Category: Link

Patrick’s Improv Reflections – 09/09/15 Show→

Straight / absurd is a lens to view a scene.  It is not the only lens, and it is not a perfect lens, but I find it a very useful lens.  You can use it or not.  You might find status, story or character to be more useful lenses.

Neil Casey 401 Notes Day Final→

  • The main difference between a 201 grad show and a seasoned improv show is that when people step out their eyes are locked on each other. People are so worried about putting out their initiations that they don’t see the choices they’ve already made.
  • I think of scenes like pyramids, on the bottom we are listening to each other and agreeing, above that we are playing realistically and intelligently, above that making them important and reacting emotionally and above that game.
  • Saying a suggestion in a Harold is usually really lame. It’s like if Darth Vader were to say “I declare Star Wars”.

Will Hines substitutes a UCB 401 class and brings a lot of wisdom. That last quote made me laugh out loud.

Bill Arnett workshop notes on character→

  • In the info of a line, what’s important in that line?
    • What’s conveyed?
  • Character > situation
    • The character is what’s important
  • If your worst scene is still a realistic depiction of life, you’re golden.
    • Gagging is unrealistic.
    • Frequent direction:  “This is really happening, <x>!”
  • Don’t play the action, play the person.
    • Again, character > situation.
  • You can always disclose your opinions/knowledge about the other character.
    • This lets you ‘check in’.

Loads of good stuff in these notes.

The Transcendent Function in Improv→

You’re supposed to be “in the moment,” to react with authenticity and without judgment, but you also can’t just say or do anything that comes to mind—there are rules, structures, ways of making your scene work better or worse, and you have to abide by those rules and structures while still at the same time seeming (and hopefully being) present and living fully within the moment. You’re supposed to establish who you are and where you are and why you’re there, but you’re not supposed to be clunky or overly expository about it. You’re supposed to find “the game” but still “be present” and engaged.

Patrick’s Improv Reflections – 10/14/15 Show→

When you’re being led by discovery, you’re analyzing your scene partner for information.  You aren’t looking internally for ideas, you’re looking externally at your scene partner to see how they’re reacting, to see what offers they’re making (both big, obvious and verbal gestures, and smaller body language offers).  You’re then using those offers and making intuitive response offers.  That makes connection with your scene partner much easier, as what they’re receiving from you is based on what they’re giving out.  They aren’t being fed any strange curve-balls.

Adsit & Lutz Workshop→

Say yes grudgingly to bad ideas. If it’s something the character would not do, say yes but the character doesn’t have to like it. Saying no to jumping out of an airplane seems logical. But why are we watching this scene? What is happening today? Let’s see the day where someone acts on a BAD idea. No need to be enthusiastic about dating a serial killer. But saying yes and not being too sure about it might generate a funny scene.

Picture This: Shaping Your Scenes→

Stage picture is something that’s often ignored in improv, especially after the opening (if there was one). We’re usually too busy talking to think about what the audience is seeing, and what they’re seeing is probably two people standing around yakking.

The next time you find yourself rooted to the floor, change your physicality and see how it changes the scene. Not only will you feel different, but it will immediately look different than 99% of improv scenes.