How To Be A Better Improviser
by Dan Goldstein. First version 1996, last 2009.
These are some basic rules of thumb of improvisation.by Dan Goldstein. First version 1996, last 2009.
* = The key ideas.
Things the master improvisers do without thinking.
For a list of games to try these rules out on
visit the Improv Encyclopedia at:
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#1 - ACCEPT INFORMATION: YES AND *
When you get a piece of information from another actor, first, accept it as fact and second, add a little bit more information to it. If somebody tells you that you're wearing a hula skirt, tell them yes you are, and that you made it right here at Club Med.
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#2 - ADD HISTORY *
The swiftest way to add reality and depth to a scene is to have the characters call up specifics from their common history.
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#3 - ASK YOURSELF “IF THIS IS TRUE, THEN WHAT ELSE IS TRUE?”*
Often in improvisation, things deviate from the normal, the usual. (This happens for a number of reasons and it is usually not intentional. Improvisation is constrained communication so misunderstandings are bound to occur, and these misunderstandings, among other things, can lead to departures from normality.) When in situations that are fantastic, respond realistically, and heed this simple maxim to govern your action: ask “If this is true, then what else is true?” Each time you find the answer, you can play it out.
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#4 - BE VERY SPECIFIC
If you're going to say "nice car!", why not make it "wow, a 1979 Volvo Station Wagon!" A more vivid image opens up a rich, new world. Adjectives accelerate scene development.
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#5 - BEGINNING SCENES
Basically, you want to cut to the interesting stuff as soon as possible. This is why we sometimes advise: start the scene with two people on, or start the scene with two people with common history - DOING SOMETHING INTERESTING.
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#6 - COMMENCE WITH CHARACTERIZING ACTIONS
Characterizing actions are those which define a character's occupation or role, such as a teacher erasing a blackboard, a janitor cleaning up, or a child playing with toys, are good for starting scenes because they provide your fellow actors something to build on. They say a lot about what is going on and thus help the scene get to the point faster. The audience knows what the status is and where the characters are before the scene even starts.
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#7 - DON’T DENY*
Denial is trashing what somebody else has set up or is trying to set up. There are many forms:
Mime Denial: Somebody spends five minutes setting the dining room table, another character walks right through it. This will make the audience squirm and gasp and have a general sicky feeling.
Character Denial: Not letting the other person be what she wants to be.
--Hi, I'm your Dentist.
--No you're not. You're my gastroenterologist!
Location Denial: Contradicting setting information someone else established.
--Periscope down.
--What are you talking about? We're in a helicopter!
The denying actor is not reacting to the presented information. Denial makes audience and cast uncomfortable. All denial can be rectified with Justification, but it's a real skill.
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#8 - ENTER AND EXIT WITH PURPOSE
Entering, exiting and staying put should have a reason, be justified. Give a reason. Unjustified exits tend to be a problem novices have.
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#9 - GET IN GROUPS WHEN THE NUMBER OF PEOPLE ON STAGE IS HIGH
When your longform piece is getting out of control, returning to two person scenes and "going line for line" will restore harmony in no time. (Yes, I know this is the third time I’m saying this, but it’s just that true.) The number two can be held steady by having new entrances cause immediate exits of other characters, but this shouldn't go too long. If the stage is crowded, then low-impact is the best policy for the non-essential characters, as well as clustering, that is, forming a group (physically and ideologically) behind a leader. Please don't abandon someone on stage unless they want to be left alone there.
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#10 - GIVE YOURSELF A SUGGESTION WHEN YOU DON'T ASK THE AUDIENCE FOR ONE *
We all know scenes are better when you enter them with an attitude, activity, or emotion -- so just pick one for yourself either randomly or in response to the other character, and you'll have a better scene.
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#11 - GO LINE FOR LINE *
You can almost guarantee a good improvisation if each player: 1) Says just one line and 2) Bases his or her line on the last thing the other character said. (this is pulled from a Sanford Meisner exercise)
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#12 - JUSTIFICATION
You must provide reasons for everything the audience sees that doesn't make sense. If you don't, it will disconcert them. That is, if 3 characters each mime the refrigerator being in different places, then the character who damns putting rollers on the thing will put the audience's mind at ease and allow them to get into the story and characters. They will also get a laugh, but that doesn't matter as much.
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#13 - KEEP THE FOCUS HUMAN AND ONSTAGE
Careful not to stare too long at objects that are offstage, on the floor or in your hand. What's interesting is a human reaction to an object, person, or event, not the object itself.
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#14 - MAINTAIN YOUR CHARACTER'S POINT OF VIEW
If a character starts out adoring spider monkeys, but then decides she hates them 10 minutes later, it may confuse the audience and your fellow actors. Once you like spider monkeys, keep liking them until you have a reason to stop. Very often, you'll keep liking them thoroughout the piece. If you're consistent, then the other actors will best know how to support your character.
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#15 - MAKING JOKES
Never try to be funny or tell jokes on stage. Humor will arise naturally out of tight relationships and solid, simple plots.
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#16 - MIME BETTER, MUCH BETTER
50% of what the audience thinks of you as an improviser hinges on the quality of your mime and physicality. Don’t believe me, go out this week and watch the best improviser in your city. I’ll bet you they do incredible object work.
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#17 - PLAY THE OPPOSITE EMOTION
Something to try now and then in two person scenes. For example, if one person is frustrated, come on at ease and relaxed. A basic comedic structure which is the basis of many comedic movies, plays, and TV shows.
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#18- PROVIDE INFORMATION ABOUT THE OTHER PERSON
Scene going nowhere? Tell the other character something about him/her self. The simple comment "Nice tuxedo", can launch into a back-room panic session between a groom and his best man. Getting specific makes scenes go somewhere fast.
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#19 - RAISE THE STAKES
Scenes that are going nowhere can be much improved by putting more at risk, that is, introducing some large consequence of the wants of a character. (life and death and the most popular stakes)
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#20 - QUESTIONS SHOULD GIVE MORE THAN THEY TAKE
Why ask a question on stage? Are you expecting your fellow-actor to have a ready answer? What if she doesn't? Doesn't that put her on the spot? Don't most questions slow the scene unnecessarily? If it's a yes-no question, are you prepared to react to both yes and no answers?If no, then aren't you in trouble if the wrong answer comes back? If yes, then aren't you writing?
Any question can be turned into a statement. The nice thing about statements is that they provide information you and your fellow actor
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#21 - WHAT MAKES TODAY SPECIAL? IS A FINE QUESTION TO ASK YOURSELF
Think about a scene as "a day unlike any other day." When it seems like something big or outrageous is going to happen (e.g. someone is about to confess their love, someone wants to rob a bank, wants to swim naked in the river...)
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APPENDIX
Here is some additional IMPROV vocabulary:
by Dan Goldstein. First version 1996, last 2009.
blackout - A very short scene, often just a few seconds. Three of
them make a runner.
characterizing action - an action which says to the other
performers and the audience what
sort of occupation or social role the
character has. These are often used
to begin scenes, such as when teachers
erase blackboards, and what not.
denial - Trashing what somebody else has set up on stage, be it
mime or fact
fourth wall - The wall that isn't there which, if existed, would go
between the players and the audience. Beginners
need to be careful about turning one's back on the
fourth wall!
gag scenes - Very short, funny scenes. People doing them should
not feel obligated to further the plot or present any
vital information. These scenes are just plain fun and
the people on lights should treat them as such.
saw that didn't make sense
reflexive action - an action a character does repeatedly and
unconsciously. Helps make the character stand
out from the crowd, as well as seem familiar like
an old friend, or that special pair of moccasins.
One way to "take care of yourself" on stage.
rule of a thousand - continuing on after the rule of three until
things become funny again. Some people
believe this works something like a sine wave,
so there's always hope some thing may get
funny again even if it's starting to look really
desperate.
rule of three - Three humorous events (scenes, jokes, etc.) on the
same topic or with the same gist. The third is always
the hardest hitting.
runner - three blackouts on the same theme with the third one
being the biggest larf of all.
status - Whoever has influence or control over a situation has the
higher status in the scene. Many pre-defined stock
relationships, such as, judge / plaintiff have status build
right into them. Status can easily invert and this can
become the plot of entire stories, a la Trading Places.
yes and - two great words which encourage the person who says
them to accept information and add to it
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