* Aim for fun choices for yourself * As opposed to trying to be funny * != obligation. * Find a way to *enjoy* the other person's choice * "Meh. I'm a person who hates things." * If they're a guy who drops things, hand them a vase. * Players are more likely to join in with fun scenes. * They're more likely to be engaged by fun. * This can create an "inside joke"-like energy with the audience. * You don't need to go chasing angst for traction. * Angst can kill fun. * Note that conflict and misery are the tropes of scripted drama. * Improv has license to do something else.
* "If you're worried about doing it right, you're fucked. If you're worried about doing it your way, you're fine." -- Jimmy * "Don't force them to play with you. Play with them." -- Craig * Watch improv that's different from what you usually do.
* Get a location * Deliver one line * Every following line starts with "yes, because" * DON'T THINK * Remember: ANY REASON WILL WORK * Even nonsensical reasons. * Ideally, "yes, because" gets you to really improvise. * Don't work one line ahead. * Don't cue off of *your* previous line. * Just work off the last line you hear. * Let go of your old lines. * This leads to improv that *goes* places. * Even though you might in new directions with each line. * It still won't cancel or block what you set up at the top of the scene. * It's easy to get caught up in negative "becauses" * These scenes become sad, and then sadder. * Remember that *fun* choices will work, too. * They can lead to trouble, in a good way.
* The rules: * Two people on stage. * A's lines are all: "You... <statement about you>" * B's lines are all: "I... <statement about myself>" * Avoid "cheating" by starting with "you know" or "I think" * Don't use that to weasel into (say) "You"-ing about yourself. * That avoids the aim of the exercise. * Round two: do the same thing, only with MORE SPECIFICITY * You don't have to go crazy with it, just make simple, specific choices. * You'll probably be more comfortable with one or the other. * (i.e., "I"s or "You"s) * Whichever you're more comfortable with, try practicing the opposite. * The exercise kills ambiguity. * Especially if you employ specificity. * I/you statements just put everything out there. * Remember that specificity is more inspiring to your partner * This'll get you moving faster. * If you make a vague statement, you can try asking yourself "why", and answering that. * Example: "I have problems with your promotion." (Why?) "You always show up a half-hour late to work." * If somebody is "I"ing a bunch, they may be off in their own head. * You can help by using "You" statements to join *with* them * This gets you both on the same wavelength * Then you can coax your partner into the scene. * If somebody is "you"ing a bunch, they may be hesitant to define themselves. * You can help by using "I" statements to join them, etc.
* Two people on stage * Players often have "pet topics" that you can toss them. * (Pet peeves, etc.) * Give somebody their pet topic, and they'll *engage* immediately. * In this exercise, you give your partner a setup that includes their pet peeve. * As the scene goes on, you can find ways to goad your partner further. * Possibly by reasonably disagreeable. * "Well, it can't be *that* big a deal...." * You can use this technique "in the wild" * So always try to get to know your cast before the show. * This is often more useful than traditional warm-ups. * Play to what your partner knows. * That aids with engagement and specificity.
* Two people on stage * They do object work for a suggested job. * They talk about *anything* but the work. * Let the conversation range around 'til you find a topic that engages both of you. * Don't be afraid to *drop topics* as you go. * Say you start the conversation with X-Files * Then you get to an engaging conversation about dinosaurs. * For god's sake, don't go back to X-Files after that. * In shows, this can be a great way to "chill" after a lot of plottiness/action.
* Rules: * Eight people onstage. * The first two people do a ~1½-minute scene * The next two people repeat that scene as best as they can * The next two people repeat the reproduction * And so on. * This shows that it's easier to observe and recall a scene than you think. * You can miss the lines, and still catch the POV and the basic beats. * Errors in recall are perfectly okay to the audience. * This shows what you should do on the wings. * Watch the show, enjoy it, attend to it, and recall it. * This helps you do callbacks. * Specifically, this helps you call back *other people's* offers. * (Instead of just your own.) * If you can remember things well, you can *hold off* on that callback for a while. * *Fun* is much easier to remember than the Quagmire of Angst is.
Mood: contemplative · Music: none