A great explanation on team size from Kevin Mullaney. Good stuff.
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A great explanation on team size from Kevin Mullaney. Good stuff.

improv-is-easy: Now THIS is the kind of anonymous question I like. Thanks for asking! And congrats on graduating 101! Here are some suggestions… The first is keep improv fun. As you get into Level 201 and beyond it can get more heady and difficult, but remember that it’s supposed to be fun and creative above all else. Don’t let it take over your life. This is tough, too, because a lot of your friends will take class after class after class and you might feel you’ve been left behind unless you put down just as much money and time. You won’t. Improv will always be there. For practice groups… Here are two IRC links on the subject, some of which might have repeated advice: “Where do you start?” and “Tips on starting your own group?”  Starting a practice group is mostly organizing the time/space. I’d talk to your two or three closest friends who are dedicated to practicing and figure out a time that works for you. Book that time (two hours or three) at a rehearsal studio: There’s Simple Studios, Pearl Studios, Champions Studios, 440 Studios, Studio 353, just to name a few (google ‘em). Then ask around until you have a number of interested people. I’d suggest quality over quantity. Ask people you want to play with; don’t just settle for bodies to beef up the numbers and lower the price. Of the people you ask (say, 10), maybe six will be able to do that time, and one or two of them won’t show up. There’s your potential practice group! My personal preference is to cap a practice group at eight people, so everyone is always up. Hire a coach. (See below.) After a practice or two, if everyone wants to meet regularly, set up a kitty for the money. Basically, figure out the total cost for four rehearsals (space + coach) and everyone owes their share. Now if someone flakes out, the people who show up to rehearse don’t have to pay more (a pet peeve of mine). If people don’t want to meet regularly, or if it peters out eventually, don’t sweat. Practice groups come and go. Book more spaces for the month. Book more coaches. It’ll make things easier on you if you can dole these responsibilities out to other members of the group. One person shouldn’t have to do everything. That leads to burn-out and resentment. Now, when it comes to coaches… I would definitely NOT recommend going coachless, and not just for the reasons you mentioned. Having a coach forces you to be more serious about the practice and the scenes. (If you just wanna meet and do warm-ups, though, that’s a different story.) Try several different coaches until you find one that fits your group’s style and aesthetic. Seriously. Give yourself at least a month to test out different people. Don’t just go for the veterans/heavy hitters! Especially since your group will be made up of newer improvisers, a newer coach would have more availability, would probably be cheaper, and I think they’re often more dedicated. Test ‘em out. Make sure the coach fits your time, don’t stress about adjusting your time to the coach. They’re the most replaceable person in your group. Here are links to coaching threads on the IRC and on UCBcomedy, and I’m always happy to recommend people through email. Hope this helps! Anyone else have advice? Great stuff! To add an additional two cents… First off, congrats on graduating from 101! Secondly, when you have your practice group ready, take time to figure out what the group would like to work on and get some sort of game plan ready. When you get your coach, tell them what you’d like to work on. It can only help both parties all be on the same page. The coaches can then tailor practices to fit the group’s needs.
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improv-is-easy:

Now THIS is the kind of anonymous question I like. Thanks for asking! And congrats on graduating 101!

Here are some suggestions…

  • The first is keep improv fun. As you get into Level 201 and beyond it can get more heady and difficult, but remember that it’s supposed to be fun and creative above all else.
  • Don’t let it take over your life. This is tough, too, because a lot of your friends will take class after class after class and you might feel you’ve been left behind unless you put down just as much money and time. You won’t. Improv will always be there.

For practice groups…

  • Here are two IRC links on the subject, some of which might have repeated advice: “Where do you start?” and “Tips on starting your own group?” 
  • Starting a practice group is mostly organizing the time/space. I’d talk to your two or three closest friends who are dedicated to practicing and figure out a time that works for you.
  • Book that time (two hours or three) at a rehearsal studio: There’s Simple Studios, Pearl Studios, Champions Studios, 440 Studios, Studio 353, just to name a few (google ‘em).
  • Then ask around until you have a number of interested people. I’d suggest quality over quantity. Ask people you want to play with; don’t just settle for bodies to beef up the numbers and lower the price.
  • Of the people you ask (say, 10), maybe six will be able to do that time, and one or two of them won’t show up. There’s your potential practice group!
  • My personal preference is to cap a practice group at eight people, so everyone is always up.
  • Hire a coach. (See below.)
  • After a practice or two, if everyone wants to meet regularly, set up a kitty for the money. Basically, figure out the total cost for four rehearsals (space + coach) and everyone owes their share. Now if someone flakes out, the people who show up to rehearse don’t have to pay more (a pet peeve of mine).
  • If people don’t want to meet regularly, or if it peters out eventually, don’t sweat. Practice groups come and go.
  • Book more spaces for the month. Book more coaches. It’ll make things easier on you if you can dole these responsibilities out to other members of the group. One person shouldn’t have to do everything. That leads to burn-out and resentment.

Now, when it comes to coaches…

  • I would definitely NOT recommend going coachless, and not just for the reasons you mentioned. Having a coach forces you to be more serious about the practice and the scenes. (If you just wanna meet and do warm-ups, though, that’s a different story.)
  • Try several different coaches until you find one that fits your group’s style and aesthetic. Seriously. Give yourself at least a month to test out different people.
  • Don’t just go for the veterans/heavy hitters! Especially since your group will be made up of newer improvisers, a newer coach would have more availability, would probably be cheaper, and I think they’re often more dedicated. Test ‘em out.
  • Make sure the coach fits your time, don’t stress about adjusting your time to the coach. They’re the most replaceable person in your group.
  • Here are links to coaching threads on the IRC and on UCBcomedy, and I’m always happy to recommend people through email.

Hope this helps! Anyone else have advice?

Great stuff! To add an additional two cents…

First off, congrats on graduating from 101!

Secondly, when you have your practice group ready, take time to figure out what the group would like to work on and get some sort of game plan ready. When you get your coach, tell them what you’d like to work on. It can only help both parties all be on the same page. The coaches can then tailor practices to fit the group’s needs.

Q:How would you describe longform improv to someone who's only seen shortform?

Anonymous

It seems that every time I explain longform to someone, I use a different analogy or description, so I’ll try and nail down a simple one here:

“A team of performers gets just one word or phrase from the audience and performs a variety of improvised scenes loosely based off of that one suggestion.”

Regardless of what form you’re watching on a particular night, you can expect that the team will at least get a suggestion and do scenes based off of that.

Of course, you could go into greater detail with the person you’re explaining longform to, touching on openings and games and what-not, but this is a pretty good jumping off point. If they want to know more, they’ll probably ask anyway. They usually do.

Q:A "Book of Questions" type question: You are an improviser. Which do you think of yourself more as: An actor or a comedian? You have to chose one (and only one).

Anonymous

Absolutely 100% I consider myself an actor first.

The way I see it, comedians, on the whole, have a catalogue of material prepared.

Maybe that’s why I’ve been so off-put by short form for so long. When you keep getting those same suggestions, you eventually start repeating jokes. If not that, then you tend to do “that character” that you know will hit over and over again.

To me, that not only takes the fun out of being spontaneously creative, but the improviser at that point is starting to lean heavily close to being a comedian.

I will say for the record that there’s nothing wrong with considering yourself a comedian. But to me, I want improvisers to let the humor come out of the reality of the moment and not try and go for the funny.

To awkwardly transition, I have a family who knows I do “comedy,” but sometimes they’re fuzzy on the fact that it’s entirely improvised comedy. When they tell me a funny story/joke, they without fail will say something along the lines of “You can put that in your comedy show!”

*Groan.*

I also like to see myself as an actor who improvises because it puts me in that mindset that, when necessary, the scene doesn’t have to be funny. It can be a serious or touching moment between two characters. I’ve touched on that subject a bit which you can find here.

the Montreal Improv blog: First Impressions

montrealimprov:

Hosting.

It’s not easy. It’s a skill and an art and I’m still figuring it out.

But I have figured out two things so far about what to do when you first come onstage.

  • Walk out with confidence and energy.

No hands in pockets. No slumped shoulders. No casual stroll to your mark or the mic or…

Couldn’t agree more. Take note, future hosts!

What an interesting question! Thanks, Chris! I shall now do my best to answer. First off, I won’t pretend to know much about the Golden Ratio. For a brief primer, head over here, loyal fans. So for me, the short answer is yes. In terms of structure to a show or a form, I believe there is definitely a way to perfectly balance a form’s structure so that it is both challenging for the performer and interesting for the audience to watch. How to come up with such a structure is the challenging part. The thing I see in this is to not think of the ratio in numbers, but rather in beats and style. Do you do four long scenes, and in between each, do a game? How long is “long?” Would that even flow properly? Now, to play Devil’s Advocate, I’ll also take the other side of the coin and say that the ratio can’t and shouldn’t be applied to improv. If you focus so much on the structure and “getting it right,” you might miss offers that would take that show in a fantastic direction. I personally am a fan of a simple structure (but not just doing scenes), but I also really enjoy a challenge and stepping out of my comfort zone. Out of curiosity, have you or anyone you know tried balancing a form out? Anyone have a suggestion for creating a structure that fits with the Golden Ratio?
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What an interesting question! Thanks, Chris! I shall now do my best to answer.

First off, I won’t pretend to know much about the Golden Ratio. For a brief primer, head over here, loyal fans.

So for me, the short answer is yes. In terms of structure to a show or a form, I believe there is definitely a way to perfectly balance a form’s structure so that it is both challenging for the performer and interesting for the audience to watch.

How to come up with such a structure is the challenging part. The thing I see in this is to not think of the ratio in numbers, but rather in beats and style. Do you do four long scenes, and in between each, do a game? How long is “long?” Would that even flow properly?

Now, to play Devil’s Advocate, I’ll also take the other side of the coin and say that the ratio can’t and shouldn’t be applied to improv. If you focus so much on the structure and “getting it right,” you might miss offers that would take that show in a fantastic direction.

I personally am a fan of a simple structure (but not just doing scenes), but I also really enjoy a challenge and stepping out of my comfort zone.

Out of curiosity, have you or anyone you know tried balancing a form out? Anyone have a suggestion for creating a structure that fits with the Golden Ratio?

So it’s been a while since I wrote an original post.

I have a slight writer’s block and would like to tailor this blog to your interests, questions and comments.

So, what would you like to discuss today? What sort of things in the improv world have you noticed?

Hit me up with a reply or in my assssk box.

Mmmm?

Quick Improv Thoughts #5

If things aren’t going well, don’t quit! Power through it. Don’t try and be the hero and “save” the show, but don’t give up either.

If for nothing else, the audience will appreciate and admire your commitment.

That counts for something.

Thoughts?

Kevin Dorff, Tina Fey, Ian Roberts, Rachel Dratch, Miriam Tolan, Adam McKay, Matt Besser, Horatio Sanz, Matt Walsh - ImprovOlympic stage in Chicago

(via corypalmer)

Quick Improv Thoughts #4

It’s not what you do, it’s how you do it.

Whatever you do, you should be able to just “play.” Heighten it, lower it, expand on it, and squeeze all the juice you can out of it.

comedycentral: huffpostcomedy: [via luckypaperstars] 4. Profit!
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comedycentral:

huffpostcomedy:

[via luckypaperstars]

4. Profit!

I found this infographic on the Harold. It’s a little hard to read, but it lays out the form pretty well. Credit: http://dynamoe.tumblr.com
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I found this infographic on the Harold. It’s a little hard to read, but it lays out the form pretty well.

Credit: http://dynamoe.tumblr.com

Improvisation…made sense to me. I love the idea of two actors on stage with nothing—no costumes, no sets, no dialogue—who make up something together that is then completely real to everyone in the room. The rules of improvisation appealed to me not only as a way of creating comedy, but as a worldview. Studying improvisation literally changed my life.
Tina Fey, Bossypants (via kaete)

(via iowest)

Q:When should you leave a group?

perlstein

We all wish the good times would never end, but as the ever-positive Robert Frost penned, “Nothing gold can stay.” I’ve thought about this question some, and here are a few scenarios where leaving a group is an option:

  • When the group no longer seeks to challenge themselves. A team should always try to strive for their very best and try new things. If not, then why stick around?
  • When there are irreconcilable personal differences between group members. This broad scenario can be anything from outside-of-group spats/feuds to no longer feeling like you can trust your fellow performers on stage. Sticking it out without trust makes for a toxic environment.
  • If you feel that you need a new change of scenery. Leaving isn’t always because something bad has happened. There are greener pastures elsewhere. Hell, even The Beatles had to stop at some point.
  • If you personally cannot commit fully to the team. The cliché term for this is “A chain is only as strong as its weakest link.” If they’re all giving every effort and you’re half-assing it, why bother to show up? If they’re all half-assing it too, see reason number one.
That’s all I’ve got so far. I’ll edit this if there are more. Anyone else have their own thoughts on why you should leave a group?

Happy improving!

—Chuck

Holy cow, hey new followers!

Thanks for the follow! I hope you enjoy reading the stuff on here. Please feel free to engage in discussions about anything in improv.

In fact, let’s do that now, shall we?

What would you like to read about/discuss?

You can either reply below or leave me a message in my inbox.

Happy improving!

—Chuck