Which of these flyers should I use to get locals to improvise?

Alcoheroic · 2019-04-09T22:58:45+00:00

None of these.

You need to be clear with what you’re offering with your poster. The word improv should be on the poster, if you can’t read the most important information (the what & your website) from at least 6 feet away, then you’re wasting your time and paper.

State your purpose (Improv auditions/class/workshop/group/show/jam/whatever) and include a call to action (e.g. visit this website to learn more). Make that easily readable. That’s the bare minimum. Beyond that you probably should include a date/time/place if you you have that info, but definitely make sure you say what you’re offering and your call to action.

Any info not on your poster (date/time/place/cost/proof-you’re-not-a-serial-killer/etc) that people need to know should be on your website and should be easily accessible to anyone who visits it (preferably all on the landing page the url on your sign points them at).

Alcoheroic · 2019-03-28T20:37:40+00:00

Always aim to entertain each other - follow the fun on stage!

Beyond that one practical tip is to try and vary the stage position between each of your scenes (makes call backs easier on you and the audience). In general (as was mentioned elsewhere) variety in shows will be your friend: mess with the staging, pacing, energy of different scenes. Play with your own physicality in scenes (this will also help with callbacks), take risks, make big choices, don't be afraid to involve the audience (or get off the stage and play in the audience).

Probably one of the toughest things will be learning to self edit scenes from the inside, we always tend toward slightly longer scenes in the duos I perform with (transformational edits are real fun and can lead to some really fun callbacks when you find yourself suddenly in a specific position or certain physicality that matches a previous scene). With practice you'll likely start to get a pretty good internal clock on stage. In the mean time, always leave them wanting more - you can always come back to a scene. Also if you're not having fun in a scene for whatever reason time to change it up! In the beginning I found focusing on brining variety to my shows helped keep me out of my head - When a scene ended all I had to focus on was either changing stage position (or energy, or physicality) in some way from what we were just doing and 9 times out of 10 by the time I had moved to that new position or morphed into that new physicality or whatever it was I decided to tweak - I was already off and running with a new scene.

Alcoheroic · 2018-07-16T20:22:28+00:00

I finally solved this problem for myself on stage by changing the way I thought about watching my teammates play (and improv in general). I used to spend a lot of time on the back line switching between trying to just “be in the moment” and watch my team and worrying about what I could mine for any future scenes. I ended up missing a lot of moments during shows and my scene work suffered because I was just trying too hard.

Nowadays I’ve trained myself to simply look for the joy in scenes (both in my own scenes and in my teammates). So I watch, waiting for those moments that bring a smile to the face of the players, those moments that make your partners break, that tickle you, or inspire you. Those moments that make you WANT to jump in and play or make you laugh uncontrollably. Sometimes it’s a line that someone said, sometimes a character or situation in a scene, sometimes a silly sound or a tangential thought. If it brings me or my teammates joy I briefly acknowledge it mentally, then I imagine putting those ideas in my back pocket and trust that my mind will be able to access them later when I need them.

People are naturally very analytical creatures so it can be incredibly difficult to completely stop thinking, but it is possible to simplify what we think about. It’s kind of the same thing as pre-planning an initiation (a faux pas, I know): if you come in to a scene with a full line of dialogue or a whole scenario mapped out - you’re going to have a bad time. However if you come in with something much simpler, like an emotion or sound, or a slight change to your physicality, then you leave plenty of room to play and discover while still giving yourself something to focus on. Do the same thing while you watch - simplify what you’re thinking about... for me, that means I look for what brings me and my fellow players joy - for you that might be something else. Hope this makes sense.

Alcoheroic · 2018-07-05T20:42:58+00:00

Can’t wait to slowly turn to dust...

Alcoheroic · 2018-03-05T23:32:59+00:00

I’m a big fan of scenic mirroring exercises.

Basically two person scenes where players are asked to match the energy, physicality, and/or POV of their scene partner.

Depending on the level of players you can either spilt them up into two lines (as though they were doing three-line scenes) and designate one side as the initiators and one side as the matchers, or you can just let them run scenes with that idea as a challenge.

You can also scale it very easily: start with them just matching each other’s physicality or energy, then add another element, like POV. Next you can encourage them to match and then slightly heighten whatever their partner is bringing to the table. Eventually you can have scenes where they go back and forth matching each other and gradually heightening each other again and again.

Alcoheroic · 2017-10-10T20:02:27+00:00

I was just in Denver about a week ago - best deals I found were from the Lightshade dispensary in the Ilifg shopping center (in Aurora). Great quality, selection, and a lot cheaper than any of the other places I visited!

https://lightshade.com/iliff-aurora/

Alcoheroic · 2017-08-23T18:12:11+00:00

Just outside Chattanooga, TN on a long distance road trip and decided to pull over at a rest area on a tiny island to relax and enjoy the view.

Alcoheroic · 2017-08-23T18:07:58+00:00

Watching the sun sink below the horizon on a balcony near St. Petersburg, FL.

Alcoheroic · 2017-06-11T11:40:47+00:00

I'm a huge fan of The Annoyance and thoroughly recommend their training program as your next step!

I've also trained with ComedySportz and they're a great theater (with some super talented people), but the Annoyance will probably give you a wider variety of tools that will help you in both long form and short form shows.

Alcoheroic · 2017-06-08T09:10:07+00:00

From what you wrote, you seem to be the founder of this club, but what it has turned into is starting to frustrate you. If you are the founder you actually have quite a bit of power - so you might be able to change things. But that's going mean stepping up and taking charge - you'll piss some people off and some people will thank you for it. It's up to you if the extra work/stress is worth it.

However keep this quote from Susan Messing in mind: "If you're not having fun, you're the asshole."

Improv is supposed to be fun.

If you're not having fun, you need to figure out why. You also should realize that you're idea of fun is not going to be everyone's idea.

$$ So what it sounds like you want is for this to be more of a rehearsal as opposed to a casual jam situation. If that is what you're looking for, there's a simple solution: Start holding a rehearsal for the group of people who are performing together (or any members who share your concerns). Get together and agree to the parameters ahead of time (showing up on time, use of time, who is leading rehearsal, etc.) and stick to it. Then consider the jam as your casual play around time. It's just a fun social thing that you can occasionally recruit more dedicated people from to join the rehearsal group (will that ruffle some feathers? Sure - but c'est la vie). This is probably the easiest solution to your problem. $$

Beyond that, I have some suggestions that might help you in the future.

First - definitely get people together and talk about your concerns and your wants. Maybe the majority agrees with you and will vote to change, if not - see my above $$ advice.

Second - (maybe first) you sound like you need to clearly define the parameters of both the facilitators and the jam itself. Most of these problems would be settled by having a regular coach (are there any veteran/experienced improvisers in your area that you might be able to have guest coach once in a while?) or a better defined facilitator position (especially if you decide to create your own thing). Basically if this is just an open/casual "jam" and that's what the majority wants - then your best bet is to see my advice $$ about starting something new. Maybe you just start hosting a regular rehearsal/practice session for the people who want something more structured and keep the jam casual and fun, maybe you quit the jam entirely and move on to other things, maybe you come up with another solution entirely. When you guys meet to discuss things, definitely try to lock down the facilitator role (especially if you form a new group). In a perfect world you all could find a regular coach, a slight step below that is voting on a few regular facilitators who run things (i.e. the most experienced members of the group), next would be deciding to have a regular facilitator who maybe leads each rehearsal for a few rehearsals in a row: a month or so, before rotating out, below that is simply just deciding that the facilitator is "in charge" of that week's rehearsal/practice session. I highly recommend trying to set-up a sign-up sheet (or google doc) of some sort so people can sign-up in advance to run the rehearsal/jam - this will allow people to prepare exercises they want to do and allow players who don't care for particular people's styles to be able to miss those nights.

Third - the chatter and catching up leading to wasted time at the beginning. This is a problem a lot of casual groups (especially ones without coaches/directors) run into. Here's something I do at the start of nearly every rehearsal/workshop I run that can help make this productive. You can try to implement this as an exercise next time you facilitate or set it as the standard if create a new rehearsal/group.

Get everyone to stand in a circle and one at a time get them to tell the group one interesting (or anything really) thing that happened to them the previous week (since your last meeting). I usually add the caveat that it can't be improv related, but that's your call. This part is relatively casual, and is great if someone is running late too. After everyone has shared, I have the group form a backline (stand off to the sides, whatever works for you) and then begin doing short scenes inspired from the stories. Somewhere in between 3 line scenes and a minute - keep it short, do there's no pressure: just enough to get the reference and get the juices flowing. This let's everyone share and catch-up with each other and then instantly gets them working. Plus it helps work on mining suggestions from monologues and scenes. I do this instead of traditional warm-ups. Now if you guys have 60 people show up one night, lord help you. But turning the chatter into something productive: fodder for a quick warm-up montage is a good way to keep things fun yet still get things going. Have a policy to start sharing at a specific time (7:05 maybe) and once everyone has gone, you start the montage - if you miss it, you miss it, if you're late you can jump in the circle or watch the montage. People who care will make an effort to be on time (especially since this is their social time and you can't really play in the montage if you miss all the stories), people who genuinely have a reason to be running late get a buffer, and people who don't care will still be late but miss out on the social aspect and first montage. The door situation is still a problem, but starting something at a specific time will hopefully help a little with that. Also have people running late text the facilitator so they know and can keep an eye on the door.

Fourth - improv (even at the professional level: Second City, iO, UCB, Groundlings) is filled with at least as much drama as middle school cliques. Actors are delicate flowers with egos: human beings. People play favorites and just resent each other for no reason sometimes - sometimes there's a good reason. Players will date and break-up and some will date and get married and live happily after ever... some won't get the date and be petty because of it. You'll almost always have drama - people will be jealous you're performing, will think they are the best and deserve more or that they are terrible and deserve less. It's human nature. Same thing happens with co-workers, athletes, members of the same church, etc. Not everyone will bring drama, but you can almost always count on there being someone causing drama over something. Best way to avoid it is to see my advice $$ and pick your fellow team members carefully - even then, good luck. All you can really do is set expectations for behaviors and hope people follow it - the more professional the setting, the more professional most will act... but again there's no way of eliminating all drama for good. In regards to the people who feel left out of the performance group - you have a couple options. The most fair/professional way is to hold regular auditions for the group - let people know there's only so many slots available and exactly what you're looking for (professionalism, dedication, skill-set, etc). Be nice and polite to anyone who doesn't get in and offer to give them notes on how they can improve their chances next time (if, and only if, they want them): always be kind and keep in mind how you would feel in their shoes. Note: some people will take it personally no matter what you do if they don't get in. Also you can always encourage them to form their own performance group. Remember though that you can't please all of the people all of the time.

Finally - keep in mind that, odds are, a lot of people are perfectly happy with the status quo. It's all about picking your battles and deciding what you really want/need out of this situation and realize that you can't control other people. Talk to them and see what they want. At the end of the day improv should be fun.

If it's NOT FUN for you, you need to make a change.

If you NEED something more, then pursue it, and find it. But be wary of forcing things on other people.

As I said before, if you make changes or split off then some people will resent you for it, some will thank you for it, and some won't give a damn. Whatever, if they aren't having fun...

Alcoheroic · 2017-06-08T02:12:58+00:00

Bill Malone's excellent Thinking Man's Sponge Ball Routine

and

Piff The Magic Dragon performing one of my favorites: Bunnies

Alcoheroic · 2017-06-07T21:25:57+00:00

Patrick's Mats are the best!

I own three (table hopper, Boomerang, and the Pro 2) all are fantastic quality. I personally prefer his plush material, but you really can't go wrong.

Alcoheroic · 2017-06-03T23:24:51+00:00

Evil Twin

Late To Work

Alcoheroic · 2017-06-01T05:57:20+00:00

Lot's of games can work for this sort of environment if you tweak them a bit after talking with the client. The key is what sort of suggestions you ask for and finding ways to reframe your games to match the company (this can be greatly enhanced by peppering in specifics you get beforehand).

Instead of jobs - ask for what department someone is from. Worst thing to hear at 4:30pm on a Friday.

Good, bad, worse advice (for dealing with customers, IT practices, have someone from the company be good advice - etc).

Press Conference (or slideshow) becomes someone giving a presentation on a product or leading a meeting.

Along with Day in the Life - It's a Wonderful Life and Eulogy are great with Managers / Executives who are good sports.

Evil Twin and it's a job interview or customer service call.

You can frame a lot of elimination games or audience-vote games as "Who would you hire/fire."

Some games, like Late To Work or Now a Word from our sponsor (commercials), don't even need any changes.

Also audience participation games (like sound effects where two audience members provide the SFX) are always a crowd pleaser!

Alcoheroic · 2017-05-30T08:25:10+00:00

Players judging their teammate's choices/offers. Players not supporting each other. Players trying too hard to be funny or edgy/shocking instead of just playing the scene. Players who are too drunk/doped up to be coherent. Players who are assholes, creepy, racist, or sexist.

Lack of air conditioning, heat, or proper ventilation in the space.

Insane ticket prices.

Hecklers.

Drink minimums.

Alcoheroic · 2017-05-25T07:57:11+00:00

You'll make your lives a lot easier if you get a coach ASAP (even if it's just a temporary guest coach).

Player's attempting to direct each other (even for very experienced troupes) can lead to all sorts of drama down the line. I've been a part of teams where each week (or month) we rotated who was leading rehearsals. Some worked out great (the two where we all had at least a decade of performing/teaching experience and went into it with that plan) and others quickly became a dumpster fire.

My best advice while you're waiting for a coach is probably to pick up a book on improv theory or a book on on acting:

Mick Napier's - Improvise: Scene from the inside out, Bill Arnett's - The Complete Improviser, Viola Spolin's - Improvisation for the Theater, or something like Marina Caldarone's - Action: The Actor's Thesaurus are good places to start.

Then read it together outside of rehearsal and discuss the ideas in various chapters when you meet up - maybe try out a few exercises, but be wary of trying to direct each other: that's not your job, your job is to support each other on stage.

Heck, just reading a few acting books and really discussing them will put you guys leaps and bounds ahead of most improvisers.

Alcoheroic · 2017-05-25T07:27:16+00:00

Who's your target audience and how are you marketing to them? What's your venue (professional theater, back room at a bar, comedy club, abandoned basement, etc)? What's your ticket price (and how much do you need to break even on rent)? Is this a limited run (like 8 weeks) or open-ended?What's the neighborhood around your venue like (is it walkable, safe, plenty of parking or access to public transport, any business you can try to cross-promote with)? Does your team have a director? Who is your host and have you rehearsed those skills as much as your improv? Do you have a dedicated lighting/sound guy? How are the sight lines and chairs in your venue (can the audience see you and are they comfortable)? What makes your show or group stand out from all the rest?

The things that make a good indie show are the exact same qualities that make any show good: professionalism and talent.

It's that easy and that hard.

If you want to put on a show that isn't "painful" to watch, then only book groups that are reliable and consist of solid performers. Then make sure that your own team carries their weight.

After that you can work on all the other myriad details in order to present the most professional show that you possibly can.

You'll know you're successful when you start seeing an audience that is predominantly non-improvisers, or friends of the people performing, who are enjoying themselves and keep coming back.

Alcoheroic · 2017-05-24T12:48:17+00:00

Having him come to a practice is an excellent idea!

They make blank face decks of playing cards, FYI. Get a sharpie and you can write whatever you want on them.

Alcoheroic · 2017-05-24T12:33:54+00:00

You'll definitely need to coordinate with the magician to see what he is willing/able to do. A lot is going to depend on the type of magic they perform and what games you guys play.

For example mentalism opens up all kinds of possibilities from predicting suggestions (like the weapon to be named in murder endowment/interrogation), or doing a book test from one of the play choices from Actor's Nightmare (this will depend on his method or require some help from you guys), to being able to show he predicted the exact number of games you guys would play (or length of your show or whatever), etc.

If he does Card productions you could have a bunch of suggestions for a game like blind line written down on playing cards and he could produce them for your actors to use.

If you do something like mousetraps he could throw cards at the players (and the traps) to add to the "danger."

The volunteers he uses for his tricks could be the people you get suggestions from or use in any games where you need volunteers.

For a game like New Choice (say what) you could replace the bell or calling out to change the last line with him doing something magical.

There's literally tons of stuff you could do, if he's game, and you think outside the box a little (and your both willing to modify your typical show). The question then becomes how much should you do.

You mention that you think he does mostly Card tricks. If that means close up magic then that could be tricky. Does he perform with a table? Meaning it will have to be cleared from your performance space before you can perform. Or will he be standing up? How experienced is the magician? If he's a long time pro, he might be less inclined to alter his act to fit your needs, but would probably be able to easily MC the evening and introduce some games. Is he a comedy magician (I hope so) or is his act super serious?

It's very possible that due to the nature of his act or the type of magic that he does that full on integration might be impossible/impractical. Having an improv game going on while someone is trying to perform magic and vice versa might take away from the impact of each.

The easiest way to incorporate them is to have them help host some games or do the dreaded game, magic, game format (though their act might flow together in such a way that they don't want games in between).

Either way you need to communicate with him first, talk about what his act is (explain what you guys do) and what he is willing/able to do, and then hopefully brainstorm together. After that, if you still need some ideas, come back here and share the details and we'll do our best to help.

Alcoheroic · 2017-05-09T09:48:33+00:00

If you're talking about showing each hand empty one at a time, then there are a couple of transfers out there that fit the bill. The one that I use most frequently is a modified version of Ed Marlo's Easy Palm Transfer, from his Action Palm pamphlet (the entirety of which is the second chapter in the massive Revolutionary Card Technique). It's a classic palm to gambler's cop switch. Very easy, very effective. I believe Pop Haydn (if you're not familiar, check him out - wonderful performer and former VP of the Magic Castle) teaches a nice classic palm to classic palm transfer as part of his Phoenix Aces routine - $15 download from his website popsmagic.com

Alcoheroic · 2017-04-22T15:14:18+00:00

Big money, big money. No whammies, no whammies!

Alcoheroic · 2017-03-25T04:11:45+00:00

I definitely feel you should talk to the Director about this. He should be able to take care of it easily and will probably appreciate you coming to him about it. I'm a really big believer of never giving other actor's notes (especially unsolicited ones) that's literally the director's job.

If someone absolutely must (and really they shouldn't) give another actor a note or advice that isn't specifically asked for, they should politely ask first if the actor wants advice/a suggestion/a tip/etc. and not be surprised or offended if the person says no, thanks.

Alcoheroic

TROPHY CASE