Intro to Improv Week 4 Overview: Emotions - Reflex Improv: Make a Scene

Intro to Improv Key Takeaways

YES AND

Whenever your scene partner presents something to you within a scene, you should agree with it and then add your own piece to it. You can dislike what they say, but you should agree that it is the truth of the scene.

Yes-and means ‘I’ve heard you and I will honor what you brought by adding to it.’

Avoid saying “No” in scenes or negating information. “Yes, but…” is also problematic since it often deflects or negates.

GOT YOUR BACK

Your number one job on an improv stage is to make your scene partner look great. Their job is to make YOU look great. Everyone lifts everyone else up. We signify this with a ritual called ‘Got Your Back’ before shows where we gently tap our teammates on the back and say ‘Got your back…’ I’m going to make you look great, you’re going to make me look great!

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!

STARTING SCENES

There are four main elements to a scene:

DO: Object Work

On an improv stage we usually only have each other and a few chairs. Everything else we make up. We want to treat objects like they are real, with weight size, and volume, use them and put them away like we would real things. The more realistic we treat the object, the more the audience will buy into the illusion. Even if you have real things like phones on you, still use improv objects. Pay with an improv wallet, take off improv clothes, tie improv shoes, etc.

For new improvisers, we will start object work scenes the following way: One person comes out and silently starts doing a chore involving objects. A second person comes out and joins them silently in that activity, either doing the exact same thing, or something they think goes along with it. After a few seconds of silence and a check in with eye contact, either person can start talking. If the second person is unsure what the first person is doing, they can join them by doing the exact same thing. If they are inspired, they can name what they think it is, which might surprise everyone.

Object work also can clearly establish WHERE the scene takes place.

Try to actually interact with improv objects rather than engaging in dance or yoga moves – those can be tough to play. Even though you are interacting with objects, the scene is still about the people in it. Whatever it is your doing, the relationship is more important.

FEEL: Emotions

When starting your object work, you can now add in an EMOTION to go along with it. Happy Sad, Angry, Scared, or any offshoot of those will work. Characters should have a strong opinion and/or a strong emotion towards each other. On a scale of 1 to 10, we recommend starting at a 6 or 7 so it’s super clear to your scene mate and to the audience. Strong emotions play better on an improv stage.

As you start your object work, think about ‘how does my character feel right now?’ and go with that. The supporting player should do the same. It’s great to mirror the emotion, but can also be an interesting dynamic to make a completely different or opposing choice in emotions.

KNOW: The Relationship

Characters should 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. 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 few seconds and then state the other character’s first name or establish the relationship. Let the name be inspired by the scene. Also, for now, hold off on any pleasantries like “Hello” or any other dialogue – that negates or waters down the emotion. Just the first name or the relationship and let the emotion come through in that naming.

“Samuel…” “Stacy…”

“Mother…” “Ethan…”

“Johnson…” “Mr. Stern…”

“Newman…” “Jerry…”

How the naming happens will go a long way towards establishing the relationship. It’s a gift that will fuel the scene.

SAY: Sentence

As stated above, we want to gift our scene partner with information and that is best done with sentences. If you do catch yourself accidentally asking a question, answer your own question right away.

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 conversation is best with improv. Resist the urge to say something crazy or ‘funny’, which can come across very forced. Trust the yes-anding to lead you to the funny stuff together organically.

Putting it All Together: DO > FEEL > KNOW > SAY

For Intro, we are going to use a combination of all three, plus adding character names and/or relationships, as our ideal scene start. Think of this as training wheels for now to get some great improv habits established.

Here are the steps:

Get a word from the audience or you can use a word, concept or idea from a previous scene as your initiation.
One improviser steps out silently and uses 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 them in that activity, silently either doing the same thing or doing something that goes along with what the first person. 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 actually interact with objects – don’t just supervise!
Give it about ten seconds or more of silently doing the object work together.
Both characters, who know each other well, will pause, make eye contact, and silently hold that eye contact for a few seconds.
While making eye contact, each character will say the other character’s first name or name their relationship – let this be inspired by the scene and relationship so far. And only say the first name – no “hello’s” or any other dialogue yet. “Frank…” “Polly…” or “Mom…” “Honey…” “Newman…” “Jerry…”
Now either character can kick things off with a sentence.
Play out the scene. Don’t worry about being funny or clever. Just have a nice grounded and relatable scene. Trust the Yes-And process to bring the funny part to light as you discover together.

SWEEP EDITS / WIPES

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 button line is found – a funny 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.
Something offensive to the audience happens. Wipe immediately to move on from it.

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.

SHOW OPENING: THE LIVING ROOM

Show Openings are usually used to take the one word we get from the audience and use it to generate dozens of other pieces of information that can easily fuel an entire show.The way a Living Room Opening works is someone from the troupe will introduce the troupe and ask the audience for a word. Once the word is obtained, everyone says it together.

At this point a 3 to 4 minute casual discussion follows, using the word as the initial inspiration. Troupe members will tell true life stories – things that actually happened to them in real life. The other members of the troupe can ask questions and dig for more information. They also have full permission to spin off into tangents. This should be a free-flowing conversation as if it was a group of friends chatting at a party in someone’s living room. Tangents are great because they generate more information.

As this discussion is going on, each member of the troupe should be listening for something that they can put in their back pocket to use later as inspiration for a new scene.

It can be a line that is said, or a concept, or it can inspire some object work – anything goes. But everyone should have one thing ready to go to start a scene.

If everyone in the troupe does this, the troupe will easily have more than enough information to fuel a 15 minute show.

A TO C 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.

STAGECRAFT

There are a few things to keep in mind when you are on an improv stage to make sure you are seen and heard, and to make sure that others are seen and heard, especially when you have a full audience watching.

Share the Energy

If there are more than two people on stage, you will need to share the energy, otherwise the audience will hear static if improvisers are talking over each other. Talk popcorn style. Remember the Energy disc/object from the Share the Energy exercise. You can give the energy to someone else or you can take it through body language and eye contact.

Project Your Voice (even when whispering)

Talk louder than you think you may need to. We are generally not mic’d up, so you want to make sure that the person on the back row of seats can hear you clearly. If you are naturally soft-spoken, push your volume up.

If whispering in a scene, do a ‘stage whisper’ and change the tone of your voice to that of a whisper, but try to keep your volume up. The audience will understand that it’s a whisper.

Cheat Out Towards the Audience

When you are on a stage, be aware of how you are facing the audience. You always want to have your face towards the audience and never have your back to them. Sometimes this will feel awkward to you on stage, but it looks correct to the crowd. We call this Cheating Out.

If you’re in a scene where you might normally be facing the other person directly, instead face them at an angle so most of the audience can see both of your faces. This also will enable them to hear you.

Backline Etiquette

When you are on the backline or sidelines, you should be standing up, leaning in, and intently watching the scene, ready to provide support like sound effects or pop-ins at any moment. Don’t slouch against the wall, look disinterested, or be chatting to each other behind the scene going on. It’s okay to have a super quick whisper to someone if you have an idea for the next scene, but it should never be distracting from the scene going on in front of you.

GAME

Game is anything that is fun to play with within the scene for the improviser and the audience. We usually know we have stumbled upon game when the audience laughs or reacts big in other ways.

For Intro we focus on patterns for game but it can also be heightening, emotional reactions, emotion shifts, etc, etc. (all of which we dig into in the Level 2 class).

Patterns

Discover patterns such as catch phrases, movements, etc. We forced them a bit in the class exercises to show how and why they work, but, when doing scenes, it is always best to stumble upon them naturally (and you won’t always have them). As stated above, you will know you’ve found it when the audience reacts strongly.

Patterns can also have variations. The rule is if you do it the exactly the same the second time as the first, then do it exactly the same the third time – if different the second time, then make it equally different the third time.

Let patterns breathe for awhile in between returning to them. It gives them more weight if you let there be around 30 seconds or more between coming back to them.

Rule of Threes

If you find something that the audience clearly likes, do it again, and then do it again for a total of three. Game usually happens best in threes. If you have a pattern, do it three times. If heightening do it three times. Return to scenes in threes. Our brains like the number three and find it entertaining and satisfying.

Multiples of three also work, so if you go beyond three, go ahead and make it six. If beyond six, go to nine.

HEIGHTENING

Heightening is when you make something bigger and more extreme, and then make it even bigger and more extreme again. This is why starting grounded and normal in scenes is important, because it gives you space to heighten to the weird and crazy things.

Good example of heightening:

Guess what? I bought a boat!

Guess what? I bought a yacht!!

Guess what? I bought a cruise ship!!!

FOUR SQUARE

A simple and very fun show format that exercises pattern and heightening game. It also lays the foundations for more advanced show formats down the road like ‘The Harold’.

Within the format, there are four 2-person scenes, and each scene will return three times (for a total of 12 scenes). The two players in the scene will find a pattern to repeat and something to heighten each time their scene returns.

Each time around it gets sillier and faster paced. Sometimes the third scene will be just a punchline because the audience will already know exactly where the scene is going to go based on the first two versions of it. I call those mic-drop scenes! They are very satisfying for both you the player and the audience!

Great example of mic drop scene (courtesy of Annapolis Summer 2021 class):

1st scene: Would you like some ice cream? – I really can’t… I’m lactose intolerant.

2nd scene: Would you like some cheese? – I really can’t… I’m lactose intolerant

3rd scene: C’mere Bessie… (pulls on leash for improv cow) – mic drop. Scene ends.

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.

“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.”

Student Rights

You ALWAYS have the right to…

Feel safe during classes and performances.
Be treated respectfully at all times.
Set your own boundaries for physical contact.
Immediately step out of any scene or situation in which you feel unsafe or uncomfortable with no explanation needed and no judgment given.
Speak openly and honestly with each other, with the teachers and owners at any time regarding any situation that arises and know that you will be heard and respected.
Speak up if you recognize that someone else is feeling uncomfortable or unsafe.
Turn down any suggestion that you feel is offensive, embarrassing or demeaning at any time for any reason, big or small.
Make mistakes – remove the pressure from yourself while you learn this stuff.

Intro to Improv Exercises

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.

Five Things

Someone gives a Category to someone else (serious or silly). They are to list 5 things in that category as fast as they can, not worrying about whether what they say is right. Just say something. After each one, the rest of the group counts them off. ONE… TWO… etc. After the fifth one, do a song and dance: THESE ARE FIVE THINGS and then the person who just went selects another person to give a category to. Keep going until everyone has had a chance to do this.

A character variation is to do FIVE THINGS AS A… In addition to the Five Things, someone else gives an ‘as a…’ character. A type of person rather than a specific human being. They then do the five things from the perspective and with the voice and physicality of that person. Example: “Five terrible pizza toppings as a Philly toll booth operator. ”

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.

Snap Pass

Throw a snap to someone else in the circle. That person catches it with a snap and then throws it to someone else with a snap (it’s okay if people can’t make the noise of a snap – the motion is enough).

Two snaps: One to catch and the other to pass.

This continues. After a few snaps, the group usually gets very creative with it, and start treating it like a real object. When the snap comes back to the teacher, take a pause and ask people if they were seeing it? What helped with the illusion? What broke the illusion? Continue on and encourage the class to have fun with it.

Bunny Bunny/Toki Toki

Teach this one piece at a time, then combine it all together.

First part: Make a bunny motion with two fingers (both hands) towards yourself and say BUNNY BUNNY. Then make the same motion towards someone else and say BUNNY BUNNY again. Some people will get the motion backwards, but it’s not a huge deal. Let that go for a bit to solidify.

Second part: The two people to the sides of BUNNY BUNNY face that person, throw their arms out, and rock side to side saying TOKI TOKI in the same rhythm as BUNNY BUNNY. Let these play for awhile until it solidifies.

Third part: Everyone who isn’t BUNNY BUNNY or TOKI TOKI will keep the rhythm by saying OOM-CHA OOM-CHA and slapping their own thighs gently to make a clap sound. Start everyone doing this, then once the rhythm has been established, start the BUNNY BUNNY-TOKI TOKI up.

After they get good at it, you can speed it up slowly. Keep going faster until it falls apart.

History of Improv

Inventing Improv - Viola Spolin

The beginnings of Improv spawned from a daughter of Russian immigrants who taught theater games to teach English to new immigrants in Chicago. Her son would later found Second City.

Full Documentary Below:

For Madmen Only - Del Close

The improv story picks up with Del Close, who would champion long-form improv as an artform, trained a staggering number of legendary Saturday Night Live castmembers, and invented “The Harold” format. Trailer below. Currently streaming on Hulu.