Sometimes in scenes we aren’t playing people.  How do you train improv performers to support offers that aren’t people?

1. Snape Approves
2. Sorting Hat
3. Escape from Gringotts
4. Clumping

I went over warm-ups that encourage people to accept the reality, instead of judge the offer. The choice we make as a team are always so much more impressive than the unsupported choices of an individual.  There is this African Proverb that says, “if you want to go fast, go alone. If you want to go far, go together.”

Escape from Gringotts (AKA: the Machine) really brought the team together.  It was a great visual and way to support a move that wasn’t based in spoken words.

We also worked on organic openings and evolving from creation to creation.

I’ve decided to start every season with the explanation/dissection of  a format or move in improv.  Formats are the Harold, Armando, Living Room, Camershrapnel, etc.  Moves will be things like mapping, Canadian Cross, split scenes, monologues, etc.

And I’ll call these Episode 0 of the season.  We start off with a dissection of The Harold!

This was the online show (which you can see on our Facebook Page), and I feel as if they did such incredible work.

1.  Charms
2. Shake It Off

We worked on names in scenes, and how emotionally evocative names are a better offer than more polite names. At the top of scenes is the best time for evocative gifts.

The ensemble work was incredible and I talk about interviewing two people after the show.

"I like that I can go on stage and have no idea what I'm doing and every one figures it out, including me."

The three Warm-Ups we did this time were:

1. #Likeable
2. Sorting Hat
3. Fantastic Beast

I solemnly swear I’m up to no good. Yes, and … this was the first time I ever mentioned the concept of “yes, and” in improv and it was 8 classes in. We did three different Harolds. The final set, with 12 people and they did excellent.  I also talk about what has been paying off big! There are also big signs that this needs to evolve more into a team, not just a revolving door of improv. 

Also, in the after interview a member of the class said one of my most cherished quotes.

"I like that I can go on stage and have no idea what I'm doing and every one figures it out, including me."

Justify, don't normalize. 

The four Warm-Ups we did this time were:

1. The House Cup
2. Big Bogart
3. Mirror of Erised
4. Party Quircks

I solemnly swear I’m up to no good. I talk about trying to win the game, but the goal is not to “win” the game the goal is “trying” to win the game. The drama is not in the “win” but the “trying” to win. Once you win the scene is over.  I also touch on the philosophies of don’t play a kid, a stranger, drunk or crazy.  And why I say that. Always play an expert, this is not your first day on the job, and your character owns the space.  That person is not crazy, they are actually the smartest person in the world. Don’t normalize, justify your partner’s choices.

"Too cool for school" attitudes. 

The two Warm-Ups we did this time were:

1. Deathly Hallows
2. Sorting Hat

I solemnly swear I’m up to no good.   We ran through the Harold 3X’s including five people who have never done improv before.  I’ll tell you how it went in the episode. Also, something we all deal with: people who feel like they are too cool for the class, and how it tends to be their insecurity more than anything. I get more mileage out of treating people like geniuses.  Many times people succeed because they don’t know they should be struggling. I also talk about some of my personal strategy in the first three seconds of a scene.  Hope you enjoy this podcast!

We went over the Armando, Living Room and Montage.

The four Warm-Ups we did this time were:

1. Transmutation Tag
2. Sorting Hat
3. Character Circle
4. Hogsmead

I solemnly swear I’m up to no good.   In this rehearsal we learned about entering scene without having an idea and discovering the scene instead of inventing. Then for the rest of the rehearsal I introduced the improv performers to three long form formats: the Armando, the Living Room Format, and the Montage. I talked about some of my efforts for outreach and retention.  Also, this episode is recorded on the same day I found out one of my improv friends died.  It struck me profoundly.  I talk about the unique bonds we create in the improv community. Finally, the episode ends with the improv thought … “water monster.” 

There are different types of people in the world.

The three Warm-Ups we did this time were:

1. Polyjuice Potion
2. Peripherals
3. Edits

I solemnly swear I’m up to no good. We went over the 5 major ways to edit scenes in a long form set and we also went over The Quest, The Slacker and The Movie format. I also discuss a person who attended who may have been on the spectrum, and how this challenges teaching an improv workshop/drop-in.

My own theory on improv.

The three Warm-Ups we did this time were:

1. Horcrux
2. Quidditch
3. Monster Book of Monsters

I solemnly swear I’m up to no good. Touched on the concept of “ironic detachment” during the warm-ups. Opened up on my own personal theory of improv a bit, and my start in improv. I believe that one way to attack an improv scene or set is by recognizing the patterns or behavior.  The first pattern or behavior could be as complex as “a team of scientists defusing the bomb made of anti-matter during Christmas” or as simple as this one person repeats a beeping noise.  Once that pattern has been established as the status quo, then a second pattern is introduced either as an alternate to the first or in contrast.  Some companies may identify this as game.  I think it’s more about patterns – which is inclusive of character, environment or relationship. The first pattern should have a wealth of information or be explored for a while before any other patterns are introduced. It also relates to a sense of timing as to when patterns should shift.

A high tide raises all boats.

The two Warm-Ups we did this time were:

1. Legilimency
2. Hogwarts Express

Talked about the challenge of retaining and attracting people to the workshops. Also, about the philosophy about more improv shows and workshops helps improv everywhere. It increases awareness and provides more opportunities to learn the skill of improv.