts information to them. Gifting information is always better.
We are all wired up to ask questions. It will slip out sometimes and that’s okay. If you catch yourself asking a question, don’t correct it, but rather quickly answer your own question.
“What are we having for dinner? I’m hungry for meatloaf.”
Some questions are better than others. Questions that provide some specific information are usually fine.“How was your blind date last night?” is good because it brings some information. The other character had a date last night.
If someone else asks you a question in a scene, you can answer it however you want and that becomes absolutely true, because anything you say becomes true in a scene and they have to agree with it. If they ask a Yes/No type question, most of the time it will be more fun to say Yes to it, even if it’s not something that YOU would normally say yes to. But your character can!
“I don’t know what to say…”
If you try to start a scene but have a brain fart and can’t think of what to say, “I don’t know what to say.” is a sentence and we totally allow it. Consider it your ‘Get out of jail free’ card that you can use anytime you get stuck!
GOT YOUR BACK
A TO C INSTANT BRAINSTORMING
We don’t want the audience to get bored with our show. Sometimes we can get into a rut or get stuck on a singular idea over and over again. Audiences like variety. One easy way to get unstuck and generate a new idea on the fly is to A to C it.
So let’s say we get the word ‘grasshopper’ and we have WAY too many scenes that are focused on grasshoppers or we’ve said the word ‘grasshopper’ five times too often. Here’s how you can fix that:
It’s as simple as saying to yourself:
“Grasshopper (A) makes me think of legs (B), which makes me think of shaving (C). I’m going to start the next scene by shaving my legs.”
We’ve now created a brand new thread for the show.
You can easily keep a show fresh continually by watching the previous scene, picking something out of it to A to C, and then spinning off in a new direction.
WHO WHAT WHERE
When starting new scenes, you want to hit three main things near the top of the scene: WHO (the relationship), WHAT (what the scene is about), and WHERE (the current location for the characters).
When a scene doesn’t quite work, it’s usually because one of these elements is missing from the scene.
For Intro, we have a solid ‘training wheels’ start to scenes that will hit Who, What and Where easily and consistently, but we’ll also teach you later in the semester how to rescue a scene that is missing one or more of these vital elements.
THE PERFECT SCENE STARTER: DO + FEEL + KNOW + SAY + PLAY
FEEL: Emotions
As you silently start digging that hole, think about how your character feels at this moment. Are they happy? Are they angry? Show that emotion. Emotions + Object Work = Gold!
Make the emotion big so it’s clear to the other person as they enter the stage. Continue to do your thing silently and with full emotions.
The second person now enters the stage area and joins you silently in that activity – either do the same thing or something that goes along with it. They will have their own emotion towards this as well. It can be the same emotion or it can be completely different – both will create a fun dynamic.
DO and FEEL this silently together for around 10 to 20 seconds.
KNOW: Relationship
Characters should almost always know each other. You can have a perfectly fine scene between total strangers, but you can get to the meat of the scene much faster if the characters know each other well and have opinions of the other person.
Naming the other character, or naming the relationship is a great way to establish that history together.
Once the Object Work and Emotions are underway with both characters, pause and make eye contact for a second or two and then state the other character’s first name or establish the relationship. Also let the name be inspired by the scene – try not to pre-plan or use in-real-life names.
Let the emotion come through in that naming.
“Samuel…” “Stacy…”
“Mother…” “Ethan…”
“Johnson…” “Mr. Stern…”
“Newman…” “Jerry…
Naming goes a long way towards establishing that the characters know each other and have a relationship. Going even further by establishing if they are friends, neighbors, family members, spouses, co-workers, etc. is a gift that will fuel the scene.
SAY: Sentence
Once the Object Work and Emotions have been established, and the characters have named each other (or named the relationship), pause for a beat and then either character can start talking.
Normal everyday conversation is best with improv. Resist the urge to say something crazy or ‘funny’.
Trust the Yes-And process. The funny stuff WILL happen!
PLAY
Now just have a nice scene. Eventually the WHAT of the scene will figure itself out. When it does, play with it.
You don’t need multiple things to play with, just the main WHAT. If Mom steals cars, what else is true about Mom?
Putting it All Together: DO > FEEL > KNOW > SAY > PLAY
Here are the steps:
- Get a word from the audience or use a word, concept or idea from a previous scene as your initiation.
- Step out silently and use the word as inspiration to start object work along with a strong emotion. Don’t speak, just let it be silent for a bit.
- A second improviser will come into the scene and join you in that activity, silently either doing the same thing or doing something that goes along with what you are doing.
- They are also going to add their own strong emotion to what they are doing – it can be the same as the first character or completely different. If the first person is happily wiping tables, the second person might be angrily sweeping the floor. And the second person should actually interact with objects – not just supervise the first person!
- Give it about ten seconds or more of silently doing the object work together. Let the emotions flow.
- Both characters, who know each other well, will pause, make eye contact, and silently hold that eye contact for a second or two.
- While making eye contact, each character will say the other character’s first name – let this be inspired by the scene
- Now either character can kick things off with a sentence. Go for truth and honesty over crazy. Trust us: truth is far funnier!
- Play out the scene.
It’s a formula, but it works consistently and is a great way to get things going!
After a bit, we’ll drop the formula, but the WHO WHAT WHERE elements should still be established near the top of the scene. Trust the Yes-And process to bring the funny part to light as you discover the scene together.
HOW TO END SCENES: SWEEP EDIT
Once a scene is over, it is up to the rest of the troupe to edit it in order to end it and start a brand new scenes. There are a few different ways to edit a scene.
A Sweep Edit (also called a Wipe) works like this:
Once a scene is over, someone from the back line runs across the front of the stage to signify that it is done and a new scene should begin immediately.
By doing this, you are the human equivalent of the line that transitions from one scene to another on a movie screen. In Star Wars, the scene is on Tatooine and the line moves across and now it transitions to the Death Star. You’re the human equivalent of that line. It could also be thought of as pulling a curtain to end and start a new scene.
Wipes will happen when:
- A funny button line is found – a moment that is the perfect end to the scene.
- The scene isn’t getting traction after a minute or so – go ahead and get it out of there.
For Intro, we want you to learn to trust and depend upon your scene mates, so we’re going to ask that you stay in a scene until someone from the troupe’s back line (anyone not currently in the scene) runs across in front.
THE ANATOMY OF AN IMPROV SHOW
This is how to do a simple and diverse montage improv show with just a single word from the audience.
- Everyone comes out with high energy, hooping and hollering.
- A designated person will introduce the troupe and get a suggestion from the audience.
- The first person who steps out will use the word as an inspiration for their silent object work and big emotion. If you get “sunshine” from the audience, maybe you’re excitedly putting on sunscreen, or frustratingly adjusting the blinds.
- A second person will join in the activity, silently doing the same thing or something that goes along with it, also with their own emotion that doesn’t have to match the first person’s, but can.
- After a few seconds of silent activity, make eye contact and name each other, letting their emotions through as they say the name – let the names be inspired by the scene and don’t pre-plan. “Jessica…” “Trevor…”
- Now start talking and Yes-anding.
- When you find out what the scene is about together, play with what emerges.
- When the scene hits a funny moment (or stalls out), someone not currently in the scene will come from the back or side line and wipe the scene.
- Everyone that wasn’t in that scene should be picking something from it to A to C and use as potential inspiration for the next scene.
- Blinds make me think of cords which makes me think of computers. I’m going to start the next scene by happily typing in an office.
- Every scene try to find something from the previous scene to use to A to C for the next scene.
- If a third character is named that isn’t currently in the scene, someone from the back line can enter as that character. “My boss is coming over for dinner.” Keep Walk-ons to a minimum for now and only when someone is named – we’ll teach more on that topic later!
- String scenes together like this for the allotted time. A to C something said in the previous scene. The more tangental the better!
- When the timer hits zero, everyone throws their arms up and says “THAT’S OUR SHOW!!!”
- Take a bow and exit the stage.
Class Safety
Safety Phrases
We want improv to be a safe and fun space for everyone. We’re adults and we don’t censor, but we do want to be respectful of others’ boundaries at all times. Your teachers will be your guard rails, but if we miss something, please speak up!
Here are some phrases you can use at any time, for any reason, big or small.
“New Choice”
If a subject is brought up that is uncomfortable, embarrassing or offensive, the teacher, player or classmate can request a ‘New choice’ and the person will go back and restate their sentence, but this time with a different, less problematic, choice.
“Banana-banana-banana”
Silly but effective ‘safe word’ to signal that a scene, topic, or situation is becoming unacceptable.
“Time Out”
If you are uncomfortable with something, simply say “Time Out” and/or make a “T” motion with your hands. We’ll stop the scene immediately and reset with something brand new.
“I’m Uncomfortable”
The most direct version. “I’m uncomfortable and don’t like where this is going – let’s change the topic.”
Class Basics
Keep things clean
For classes, we will keep things between a PG-13 to light R level. Innuendo is great, but graphic sexual descriptions are generally not. Poop, pee, blood, and bodily function humor can be very funny in small doses, but we advise against going to extremes to gross an audience out.
We are adults so adult language is fine if you are comfortable with it, and it’s also totally fine to avoid adult language if you are not comfortable with it. Fudge or F*ck, do what’s right for you! The exception is if a venue has specifically requested toned down language, which we will comply with.
Be excellent to each other
Please avoid negative stereotypes and offensive slurs of all kinds. Avoid making scenes about your fellow improviser’s real personal appearance. Avoid making fun of speech impediments (lisps, stutters, etc), culturally or racially insensitive accents and speech patterns. Have fun, but not any anyone else’s expense.
Respect personal boundaries
Always respect each others’ personal and physical boundaries. For everyone’s comfort, we keep physical contact to a minimum – things like high fives and pats on the back are probably fine as long as the other party is okay with it. Anything beyond that can be done with distance where you aren’t actually touching the person. If you’re not sure, ask first. You also have the right to opt out of all physical contact if you so choose.
Anxiety
Many of us deal with anxiety and know that it can manifest in various ways without warning. Improv can be an incredible tool to help with anxiety, but there may be moments where you get stuck and can’t think of what to say or do next – and that is totally okay! If anxiety triggers while you are in class within a scene or in any other situation, please feel free to call a time out and take a break to take care of yourself. Sit and watch for a bit, or take a walk to clear your head. And whenever you’re ready, you can join back in. We understand and there is no judgment.
Side-Coaching
Our teachers use a coaching technique called side-coaching. This means that while scenes are running, we will occasionally pause the scene or quickly interject to point out opportunities so you’ll have a better idea of what to do the next time you encounter something similar. This is never personal criticism of your performance or humor, and it is meant for the benefit of the entire class. If there are ever any problems or criticisms that need to be addressed, we will handle those directly and privately with you.
Student Rights
- You should feel safe at all times during classes, practices, and performances.
- You will be treated respectfully at all times.
- You can set your own boundaries for physical contact and personal space.
- You can step out of any scene or situation in which you feel uncomfortable for any reason.
- You can speak up if you recognize that someone else is feeling uncomfortable or unsafe and you have their back by doing so.
- You can speak openly and honestly with each other, the teachers, and the leadership at any time.
- You can turn down any suggestion that you find offensive, embarrassing or demeaning.
- You can make mistakes. Mistakes are awesome, funny, and an important part of how we learn.
- Be kind and patient with yourself. You’re learning!
Improv Video of the Week
Inventing Improv - Viola Spolin
Intro to Improv Exercises
Here are descriptions of some of the improv games that were played this week if you want to share them with friends and family!
Zip Zap Zop
Simple pattern game. Form a circle. First person says Zip and points to another person (or hand swipes towards them), next person says Zap, third person says Zop and repeat the pattern.
Clap Pass
Circle up. Two people clap at the exact same time. Then they pass it to the next person and clap at the exact same time. Go around the circle at least once and then give them instructions that they can now send the energy in the other direction by staying with that same person and clapping again. You’ll likely need to remind them to try and be in sync when clapping.
Name Thumper
A great game to learn names! Each person will say their name, make a movement to go with their name, and then give a word to go along with their name – the word can start with the same letter, rhyme, be an animal, etc. it doesn’t matter – any word is good. Go around the room one by one with everyone repeating it back after the person gives the name, movement, word combo.
Once it’s gone around at least once, explain that you’re going to give your own name & symbol and then someone else’s name and symbol. When someone sees their name and symbol, they will give their own name and symbol and someone else’s, and so on. Let them know that this isn’t a competition, so anyone can stop and ask for a name, movement or symbol at any time – it’s encouraged to do so to learn names!
Squirrel Nut Tree
Circle game. Three people form a triptych together. First person out says “I’m a Squirrel” and puts their body in the shape of a squirrel. 2nd person says “I’m a Nut” and takes the shape of a nut. 3rd person says “I’m a Tree” and takes the shape of a tree. The person who was out there first (or longest) says who stays and the other two return to the circle (let’s say Tree for the example). The person remaining then says their own thing again “I’m a Tree” and two more people come out to join them doing something that goes along with a Tree that is neither a Squirrel or a Nut this time. (example “I’m a swing” and “I’m a leaf”). Person out longest says who stays and repeat again. Note: You’ll often have to remind the first person to say theirs again to get the pattern going, remind the one out there the longest to keep one, and also encourage them to keep it flowing and not leave anyone out there by themselves for long.
For the last one, find an easy one to have all of the class pile on to finish it off.