improv

A to C

What’s “A to C-ing it?”

From the UCB Manual, pp. 225-226:

If [a suggestion] is the A, the improviser went right to their B, or first thought. When you go from A to B, you often end up just listing synonyms for the suggestion or a subset of elements that belong in the category represented by the suggestion…. Making these A to B moves is natural. The way you can learn to make less obvious moves is to manually go through the process of “going A to C.” You could also think of this process as “going to your next thought.”

…Hearing “sand” might first make you think of “rock.” …Forcing yourself to go from A to C means not saying “rock,” but instead going to your next thought. …So, “sand” was A, “rock” was B, and “Rolling Stones” was C. When you manually go A to C, you keep your B in your head and say your C out loud.

 

Words are hard for me. The first time my team tried this pattern game as a warm-up exercise, I kept freezing up. It took me a second or two just to come up with a “B”; within another couple seconds, the pressure of ‘Oh god everyone’s staring at me! Quick, say something smart! WHY AREN’T YOU COMING UP WITH ANYTHING?!’ paralyzed me to the point where I couldn’t think of anything, B or C or otherwise.

After a couple rounds of this, my teammate told me, “Look, your B might be someone else’s C. What’s obvious to you isn’t necessarily obvious to everyone else.

These days, I believe A to C-ing is a good skill to have, especially when coming up with a series of first beat scenes, but I believe even more strongly that doing an obvious B is way better than doing nothing because you can’t think of a clever C. Just getting out there and jumping on the bomb, saying something, doing anything, even if it’s obvious, will serve you better than hanging back and getting scared in your head.

My $0.02, as ever.

 

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Squirrel in the garage

Guest post on People and Chairs: The Squirrel in the Garage

Whether you’re brand new to improv or you’ve been performing for years, I want to remind you all of the Squirrel in the Garage: the thing that will awaken you to your imaginative side, or the reason you started improv in the first place.

The Squirrel is your sweet, very easily frightened creative self; the one that may not have come out since you were a child. Open, free, innocent, visceral, uninhibited. It is the beautiful creative soul that many people don’t know they have inside of them! (Yes, I believe we ALL have this.)

The Garage is your mind, and the garage door for most people is slammed shut most of the time. The door makes you feel safe, it protects you from humiliation, ridicule, and primarily, judgement. But we know that squirrels shouldn’t live in garages, they should be free, running up trees, across power lines, out in the world.

…Veteran improvisers still have that damn door slam shut and scare that squirrel back into the garage, sometimes for weeks. The difference is it happens much less than it used to. And there are times when the door is left wide open and that squirrel can come out and play, and to me, that is the sweet spot of improvisation.

 

There are sooooo many things I love about this article. Go read the whole thing.

Special

Mike Birbiglia describes love in Sleepwalk with Me:

Deep down, our whole lives, no matter how low our self-esteem gets, we think, ‘I have a special skill that no one knows about and if they knew they’d be amazed.’ And then eventually we meet someone who says, “You have a secret special skill.” And you’re like, “I know! So do you!” And they’re like, “I know!”

Isn’t that basically the improv community, too?

In one of the recent Magnet Theater Podcasts, Sebastian Conelli and Louis Kornfeld discussed the ego’s role in improv. (“Um”s, “like”s, and “ya know”s removed from quotes below.)

LOUIS: You need an ego to be a good performer. Because on a certain level, whether you’re a stand-up or… an improviser… there’s a part of you that feels like, ‘there’s something special about me.’ And sharing that out with people… gratifies this sense of ‘I’m a special person.’ …I think it’s a lie to not accept that… it’s sort of very much at the core of performing anything… you feel like you have something worthwhile in you that other people should be exposed to.

SEBASTIAN: Yes. 100%. …Anyone that’s signing up for Level 2, Level 3, Level 4, HAS to feel that inside them. There’s no way. I mean, I understand there are people that do it for fun, because they wanna let loose, but at some point inside of them, they have to feel that.

Also this:

LOUIS: On my more honest days, it’s definitely like, ‘I’m a special guy.’ …If you lie about it to yourself, and you kinda surround it with false modesty… all you really end up doing is creating this grotesquely arrogant shadow part of your personality that secretly feels like it’s better than everybody. And it feeds all this ugly gnarly shit into your behavior over time that erodes… at… you acting like a decent person. But owning up to it and risking coming across a little bit egotistical, but acknowledging that… ‘I have an ego, I’m a special guy… and that’s sort of the battery that’s running the stuff that I do,’ I think in a lot of ways, actually makes it a lot easier to not build false superiority. If anything, it makes you accept your humilities in a much more honest way.

 

Let’s review.

Q: Why am I doing improv?

A: Good question.

Here’s my most recent take:

I want honest approval. I want someone to tell me I’m doing a good job. I want to be liked. I want to learn this secret special skill, and whip it out and show it to non-improvisers and accept their laudations of ‘what a secret special skill you’ve got there!’

(Probably other reasons too, but first let’s own up to wanting to feel special.)

 

Q: Why perform?

A: Good question.

I’m not sure.

Because I am more likely to get the approval I crave when I am in a comfortable low-stakes environment, I’m happy to limit my comedy to practice rooms + drinks with friends, and avoid the stress and heartbreak and disapproval of going onstage.

So maybe I can coax myself onstage like this:

The more people who sing my praises, the better. To achieve the highest level of approval, I’ll show off my secret special skill for lots of people, a whole AUDIENCE of people, and get SO MUCH approval all in one go.

That’d be cool, right? But performing isn’t easy. Very few people kill their first time. And the way you increase your odds of having a performance like that is to do lots of them, until you start hitting the mark more often. So you’ve gotta keep on truckin’. Yeah, performances kinda suck right now, but they won’t always.

‘Cos how great would it be to have an ENTIRE ROOM in stitches?

Is something like that even in me? Can I do that?

Yes!

Yes, I think I can!

I’ve already done it! Remember “dead presidents?” Maybe it wasn’t “good improv,” but wasn’t it a thrill?

You can’t make everyone like you, but with time and dedication and hard work, you can make a large percentage of them like you for half an hour.

Lemme in!

…I get progressively more freaked out the more people I have to play with at once.

Monoscenes, by definition, require interacting with a large group of people at once, which I’m starting to think automatically sets off my introversion/ social anxiety/ agoraphobia/ fear, and renders me useless for improv.

– Me, 7-23-14

 

I continue to have a lot of trouble with group scenes. So here are tips from a Real Improv Instructor on how to insert yourself into the group dialogue:

 

  • Verbally agree with/ repeat what’s being said— “yeah, yeah, bandanas, right!”— Because then you’re immediately a participant in the scene, not an observer.
  • Don’t be so polite! Give and take focus— If you do find a line, and you start to say it, and someone else talks over you, DON’T LET ‘EM if it’s not their turn. Also try to be conscious if you’re bulldozing the scene (‘cos that’s just as bad).

 

There may be more, but that’s all I can remember that Real Improv Instructor told us.

Talking + object work: Focusing on multiple things

I find it hard to talk while doing object work. It’s like patting my head and rubbing my tummy— I have trouble focusing on both, especially if the object work is complex. (I think every time I’ve frozen onstage, it’s been a brain overload while doing object work.) So I asked after class yesterday, since most of our exercises required “doing an activity” and I was havin’ a helluva time:

  • It will get easier, in general. Keep on truckin’.
  • It’s easier to do object work you’re familiar with, because some of the actions are automatic and it doesn’t take nearly as much brainpower.
  • So: go home and practice different object workings, so they’ll be familiar and take less brainpower.
  • The object work is there to give you a reason for being there, and give you something to go back to when you’re not the focus. If it’s distracting you, give it a rest.
  • People get distracted in life, too. You can say “what?” if you were so immersed in your object work that you missed what your partner said!
  • Don’t worry about getting the object work perfect. (Me and my ambiguous object work? Way ahead of you.)

Abridged notes from Monoscene class #3

Nuggets:

  • Don’t try to solve the problem. When someone says “this is my problem,” you should respond “shit, yeah, that sure is a problem,” instead of “okay, well, if you do THIS, you can fix it, it’s not so bad.”
  • When you get a location, the first thing you’ll think is to be interacting with it as a visitor/patron/customer. Instead try to place yourself as someone who works there, behind the scenes, day in day out.
  • Even a loose monoscene has a similar structure/rules to a Harold:
    • Series of two-person scenes: even when there are lots of characters onstage, what matters is the individual relationships between pairs of characters. These are the two-person scenes that you’d have in a Harold.
    • First beat, second beat, third beat. We haven’t covered this yet, specifically, but I’m pretty sure we will.
    • Giving focus: just like you wouldn’t yell over each other in a group game, give focus and take focus where it’s needed.
    • Know each other: (especially in the beginning of the monoscene.) It helps move the scene, it helps the audience give a damn (‘cos if YOU don’t care, how can they?). The characters should somehow care about each other.

 

More notes about walk-ons:

They don’t have to be brilliant– just be someone who’d flesh out the universe. The conversation you have with one or both characters SHOULDN’T be directly related to what the characters were discussing before you came on, so don’t feel stuck! (In fact, I bet I could brainstorm a bunch of announcements/ conversation starters beforehand, and have ’em available as backup when I need ’em– kind of like I did/still do with “relationships”. Or a bunch of three-person relationships– boyfriend, girlfriend, boyfriend’s roommate, for example)