Ah man, I killed it this class and this show.
Coming off last week where Neil was sick and everybody was so depressed about him not liking us that they wanted to form a practice group just out of desperation, it was nice to have a week where I felt good about my performance.
But a note about that, even before.
My friend (and excellent improviser) Jed Teres recently re-posted an article he read about a frustrated writer working in publishing. (EDIT: realize not all of you may be able to see this link, so here is a picture of the page) He talked about how much the writer hated his job seeing these shitty manuscripts in his pile and how it eventually gave him writer’s block too just being in that place of anger. He only was able to get through when he was able to realize that there was no reason to be angry at these people and that in fact he was externalizing his own insecurity on to them.
In improv and in life, we judge other people harshly because we are very hard on ourselves. As long as we do the work and are trying and we see others do the same, there is no reason for harsh judgement (probably even not then).
So regardless that I felt awesome after this show or that Neil praised the fuck out of me, I should get to that place where I’m happy having a shit-class, maybe not immediately, maybe not even the next day, but I’m happy for that place to grow from. I don’t go and blame my fellow improvisers or blame myself, I show kindness to all involved. I thank myself and others for doing practice in this body at this time.
When that day comes I will know that I am a better improviser and probably a better person, in that power to be ok and learn.
Anyway, here are the notes for week five, as always, abridged, incomplete, often incorrect, abbreviated, scrawled hastily.
Use them for what they are worth.
I’ve also bolded a few things this week, looking over them.
Today we are working on the idea of who gives a shit while we are improvising and digging for “because” in our scenes.
You can phone in a game you’ve done before and get away with it but why?
The good stuff is when we are not just playing a funny/not funny pattern in a vacuum (you’re the guy who loves buttons, but who cares?)
The question is how do we avoid the instinct to play empty patterns
Answer: always bring things back to emotional core or philosophy of a character.
Maybe guy loves buttons because he loves campaign buttons, middle school political involvement
Way we get from boring to interesting is by getting to personal involvement
Which gives me the right as a director to ask who gives a shit during your sets if we get into those pointless conversations
Because we don’t want to see people juggling robotic concepts between us, it fails as theater, a bad bit, no heart or meaning.
We play patterns that could pass for game but instead end up being nothing.
We will play Harolds today where everything has to be justified
Chicago calls us jokey and we call them based solely on performance and there are truths and fallacies in both. They place faster than even us now and we have some shows that play slowly.
But I will miss Let’s Have A Ball. It’s nice to do two person scenes, really dig in to the relationships and know no one will walk through the door.
I think 4 is perfect size for an improv group. Twoprov you need a lot of balls, group mind. The things that nice about improv is surrendering to group mind by checking your baggage, but in two-prov the amount of effect that any little thing has on you will be brought to the show.
I only feel two-prov that I am comfortable with is someone I’ve worked with for 5 years (i.e: Ryan Karels)
How do you play with honor when this is the only time you get to perform? How do you play nobly when you know this is the one time you’re in something in a month? How does the selfish bastard not come out when you’re putting in cash?
Answer: It’s like being in a relationship or a family, you’ve got to be willing to just play support of that’s what the group needs.
I don’t think that our whole system of getting together and being the sum of our parts works well with most two prov.
8 person thing is artificial, based on class size, but works. I still think 4 is perfect number.
Neil Casey- “Indie foursomes. I endorse them. Let’s see more of them on our stage them. Blog that.”
I do twoprov with people I don’t know for bar sets but it would be easier rolling with another person.
In your improv, you’re always going to fall short of the ideal, get easy/cheap laughs, you just have to do the work and keep trying
Its when people settle into it that’s hard. It’s that you never stop the effort. It’s impossible to do the perfect thing, but it’s when people are satisfied with that, that it’s disappointing.
I totally reject improv as therapy or melodrama
But what we do does mean you have to tap into memories/emotions
Because if you be fake or impression then it will ring false
As actors or performers we have to be willing to remember instead of invent
A good improviser has to be able to pull from emotion, we develop an intolerance for people who do weak civilian bits as part of their personality
A lot of people get away of being full of shit but when you put that on stage it rings extremely false
Rather than playing a left brain pattern or an imitation of another scene, invest with the emotion of a memory, imbueing it with that, will give it that voice that you have that no one else could give.
I remember buttons as running for president because that’s what I have.
It’s not therapy, that’s bs, but being as much of yourself to the table. If you’re being broken up with, remember the last time you got dumped or whatever.
True-story invocation- you imagine whatever is closest to you about this object
Improv is not therapy, but how you play believably is recall things that are true to us
Those scenes where impenetrable characters argue about nonsense, I want to avoid
If a kid is being annoying, react emotionally. Everyone has their breaking point. Sometimes, our instincts are to be nice to play it real, but if a line is asking for anger or annoyance, play it truthfully, show the emotion you might suppress in real life.
We want our character to play realistically while we want to be funny.
The template I always want to avoid, is when we are in one of those scenes when we are discussing nonsense as if it was something, acknowledge it is nothing.
Don’t treat something as important when it is not.
Your philosophy doesn’t have to be great as a justification, just what you can get
I don’t care until you drill down until something that interests and what interests me is the truth
When you have a strong emotional choice that doesn’t make sense, the game will be rooted in how you make it make sense.
When you find yourself in a scene when things don’t make sense, keep asking yourself why and you’re more apt to get to something.
Don’t let people stand out there running out of lyrics in hot-spot, same thing in Harolds.
How we express ourselves via specifics is an interesting pattern/game. It’s not robots and zombies, it’s slice of life. People constantly express their real emotions through proxies. People can’t be honest so they talk about money, where to eat, et cetera
How many times do I say I want something to care about? A dead dog?
I’ve never had anyone told me I have a small dick or saying that they are getting fat, because people in relationships are much more cruel to each other.
There’s a Louis CK video where he’s talking about George Carlin saying I did the same act for 15 years and it sucked because it was his little observations but then he started throwing them out every year and if you do that your cute observations go away and eventually all you have are your balls, things that are attached/true to us.
We get to be that special class of people that gets to replicate a reality most people don’t have: talking about real emotions that are true.
Del- the smallest emotional discovery is better than the best invented idea
When you start bringing up things that are true real, people respond
Bill Hicks- If you get on stage then you have supply and demand covered, but I’d you’re trying to be something else then you’re trying to be a commodity, if you’re yourself no one else can give me that.
If my game is that I’m apathetic it’s incumbent on the backline to give you more and more to be increasingly apathetic about.
Lessening the strangeness of other people’s behavior, while giving the same emotional reaction can be a good second beat
Why Grandma’s Ashes is so good if someone initiates a second beat dumbly we all get on board to support someone’s ideas
I hate to watch shitty scenes where is whiny people complaining about nothing.
I’d rather see a scene about an abusive domineering relationship than another scene about bickering talking about nothing.
One of my favorite things about improv are the moments when we earn making up nonsense. Be sure to seize them.
I won’t share the group notes because I try to leave personal notes out of here but I did a very silly run of scenes about a guy who wanted a piggyback ride very seriously and Neil pointed to it as being great because it was a super-dumb (but real ala R. Crumb) idea played with super emotional-commitment. He also talked about the important of emotional commitment in the Invocation as an opening to bring that same level of emotional commitment to our Harolds. I’m sure we will keep working on that.
One last note from the end of our Harolds, from Neil:
I have one souvenir, for you.
Michael Delaney- Connections, Callbacks at the end of a Harold: It’s all dessert. You can have a great meal without them. Don’t force them if they don’t come naturally or aren’t earned. I’d rather see new scenes or unconnected third beats than false connections.
For second beats, clear simple game should move you, don’t out-clever yourself!
You’re all clever enough to do analogous, but why do it unless necessary, there’s no greater glory in them.