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The Rules of Improv- Part II by David Alger (Pan Theater June,
2005)
Okay, so in the previous article we discussed some of the basic
concepts such as “yes’and”, making statements rather than asking
questions, and not blocking. In this installment of Pan Theater’s
Rules of Improv- we’ll focus on some more advanced concepts that
move us beyond dialogue to intent.
11) Give information to your partner.
All too often people in an improv scene will start speaking about
their favorite topic- themselves and their character. While
something is better than nothing- stronger scenes are built on
team work. You provide gifts your partner can use- details about
his character and he (she) in turn does the same for you.
Example:
Bob:
Gee, Martha I
always knew your degree in Nuclear Physics from
Cal
State
would save us from a monster.
Martha:
Yes, Bob- I
remember when you use to have the nightmares about me saving the
family from the Blob with a physics formula.
Both lines provide information that each partner can use to add to
their character and the scene. Providing something about your
partner- makes it easier for your partner to respond.
12) Listen to
your partner.
Listen to what your partner says, doesn’t say and the way he says
it. Each word, gesture or pause provides tons of offers and
information. Listening takes us outside of our focus on self and
the worry about trying to think of something to say. It becomes
about responding and reacting- much like everyday life. Go figure.
13) Respond to your partner.
Improv is about what is happening right now and the changes that
occur. We need to respond to what is said, unsaid, done and undone
by our partner. Building a scene is a joint process and if we
don’t respond we make our partner’s efforts meaningless.
Responding shows change, helps further plot and makes us human.
Example:
Sally:
I’m surprised
you’re home early Mark. I thought you had a golf game.
Mark:
(Looking around
nervously and avoiding Sally’s gaze) I did, um it got cancelled.
In this example
Sally is doing more than asking about Mark’s golf game. She is
calling him on something and probing. Had Mark merely replied or
said something unrelated it would make Sally’s setup useless and
wasted.
14) See the impact of your response.
Okay, you’ve spoken. Now SHUT UP and pay attention. Look to see
the response. See the impact of your words and actions- did they
work? Did you accomplish your objective? Give your partner a
chance to respond to what you said and did. We expect responses
and reactions in real life. We should do the same in improv.
Brian:
Well, you have won your third horse shoeing trophy Mary.
Congratulations!
Mary:
(looking down
sadly) Yes, I have…thanks…I suppose that means...
In the example above had Brian talked through Mary’s response- he
would have missed her sadness and her offer that all isn’t as it
seems. Seeing the impact of our words allows the “conversation” to
move beyond words to feelings and actions.
15) Look beyond the words.
The previous examples all showed the importance of looking for
details that were not expressed in words. The actions that
precede, accompany and come after words are just as, if not more
important. Words in improv, as in life, are tools to accomplish
goals. Character goals often are quite different from the dialogue
spoken. The context helps reveals the subtext.
16) Use more than words.
Don’t limit yourself to words or assume all responses require
words. Improv is about what is being done. What are you trying to
accomplish and what your partner is trying to accomplish? Often
times we speak of talking heads- improvisers who are doing nothing
other than speaking with no purpose or intent. Use your body and
your communication skills.
Example:
Jane:
(looking hopeful,
sighs, moves closer to Bob)
Bob:
(turns away and
walks across the room, but stops)
Jane:
(approaches and
puts arm on Bob’s shoulder)
Bob:
(starts to shrug
her arm off than stops)
Jane:
Please, one more
try for old times sake?
Bob:
(looks at her and
shakes head yes, but is hesitant)
Both (hug)
17) Accept silence and being self conscious.
It is okay to be self-conscious. It is okay not to speak.
Conversation is as much about the quality of silence as it is
about the words spoken. Don’t be afraid to respond without words.
Being self-conscious doesn’t mean we have to entertain or try to
please. When in doubt, use it in the scene..."you know, you make
me nervous when you speak so slow." Throw your attention back on
your partner and let your responses come from the moment. Words
are too often used to cover up stage fright, fear of being
vulnerable or real emotion.
18) Be doing
but don’t focus the dialogue on what you’re doing.
Scenes are about relationships not what we do but how what we do
changes our relationship and current position. By focusing the
dialogue on actions and things we avoid interacting with our
partner. We also avoid taking chances and having real emotional
reactions to the situation. Let the dialogue be a bridge to the
relationship.
Don:
(practicing Tai Chi)
Hi, Dad, didn’t
realize you got in from
Boston
already- great to see you!
Dad:
(taking bags out
of car)
Got an early
flight, couldn’t yet to see my new grandson and his father!
Congratulations!
The dialogue provides a sense of character and relationship.
19) Sooner is
better than later. Do it now.
When an opportunity for an action comes up- do it! Don’t speak
about it, don’t lead up to it, don’t put it off. Do the action so
the scene can move forward.
20) Have Fun and Relax.
Improv should be fun. An audience loves to watch someone having
fun. By letting go of fear of failure we commit more, focus more
and become more fully. Practice exercises that help you relax
before the show and between sets.
Pan Theater is
pleased to offer this ongoing series of articles on the Rules of
Improv. We hope it helps your improv, scripted work and life in
general. Watch for our next article: Rules of Improv- What the Scene
Needs. This material may re-used and reprinted as long as the
attribution to David Alger and Pan Theater is maintained.
How
to be a Better Improviser- Dan Goldstein
Guide for
improving your improv acting.
Kiss
the Lizard- Doug Kassel
Advice
for
increasing the drama and energy in your scenes.
What's
Talent and How Do I Get Some? - Doug Kassel
Give
yourself time to learn and grow.
Making Sense of the Merkle -
Doug Kassel
Free
association and sound games for improving expressiveness. |
