Neil Casey Advanced Study Notes Week Seven (w/special guest Will Hines)

Hey everybody.

Here are the notes for Week Seven of my Neil Casey Advanced Study Class, this week guested by Will Hines. These are also mostly referring to second beats and “the game” specifically.

As always, these are hastily scrawled, mostly inaccurate and incomplete. Use them for what you will.

For what it’s worth, it was a good and enjoyable class for me. Will has a style of noting that really tries to unveil your style of improv. The only thing he asks is agreement and most notes put the onus on him, going so far as to begin many notes and directions with: “help make me a better teacher…”

I also really enjoy his style of play and think of him as one of my favorite teachers.

That said, the notes:


I think there are two kinds of second beats where you just do the same thing again a little different like the second verse of a song and that can be fine
Sometimes formulaic., but good because it’s clear and simple
Another second beat can be if this is true then what else is, maybe seeing another part of the world, following the consequences of that world
There’s still time-dash and analogous but other options too.
One type of second beat should be the same way again with new specifics, it makes your long-form feel like it has depth to it
I try to find a moment that’s iconic when doing a “different specifics” second beat, the moment I would put in “the trailer” of that scene.
The way to tell if you did it is the audiences laughs or nods
An “if this, then” second beat,
We coach against going plotting, but plot is a good tool to use if you are taking game with you.
The reason we coach against plot is because too often the audience thinks what could happen, but we want the audience to see our choices make what “did” happen.
TiC- Improv is like driving with a windshield blacked out, only rear-view mirror.
Only something that reflects backwards is satisfying in a second beat.
I’ve heard gasps from the audience because when they make the connection, they love it.
Take the same urgency/energy/atmosphere of that high point in the first beat.
In European Vacation, Eric Idle keeps getting more and more injured, whenever he enters the seem, he’s friendly, it’ll still be a new landmark, but he still gets messed up
That’s the only type of second beat I really see.
Even if it’s different types of fucked up (physically, emotionally, et cetera) its still the same pattern
Another part of the world, playing a similar game or very informed by that game.
If you’re doing the same thing, it’s a challenge, but have better specifics, be funnier.
When you have a script, it’s hard to act like you’ve heard those lines for the first time, make them your own. So is improv, finding lines.
There is something forced and writerly about second beats, but people want it, so it’s good to give it to them.
I’ve never had a class where I talked about openings, second beats, et cetera and it’s like do it this way, it’s like do it and if the audience laughs, know it can work. That’s my lesson.
“Hey everyone get in here” group games can work as second beats but not so well in the group game slot, because we know that a second beat will be planned a bit in advance, so the audience will forgive you for that premise.
When in doubt from the back line, on an empty stage, just jump out there. The improv gods will reward you.
Make sure we are not pushing too hard towards our objectives/goals in a scene. We need to be able to dance back and forth for our scenes to work.
It is bad to ask for an edit in a scene but if somebody does you have to be on it.
In a second beat, make sure to start with your spin on the idea so the audience can get on board.
If you don’t know how to do it, but you can tell me what the central part of the first beat was, I think it’s not terrible to just say that in character to the other principal in the scene.
It’s ok to fight as long as you’re aware of what you’re saying to each other and yes-anding but don’t care about winning the fight, be aware about being sensitive to the dynamic.
Make sure to capture the irony of the first beat, if not the second beat of A Christmas Carol would just be that everything was fine in the town and that Scrooge was nice now
I’ve seem great reality and emotional commitment in this class and choices to drive the scene forward but make sure that you are paying attention in some part of you to the irony of the scene when you are in it.


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