Got Your Back E43: Maybe You Aren’t Listening

Here are some notes and interpretations I took while listening to Austin improv podcast Got Your Back. This is from Episode 43: Maybe You Aren’t ListeningClick the links on the times to be taken to an audio version of the note.

7:08: “If you’re not listening, you’re inventing. [..] If you’re not using what the other person is giving you, or what you’re even giving yourself, or if you’re not aware of what’s going on then you’re not going to be able to use it.”

  • Usually happens the first line out of a scene, due to nervousness?
  • Use the intended specifics given at the top of a scene by your scene partner

9:06: “It’s like you gave some information, and then I was like hey this would be crazy! [..] It’s not working together, it’s like working alone, next to each other at that point.”

11:05: “Relax up top. [..] If you get nervous, just try and do more of what they already said, or just try and react to what was already there. Try to avoid going into your head and creating something external based on something that wasn’t said, inferred, with a subtext of what was said.”

  • If you feel unclear, do some object work, keep listening, let your partner keep feeding you, or just ask them
  • It’s fine to ask “what did you say?” if you didn’t hear your scene partner. React to it!
  • No matter how crazy it gets, we can always make sense of it.

14:31: “It changes the reality every time we aren’t listening.”

15:36: “It’s all right there, you know. It’s always all right there. There’s never nothing going on. If you look at the person there, you’re in a position in relation to each other, you’re probably emoting with your eyes even if it’s just I’m uncomfortable because I’m an improviser on stage and the show just started, and you can always use that. You can always read what’s there.”

  • “Being ahead of your audience is a great thing, but not during the first few lines”
  • Get on the same page as performers, then race to the top!

19:51: “The second level of listening is communicating that you’ve listened.”

  • Listen for the intent behind the message, which will prevent negotiation at the top of the scene. Agree with that first line and play it!
  • Play the simple game and make it more complex.
  • Let the things that come up from the suggestion/opening filter who you are, rather then what you say at the top of a scene.
  • If your scene partner walks through a object work made desk, do you call it out or leave it be? Prioritise: What’s the most important thing in the scene? If the scene partner is talking about relationship, it’s that. If the scene partner is spouting non-sequiturs – it’s the desk. Play with the fire – their intent should be given weight.
  • If you want to play with it, tie everything together – make the walk through a choice with wha telse your scene partner is giving.

35:51: “Listening is the willingness to change.” – Dave Pasquesi (or someone. It wasn’t made clear)

36:06: “The desk in a certain level plays the same role as an improviser talking through their drink as they’re drinking. As an audience member I’m going to notice it and I’m going to move right past it because the interaction and the emotional connection between the two performers trumps that little bad piece, or quote unquote bad piece of space work. [..] If there’s a perfect world to bring it together without derailing the scene, that’s great. But if not, I’d say the emotionality trumps that bad space work and that ignoring it, most of the audience will ignore it [..], maybe some of the improvisers will notice and if they’re judging your show on that they can go fuck themselves.”

  • If you don’t know what to say, let it wash over you. Take a moment and then react.
  • If you’ve created something, there’s probably so much more to do. So explore.
  • If you’re going to reference something, reference something from the show, not something completely outside of the show. Use the universe we have!
  • Entering/editing after a reveal: hurts the group as a whole. If the people in the scene have just found momentum, let them keep that ball rolling before taking or stopping the ball.
  • Side support: Don’t come on to add information that has previously been established. Add information that helps the people in the scene focus, don’t distract them. Give the players time to use that information too – don’t make the move because it’s a “good” move to make.
  • If it’s fun for you on the sidelines, it doesn’t necessarily make it fun for the people in the scene.

54:41: “Try this guys. Go out there, start a scene at a restaurant, be clear you’re at a restaurant but have no waiter there. Be talking to someone else, and see if your group has the discipline to not just walk on with some wacky waiter that changes the game. [..] If there’s a scene at a restaurant there’s going to be a waiter coming in. And they, likely are not going to have the same focus or necessarily be heightening the focus that the two people who started the scene had, and that feels shitty to me, it feels like that person isn’t listening.”

55:41: “So basically, listening trumps inspiration.”

57:52: “Listen to yourself. Do you know what you just did so you can do it again? So you can play that thing? So you can replicate it or in some way use it? You have to have an awareness to yourself.”

  • Take time with what you’re doing. You are not forced to do stuff without realising what you’re doing. Slow down!
  • Call out what the other person is doing – they might not be aware that they are doing it.

59:53: “If they know what they have each done, there’s a whole well to go back to.”

  • Sometimes informed by the feeling of “we need to” instead of listening met with judgement. Keep yes-anding.

1:01:33: Group scenes: Focus everyone on to one piece of information. The more people on stage, the more you should be listening.

1:03:02: Remembering elements of the show: Games/What scenes are about and names!

  • Names: Allows for a slow show to look slick, allow for big show moves to happen because you can shortcut them by simply mentioning the name. Smooths things out, especially for second beats.
  • If it’s half way through the show and you have to keep rebuilding, you would have never be able to build higher than you previously did.
  • Repeat names at least three times, so your teammates have something to use. “Plant the flag”
  • Give them nicknames, adjective names to help them stick. “Old Mean Steve!”
  • Naming scenes: A short descriptor to make things easier to remember in second beats. “Garlic eating Ned”
  • Use physicalities, use space to do second beats and callbacks.
  • Name the scene based on the relationship.
  • You can remember stuff based on movement – rocking back and fourth, part of the stage.
  • Write on your hand (ala spelling bee)
  • Hosting: Don’t over explain! Let the audience handle some of the joy of finding out what’s going to happen for themselves.

1:28:00: What to do if someone isn’t listening to you:

  • Listen to them, go to them. Long term, may not be someone you want to play with.
  • Use the “not-listening”. Justify what they are saying and build off it. Don’t pretend it didn’t happen, it’s a gift.

1:31:07: You realise you’re not listening: Don’t beat yourself up in the moment, just start listening.

1:31:39: Joe Bill – two ways to deal with the negative and positive on stage.

  • Boil everything down to the plain of it’s existance – everything is a duoality, either a postive or a negative. Take in what your scene partner is doing on stage and frame it as either with curiosity (positive, I want more of that) or with suspicion (negative, I don’t want more of that). Use it to explore the reason behind the action.
  • “I think it’s much more sustainable to say ‘why would you doing that?’ then to just say ‘stop doing that'”
  • If you’re going to ask a question, add information like a name. “You went to the store, Joe?”
    Memory exercise: Repeating some of the last line and adding on. Makes what you’re playing with super clear.

Got Your Back E24: Roy Janik

Here are some notes and interpretations I took while listening to Austin improv podcast Got Your Back. This is from Episode 24 with Roy Janik of improv group Parallelogramophonograph. Click the links on the times to be taken to an audio version of the note.

4:50 – Interesting things about the Keith Johnston approach:

  • Be obvious above everything else. If something occurs to you and it’s really stupidly obvious, that’s what you should be doing.
  • Don’t try so hard, don’t get in your own way.
  • Teaching yourself to trust your very base instincts

7:08 – “You’ll probably discover some fun thing along the way if you just start doing it.” Creating something from scratch and communicating it to 3 to 10 other people without talking about it ahead of time will probably create its own problems.

7:46 – These issues that people give themselves come out of fear.

9:01 – “It’s not just managing failure, and it’s not just being ok with failure. It’s actively perusing failure and celebrating it.”

9:48 – “That’s an easy thing to say but truly a tough thing to believe. But if you can get to the point on stage where you make “a mistake” and not only are you ok with it but basically you laugh it off and turn it into something beautiful, the audience sees that you’re at that level of comfort and confidence, basically half your job is done.”

12:58 – “Be average! Be more boring! Do less!”

21:38 – Narrative is taught to focus on one single character and follow their journey.
Tools: Once upon a time there is a thing, and every day they did this, until one day something happened that shook it all up, and because of that all these things happened, until finally this climax happened, and ever since that day it’s been like this.
“There’s a world, something happens to upset it, we go through a bunch of shit, and something happens to create a new normalcy”

24:20 – Difference between Johnstone style and Chicago style: character change.
In Johnstone style narrative, a platform tilt will result in change of status or relationship and a character might have a change of heart, status, or change of philosophy.
Chicago style means that we play with character and heighten that relationship/status/philosophy, but not necessary change it.
Same want, same character, different environment.

30:45 – “What does this show want to be? What makes sense for this show?”

34:00Mindsets: “Completely serving the show, to a point where […] trying not to worry about being polite, accepting the fact that we have this level of trust where I can put motivations in other character’s minds, or I can endow them as having done things in between scenes, and vice versa. Or where I can tap them out and take over their character, and mess with them in that way.”
Full commitment, zero risk.

43:40 – Narrative can work on instinct rather than sticking to structure – work on impulse, move when inspired. “In a perfect show, I’m never thinking ‘right now a mentor needs to come in’ but I will know a mentor needs to come in.”

Got Your Back E39: Eat the Whole Pizza

Here are some notes and interpretations I took while listening to Austin improv podcast Got Your Back. This is from Episode 39: Eat the Whole Pizza. Click the links on the times to be taken to an audio version of the note.

3:24 – Working way harder then you have to – aka eat the whole pizza, use the whole buffalo. Slow down, be more efficient, use what we have to create more stuff.

4:39 – Why does it happen? Judgement (of what’s happening on stage), a lack of trust.

6:16 – “If it feels weird, do it more.” – Liz Allen. If it feels weird, you’re not 100% committing.

8:02 – “The minute you start judging from inside the scene that what you’ve put out isn’t enough, you start being at that 80%. You’re not committing, and all that judgement can rush in and you’re stepping away.”

9:12 – “This idea that if you’re going to keep worrying and being in your head and trying to control stuff, it’s going to be so much more work for you.”

10:30 – “It’s improv – to get something going someone is going to have to buy into someone else’s thing at some point. If we’re not going to do more of this thing, then maybe you could give the next thing, but are people going to buy into that thing? Or are people going to be people putting out next thing after next thing after next thing and we never get anything going. So it’s that idea of going deep versus broad. It’s not about doing the next thing after the next thing after the next thing. It’s about doing a thing and then doing the next thing specifically affected by it. And that requires awareness of the moment.”

16:45 – “Looking at the offers that happen not just as throwaway lines, but every offer we could go deeper into.”

19:16 – The ideas you pull from the opening of a Harold is like a stool. “The further apart those three worlds are, it’s going to hold up that stool so you can sit on it.”

23:41 – “A scene starts, you have something, and I’m like “this is great, it’s real, I believe it, I’m into it”, and someone will get scared or fearful or otherwise self-aware in a negative way and then try to force something or they’ll invent, they invent rather than mining or inferring from already established information. Or even backing away from it is another thing that happens.”

28:43 – Be patient in our exploration of each move. It requires really listening to and reacting to each move, and not being in such a hurry. You’re not really soaking in the implications of what is being said and using that verses getting too carried away in what you thought was happening.

33:40 – Heightening without exploration – if it’s heighten/heighten/heighten/heighten/move/move/move/move, and we’re not taking the time to use any of these, it takes you out of reality. You have to explore/deal with the consequences/react and respond, otherwise it’s replication/ignoring – it’s crazy town, people making game moves.

Think I am a Tree – because of the last thing, we have the next thing; not a new thing. If we have the tree, we have bark, if we have bark, we have a carving.

37:20 – If we have an idea in the first beat, we want to explore the specifics in the second beat. If people’s butts are poison in the first beat, we can explore that reality – people’s butts are poisoned due to incompetence at the boron factory – let’s explore incompetence at the boron factory.

38:42 – “On a big scale, what are we doing here? Element: butt poisoning, how can we do more of that?”

39:20 – On callbacks: Callbacks are like steak. It’s really great, but five bites of steak really fast is gross. But if you put a little space, it’s incredible.

44:42 – “Keep it simple – it doesn’t always have to be two guys hanging out and one of them’s a vampire! The fun will happen if you trust the process. […] There’s going to be some fun thing that we can do, either implicit or explicit, if we’re listening and being efficient. That’s going to be less work than creating something from scratch.”

45:20 – How to use this. Person A starts a scene, Person B’s response must contain some of Person A’s line in their response. Person A’s response must contain some of Person’s B line in their response. Repeat.

47:07 – “Let’s get more specific on the specifics.” Using some of the last line will get you that emotion of that out that makes you continue

51:00 – As an audience member, simple = satisfying. If you do that and it happens organically, it looks amazing. The laughs that you generate are of a different quality too – they are more staying, and will stick around longer.