Monday, January 23, 2012

Six Things I Wish Someone Had Told Me Sooner

When I first started doing improv, I was improvising with a lovely bunch of people in Springfield, IL called the Easily Amused Teen Improv Troupe. Looking back, my biggest regret about that time in my improv career was that there was nobody showing us how to improvise. We were essentially on our own; the blind leading the blind, more or less. Here are a few things I wish someone would have told me at that time in my life, because they make all the difference.

1. Focus on Relationship!

Too many improv scenes fall into an all-too-familiar pattern: two characters talking about what they are doing. But the fact is, it isn't interesting to see two miners talking about mining. It is definitely interesting, however, to see two miners talking about what they're going to do with all the money they get when they strike it rich. Maybe they even want to move in together! Maybe one of them is going to start a mining museum. Maybe one of them is going to go on adventure to find his long lost love.

2. Know Each Other!

One of the most common mistakes I made when I was just starting out improvising was starting a scene where the two characters didn't know each other. Maybe I was ordering a hamburger at the new restaurant, or maybe I was asking for assistance with directions from a stranger at a subway station. I eventually stopped doing these because they weren't working, but I never understood why until recently. When the characters are just meeting each other, there's no room to explore the depth of the relationship! However, when the other character is a best friend or a significant other, you can share your most personal feelings with them. The relationship can evolve and develop, and the audience gets to see what life is like for these two characters.

3. Agree with Each Other!

An improv scene can't go anywhere if the characters can't even agree on the basic terms of the scene! This way, instead of arguing about what to do, you can progress in the scene. And more importantly, the audience will be impressed because you're doing it together!

Another way to agree is called matching. This is where you match the other character's personality, mimicking their voice, quirks, and posture. Even if two characters don't know each other, they can have a ton in common if they match each other!

4. Play A Character!

It's very, very easy to play yourself in an improv scene, but it isn't particularly interesting to do so. It's more fun to be someone who has aspirations or quirks that the audience can catch on to. You can make a character a thousand times more interesting with something very subtle, like an affinity for plants. Plus, that kind of stuff can come back later in the show, and the audience will love it because they'll be reminded of that character; they'll get to know the character on a much more personal level.

5. Play with Patterns!

The funniest joke in the world can't draw as many laughs as a well-played pattern. When you call something back from earlier in a scene or a show, it's way funnier because you remembered it. It doesn't even have to be something funny; bringing something back a second time shows that you're paying attention, and the audience will think it's great because they remember it too.

6. Edit! Edit! Edit!

I think more than half of all the improv scenes I've ever done should have been edited sooner. Particularly in Easily Amused, I was not even aware that there was a technique to editing. I thought that a scene ended when everyone in it found an excuse to leave the stage.

In reality, a scene should end after its peak. Sometimes the peak is a resolution to conflict; sometimes the peak is a hilarious callback to something that happened earlier. And sometimes the peak is the escalation of a pattern to its natural resolution. For example, DeBono once had a piece which involved my character (a mailman) being bribed first by a golden mail bag, then a platinum UPS truck, then a diamond mail spaceship. And then the edit came because that was the highest possible escalation of the pattern!

In long form improv especially, edits should come sooner as a piece goes on. The scenes should get shorter and shorter, reaching their peaks sooner, to enhance the natural rhythm of the piece.


These are all things I wish someone had told me; so I hope I can tell somebody who needs to know this stuff!

-Nick.

Tuesday, January 17, 2012

Browner Pastures

Dear Debono,

After much thought and an assessment of my commitments this coming semester, I've decided to step aside as Debono's guitarist. One of my goals in the past year was to train a new guitarist so that the musical form was not dependent on my presence, and I feel more than comfortable that Julie can handle the responsibilities. I e-mailed her yesterday to make sure she was on the same page. As I anticipated, she hates you all and is sickened by thought of Debono, but is willing to do it for the art of improvisation.

The evolution of the musical form in Debono is sincerely one of the most proud accomplishments of my life. I've always enjoyed musical games in the multiple improv groups I've been in, but I feel a lot of pride and responsibility for contributing to the construction of a form that is fun, unique, and still evolving.  Joining Debono in the Spring of 2009 was unexpected. At that time I saw it as a temporary distraction. But it turned into an activity I looked forward to every week and I found myself a permanent fixture (while still having never actually walked over the mouse traps or learned the hand gestures for livin' on a prayer). 

Alas, after 9 years of being in some college improv group, I believe the time  has arrived to move on to browner pastures. I'm also confronted with completing a dissertation, teaching a new and very demanding class (get ready for an awesome semester Clare!), maintaining a (very) long distance relationship, amongst other smaller but very time consuming chores. I may also move forward with teaching improv to grown-ups at Class Act, something I started last year and wish I had followed through with. 

I'd still like to make myself available to fill in for Julie if, for example, she is in a bind and can't find a babysitter for her kids, or she's busy on the Mitt Romney campaign trail in the coming months. I'm still around and I'll probably drop in to watch shows (and take notes, but only if you ask me). I'd also be happy to stop in and coach if you need a "outsiders" eye. I also consider you some of my closest friends, so don't be surprised or creeped out if I text you  to go out for a beer (or a soda). 

If I may offer some parting friendly advice: I think it might be worth while for a few of the other guitar or piano players in Debono to experiment with accompanying once in a while. Not only will it beef up the musical line-up, but accompanying will make you a better player. Also, I want to echo one of Sweeney's ideas that was never executed: I think it'd be a good idea to meet as a group and just watch Disney musicals and South Park episodes. If you haven't heard the music from Parker and Stone's "Book of Mormon", STOP whatever you're doing it and download it now. It's AMAZING.

Finally, I want to express how proud I am of you all. Watching everyone learn how to do musical improv (yes, even master Michael Gaschler who was at one point afraid to sing), has been a thrilling, at times spiritual experience. (Mind you: I don't often experience these.) If the caliber of our new members is any indication of the future of Debono, I think this group is headed down a very exciting path. Thank you, Debono, for making feel very valued and loved. I'm gonna miss practice and seeing you every week. Good luck at CIT.

Much love,
Robby