IMPROVISATION NOTES: III TERMS OF THE TRADE

“IMPROVISATION IS LIKE STEERING A CAR BY LOOKING THROUGH THE REAR VIEW MIRROR. YOU DON’T KNOW WHERE YOU’RE GOING, YOU CAN ONLY SEE WHERE YOU’VE BEEN.” KEITH JOHNSTONE, BRITISH DIRECTOR OFFER: Any idea an actor or player brings to a scene. ACCEPTING: Saying yes to whatever is offered on stage, no matter how inconceivable you might think it is. Also furthering the scene with an offer. Example. “So here we are in Spain, sis.” Acceptance “Yes, my favorite country. Uh, oh, watch out for that bull.” Implied meaning: Yes, and Our goal in every line given on stage is to agree and further. There is no time for argument, or hesitation. If it doesn’t move the scene forward, DO OR SAY SOMETHING THAT DOES!

CRIMES IN IMPROVISATION BLOCKING: Saying no to whatever is offered on stage because you think you have a better idea. Example. “So, here we are in Spain, sis.” Answer: “ “This is Northglenn!” Implied meaning: No, I have a better idea than you! GAGGING: Responding with something that makes no sense with the offer that was given, in order to get a cheap laugh. Example. “ So, here we are in Spain, sis.” Answer: “ You’re smelly.” Implied meaning: Who cares what you said, but aren’t I funny?

PIMPING: Putting your scene partner on the spot, or making them do something embarrassing, just for the fun of it. This makes your scene partner look bad; Don’t do this. Example. Opening an invisible book and saying to your scene partner, “Read this.” Implied meaning: I HAVE NO IDEA WHAT TO SAY, BUT MY PARTNER WILL SAVE THE DAY. WAFFLING: Saying neither yes nor no to an offer given on stage; going back and forth, and never making a decision. Also known as flip-flopping. Example. “So, here we are in Spain, sis.” Answer: “Is it Spain? I thought it was Paris, wait, oh, yeah, it is Spain, or isn’t it?” Implied meaning: Yes, no, maybe, kind-of, sort-of

Wimping: Not giving your scene partner anything to work with. Putting all of the decision making on them. Any question is a wimp because it makes your scene partner do all of the work. Example. “So here we are in Spain.” Answer: “Really?” Implied meaning: What do you think? I sure don’t know Over-Accepting: Accept as enthusiastically as possible, redirecting the scene in your benefit. Stealing the scene; Turning a dialogue into a monologue. Not letting your scene partner get a word in edgewise. Example. “So, here we are in Spain, sis.” Answer: “Yes, Spain is my favorite country. I love the sun and the language and the men. Do you see that gorgeous man over there looking at me? Should I talk to him? Wait, I don’t speak Spanish.” Implied meaning: Look AT me, I’m brilliant and funny and the scene is all about me.

SOME RULES OF IMPROVISATION: WISDOM OF CHARNA HALPERN AND DEL CLOSE, WROTE THE BIBLE OF IMPROV CALLED, TRUTH IN COMEDY. FOUNDERS OF IMPROV OLYMPICS AND TEACHERS OF MIKE MEYERS, TINA FEYE, CHRIS FARLEY, AND AMY POELER: 1.First off, there are no rules 2.Agreement is the number 1 rule 3.Agreement is much more interesting than arguments, because when you argue or hesitate, you stop the scene from progression. 4.Sometimes agreement means that you have to say no if it makes sense with the offers given. This is agreeing to what the other actor asks, and this might mean agreeing to say no. For example:  If a character is playing a mean orphanage matron who is listing off chores that were completed unsatisfactory, and the orphan asks, “May I please have something to eat before we begin?” The correct answer would be no because the orphanage matron character probably would say no. The key would be to not make this into an argument, but for the orphan actress to accept the situation and move on to her chores. No need to write this word for word.

5. Improv is about agreement and progression 6. He who gives information is a gift-giver, he who asks questions is a thief. When you ask a question, you usually have an answer in mind anyway, so why not make a statement instead? i.e., “Is that plane on fire?”, could easily be reworded to “Look, that plane is on fire!” 7. Justify every offer given on stage, regardless of how ridiculous it sounds. 8. Don’t talk about what you’re going to do, DO IT. 9. Treat others as if they are poets, geniuses and artists, and they will be. 10. The best way to look good is to make your fellow players look good.

11. Listen to everything said on stage, and even more important, remember. 12. Nothing is ignored 13. Nothing is forgotten 14. And nothing is a mistake

C.R.O.W. C. Character R. Relationship O. Objective/Obstacle W. Where