Tag: game of the scene

The Backline E159: The Johnstonian Dictionary

Here are some notes and interpretations I took while listening to Toronto improv podcast The Backline. This is from Episode 159: The Johnstonian Dictionary. Click the links on the times to be taken to an audio version of the note.

8:40 – “When you introduce a new term, or a term that is different, or different way of looking at improv, often people take it as a criticism of a deeply held belief that they have. And I think that’s a mistake. So you know, we may say something like “oh you know, here’s game of the scene, it replaces this part of Johnstonian improv.” And people go “Why trying to replace that, that’s awesome, we need that!” And no-one in improv is trying to erase section of improv history. Like the concepts that are valuable to you are still valuable, but this is just another tool, this is another way to look at it, and they exist, they can exist both in your toolbelt.”

9:48 – “I think the goal is always, is this clearer? Or does this help anybody? And I think that’s what renaming something or finding an alternate phrase to discuss a certain topic, anybody who talks about that, their goal is hopefully, “does this make more sense then what we previously held?” or “does this help clear up something you had a hard time you a hard time digging your nails into?”

11:34 – Relationship vs Dynamic:

  • Relationship (Johnstonian): How you and the other person you are on stage with someone, e.g. customer and barista. Often goes hand in hand with the “no stranger” rule.
  • Dynamic (Modern): How you are treating someone, e.g. bully and victim.

14:54 – “If you feel a certain way towards someone and you’re treating them in a certain way, we actually have enough meat to make a scene out of it. And the thing that a relationship doesn’t actually give us, it doesn’t give us reproducible results.”

16:27 – Relationships can result in players acting out stereotypes, where as dynamics can provide playable feelings towards each other.

19:47 – Who/What/Where vs The Behavior: Both of these are considered the labelled context of the scene.

  • Who/What/Where (Johnstonian): Things that the audience will never see, e.g a forest.
  • The Behavior (Modern): The labelled dynamic between the two people in the scene that can live anywhere.

21:44 – In modern longform, we’re taking characters from one location and putting them in a different context. Taking large amounts of time setting up who/what/where is wasted time, as it’s unlikely to be reused in later beats. Instead, paying attention to the behavior allows us to bring something in that the audience has already identified with and can heighten.

23:40 – “If the location is the star of your scene, it’s not going to be a great scene to play or to watch.” The transition from neutral exposition (e.g. about the environment) to passionate emotion is hard!

25:48: Playing Status vs Playing Game of the Scene: Surprisingly similar!

  • Playing Status (Johnstonian): The belief that all characters exist in hierarchy. Relates to how you character is treated, how you are seen by other characters, and how much weight your words have. e.g. the president (high status) over a homeless person (low status).
  • Playing Game of the Scene (Modern): Involves dynamics. Finding situations to affect the characters in the scene in a certain way. Status can be apart of a scenic game.

29:34: Surrender vs The Right to Play:

  • Surrender (Johnstonian): The idea that someone in the scene has to win or lose, e.g. a fight. Solves the problem of conflict in scenes.
  • The Right to Play (Modern): “You get to choose one thing. And the one thing is, what do you step into the scene with? What’s your first emotion, the first object work, your first line of dialogue. Whatever that first thing is, you are entitled to pursuit that for the rest of the scene. And anything that I [the improviser] do that helps you pursuit that more is good for the scene, it benefits us it creates laughter. And anything that I do that stops you from pursuing that behavior is a a bad thing.”

31:48 – Surrendering and Moving On vs Surrendering and Reinvesting:

  • Surrendering and Moving On: Giving up on conflict and moving to something else in the scene.
  • Surrendering and Reinvesting: Taking a break from that conflict and coming back to it with more intensity.

32:57 – Conflict doesn’t need to be solved. Sit in it. “The business is experiencing feelings on stage in front of people for no money.” By solving conflict, you’ve removed the dynamic established in the scene and need to find something new to play with.

35:20 – There’s a big difference between stopping someone’s play (e.g. the medicine you’re giving these kids is poison, stop giving it to them) and having a feeling towards someone’s play (e.g. I hate kids and you giving them medicine makes them better, therefore I hate you).

39:01 – Establishing a Character vs Establishing a Deal:

  • Character (Johnstonian): Who you are, your name, how you move, your job.
  • A Deal (Modern): The one thing you bring into the scene (see the right to play).  The emotion, line of dialogue, object work.
  • A deal is a thing that you’re doing in this moment. It is something that you are present for. Your character is how your deal is received by your partner.

41:36 – “Who we are ultimately is something we discover by what we’re doing in the scene.” If we’re coming in with a pre-established character, we’re expecting a certain reaction from the other characters in the scene.

42:50 – “When I step on stage with a full character that’s pre-established, I turn the person I’m playing with into my puppet. Either they do what I say and do what my psyche demands of them, or we get into a conflict. And that’s a bummer of a feeling. It’s a bummer of a feeling to either go “okay I’m just doing what you want me to do here.” It’s also a bummer to be like “I don’t want to drop my deal ’cause this is who I am but you won’t let me play the thing I stepped on stage with because it interferes with how the scene is supposed to go with your fuckin’ Jorje the Spanish waiter, you know?”

Awareness of the Game

There’s only so much you can do by yourself in order to develop your improv skills, especially on your lonesome. Try shaking it out in front of a mirror and you’ll see what I mean. Lately, my improv development has been watching episodes of the old sketch show Full Frontal.

Yeah, I’ve been watching sketch comedy to improve my improv. I must sound crazy – like telling you that I’m learning how to ride a bike by driving a bus. Sure, they are both forms of transportation but they are executed very differently! The same goes for sketch comedy and improv, but there are lessons we can learn from the former to apply to the latter.

It’s said that a great improvised scene could be written out beat for beat as a scripted sketch. The Upright Citizens Brigade Theatre’s approach to scenework is that a scene should have an identifiable pattern that the performers find during the scene, which is then played back and forth. The pattern starts off as something familiar and even relatable, but gets more and more absurd as time goes on. This is known as the game of the scene. The idea is that once we have found this game, we can strip out the specific details from the scene and apply the same game to a different scenario – meaning that we are getting to the funny thing even quicker because we have established rules.

If you’re head is spinning, stick with me. It sounds impossible – how am I supposed to work out what game we are playing in the scene and play it without discussing the rules before the scene begins!? Much like how awareness and listening to your scene partner makes it easier to yes and, awareness of what you are doing in the scene and what your scene partner is also doing makes it easier to identify the game of the scene. Amazingly, that skill can be practiced off-stage simply by watching some sketch comedy and identifying those elements as if we were performing an improv scene.

Back to Full Frontal. Here’s a sketch featuring Shaun Micallef and Daina Reid. Give the sketch a watch, then we will break it down.

Done? Good. Reviewing the sketch, we have Viv (Reid), a personal assistant talking to her boss William (Micallef) about his schedule. So to establish the scene..

WHO: Manager and personal assistant.
WHAT: Meeting to discuss schedule.
WHERE: Manager’s office.

This can be referred to as the base reality of the scene. The idea of the base reality is that it’s a believable, somewhat realistic situation featuring complementary characters. It’s not funny, and that’s ok. We are going to find the funny as the scene progresses. Let’s continue.

Viv continues going through William’s travel plans, giving William the time, his next activity (having lunch), and what he is going to say next (“Good I’m Hungry”), which gets the first big laugh of the sketch. Why the laugh? Because it’s illogical to the questions that came before it – why would a manager ask his personal assistant for a line of dialogue? We can refer to this as the first unusual thing that happened in the scene.

FIRST UNUSUAL THING: Manager asks Personal Assistant for what he is going to say next.

The sketch goes on with Viv going through William’s schedule, before telling William to keep breathing. Now while this is sketch and everything is predetermined, if this were an improv scene, Reid is acknowledging to Micallef that she noticed the unusual thing and is going to continue down this path, creating a pattern of Viv dictating William’s actions. If the characters in the scene are Punch and Judy puppets hitting each other with a rolling pin, the actors are puppeteers exchanging a firm handshake that they know what they are working on.

Continuing, we have Viv and William going back and forth on the schedule. William asks Viv if he is doing anything else, Viv asks if he’s had a poo, and William replies “Well you’re my personal assistant, check my schedule”. And boom goes the dynamite – our pattern is established, we have a game in this scene. William asks Viv what he is going to say next, Viv tells William to keep breathing, and Viv asks William if he has done a poo – and he will only do it if Viv has scheduled it. Viv isn’t just a personal assistant to look after William’s work life – she’s a personal assistant to look after EVERYTHING William does!

GAME OF THE SCENE: Manager employs personal assistant to do everything for him.

But the aim of finding the game isn’t just to play it in this scenario, it’s to play it in different scenarios. So we should remove the specifics of manager and personal assistant to try and work out the true game of the scene. A high status person delegates their life to a low status person. Or even simpler..

TRUE GAME OF THE SCENE: Delegate my life.

The rest of the sketch is the game playing out. Viv reminds William to keep breathing, and William keeps delegating his tasks to Viv. Viv reminds William to keep breathing, eats his lunch, gets his massage, kisses his wife, drinks his coffee – before almost reminding William to breathe one last time which she doesn’t (rule of threes!); seeing William collapse and the scene get its blackout moment.

Now if this were the first beat of a Harold, we have a clear game that we can bring into the second beat, placing the true game of the scene onto different specifics. The beauty is that because the audience has already been introduced to this game, they will understand what’s going on – be it in a different scenario with different performers. All we need to do is introduce someone delegating tasks to someone else who might be their servant, or at least lower status. Perhaps a tennis player asks for the ballboy to serve the ball for him, take their car to the car wash, and sleep with their partner. We can then explore the life of the ballboy, finding out who they delegate their tasks to, all while playing that game.

So in review: Set up the base reality – make it relatable, make it real. Play with that until you strike on the first unusual thing, and make sure both performers know it has been found. Pattern out that unusual thing until you have the game of the scene. Play that game out by heightening until you can heighten no more, which will conclude the end of your scene. Then break down the game as simple as you can to find the true game of the scene so you can play it later on.

Not every sketch you see will have a game, let alone a clearly defined game; and the same goes for improv scenes. But if you’re working towards playing games in scenes, or just want to understand how that funny sketch you watched kept getting funnier, watch that sketch again with awareness for the elements of the game.

Hoo boy, this is a good episode of Improv Nerd. Around 16 minutes in, host Jimmy Carrane asks guest Will Hines to define the UCB’s philosophy and go into the game of the scene. Then at 18 minutes, the two perform a game based scene followed by a discussion where Hines separates the base reality from the games going on inside the scene. They then re-do the scene, playing the game differently each time. Neat! Download the episode over at Feral Audio.