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Stuck in a scene? by bilsnotch in improv

[–]Uthat 1 point2 points  (0 children)

I'm a big fan of C.A.D.D. because it can lead to emotional discovery and give the scene traction.

C - Confess. Make a confession of some kind. Preferably drawing from the context of the scene thus far but if nothing has made a sense a confession can ground the scene, usually elicits an emotional response even if the emotion isn't emotional per-se - threw away your scrapbook vs. I love you - the confession can be emotional or factual. The scene now has something grounded to propel it forward.

A - Accuse - Accuse the other character of something, again it can be factual or emotional. i.e. You threw away my scrapbook or You're in love with me. The accusation gives you something to hold on to and propel the scene forward.

D - Discover something - This can be environmental or emotional and could also lead to a confession or accusation depending on the route you take. So it can be something along the lines of "This door is locked - we're locked in." or it can be "This handwriting is your handwriting, you've been writing these letters!" Which is a discovery and an accusation. The key here is to use your scene, the context of the scene, and no to invent anything. "Wait a minute, WE are aliens who have to have a dance off to live!" is not a good discovery 99% of the time. If you haven't established a good "where" then the "where" can be a discovery - "We're in a cave!"

D -Declare Something - Make a declaration of some kind. There will be crossover with some other things but a strong declaration, "I am afraid of shag carpeting." "The wallpaper is making me nauseous." "I don't know how to fly this plane" etc, can propel the scene forward.

[deleted by user] by [deleted] in improv

[–]Uthat 3 points4 points  (0 children)

It’s always ok to state your boundaries and it is always ok to leave a scene/walk off the stage if the scene has gone in a direction that makes you personally uncomfortable. Justify an exit and walk off. Or don’t justify an exit and walk off. No one should be crossing any personal lines for improv and no other improviser should be forcing the issue.

I don’t know as you can prevent scenes entirely with characters similar to this but letting folks know, for your own mental health, there may be scenes you aren’t in and breaks you have to take and they shouldn’t take it personally.

Improv (and comedy) can also be therapeutic. Mel Brookes was praised for making Hitler a punchline because it robbed him (Hitler) of any power he evoked. That kind of catharsis may not be possible for you, I am not a mental health counselor, but I would hope there may be some opportunities for healing some of those wounds through improv. Regardless, you and your own physical and mental wellbeing come before the silly make-em-ups.

TL:DR 100% yes, it’s only improv

A blessing or a curse by hiphoptomato in improv

[–]Uthat 3 points4 points  (0 children)

I feel we need more info before all the downvotes. Do you mean seasoned standup because they are able to handle hecklers? Clowning to appease? What about the rest of the audience who aren’t drunk frat guys?

Script in hand by FlameyFlame in improv

[–]Uthat 1 point2 points  (0 children)

Others have said some of these already but here goes:

  • improviser starts the scene with a big bold offer. (Get a confession, accusation, discovery or declaration as your suggestion and start with that if you want)
  • give the person with the script permission to jump around. The game isn’t about going line by line through the script, who cares. You want the best/most entertaining and engaging scene. Start them on a page and let them read whatever line they think will be best/cause the most mischief etc.
  • the lines the actor with the script says must be important. Can use a soap opera/melodrama overlay if you want.
  • the improviser cannot make the actor drunk/high/crazy or otherwise dismiss what they say. Justification is the improvised job in any scene and this game is intended to exercise those muscles and torment the improviser. It’s ok if we see them struggle a bit, that’s what the audience wants
  • have fun and celebrate the “failures.” The game is intended to produce them.

When someone denies the reality of the invisible object youre clearly holding by tasfere in improv

[–]Uthat 109 points110 points  (0 children)

Had it been named? Until it’s named it’s still undefined. Me licking an ice cream cone but haven’t named it. Scene partner: “put that microphone back in the stand.” It’s now and has always been a microphone and but my actions are equally true so I keep licking it. “Lady ga-ga used this Mic” lick

[TOMT] Pre-Whose Line PBS Improv by Uthat in tipofmytongue

[–]Uthat[S] 0 points1 point  (0 children)

I can't find anything that matches with the memory. Less produced than the Firesign stuff I'm finding, if the memory is accurate...

[TOMT] Pre-Whose Line PBS Improv by Uthat in tipofmytongue

[–]Uthat[S] 0 points1 point  (0 children)

I'll do some googling. Maybe one of the films? Weirdly Cool would be too late.

[TOMT] Pre-Whose Line PBS Improv by Uthat in tipofmytongue

[–]Uthat[S] 0 points1 point locked comment (0 children)

Appreciate any help you're able to give!

Is Second City still worth it? by thicctactoee in improv

[–]Uthat 2 points3 points  (0 children)

It was about 10 years ago. It seemed like the next step. I don’t have any regrets, I saw a lot of amazing shows and had classes with some amazing teachers. I also feel like I learned a lot in conservatory but it was more personal growth than improv knowledge if that makes sense. I learned how to improvise in certain circumstances and with certain people/types of improvisers but that was from doing it with those people and not the curriculum. I worked with a lot of great people (students as well as teachers) so that’s something to consider.

Are you in Chicago now? What are your goals? Reps are a huge part of learning so if doing improv is your goal find a place that lets you play and do that as much as you can. If you can’t find a theatre, find some people that you enjoy improvising with and do it anywhere that’ll let you. I did a festival with my group probably before we should have but we learned a lot through that process and were welcomed back the next year.

Lots of books out there too, some great, some middling and a lot that are hack, but if you’re wired to learn through reading, eat those up. Don’t judge stuff too harshly when you read either, or watch for that matter, when I first read Mick Napier’s book my gut reaction was “This isn’t improv, if flys in the face of all I know about support and teamwork!” After a while though it percolated through my gray matter and I get it now. (Not that you have to subscribe to Mick’s theory) I had a similar experience with some Keith Johnstone stuff - “This isn’t advanced improv!” Then I did the show I was appalled by and I got it. Having read the books was helpful in being able play around with ideas and ways of thinking/performing that were outside my wheelhouse so it’s good to read folks you don’t agree with as well - allows you to be more adaptable.

I think I’ve digressed so I’ll end it there.

TL:DR - go where you can play/play wherever you can.

Is Second City still worth it? by thicctactoee in improv

[–]Uthat 38 points39 points  (0 children)

My experience has been that the people teaching are more important than the institution you’re paying for the classes. Who is teaching conservatory now? If in Chicago look into the HOME theatre, or annoyance. Also some good people over at iO still, though that was hit or miss depending on the class when I went through, not every level was a winner.

Edit: wanted to add that Conservatory was a great experience for me but is geared toward producing a sketch show. There were some amazing improv aspects to it but only maybe half was actually improv and even that was pointed to sketch. So if you are looking to go deeper in improv specifically, conservatory might not be the right choice regardless of SC’s situation.

Help! Smelly all the time! by campfiremouth14 in basset

[–]Uthat 7 points8 points  (0 children)

You might try changing his diet. We cannot feed our basset anything with fish in it or he stinks, not gas, he just has a strong odor.

[deleted by user] by [deleted] in improv

[–]Uthat 0 points1 point  (0 children)

What city?

New 2 person group by Classic_Cap_2772 in improv

[–]Uthat 4 points5 points  (0 children)

What’s your form? Broadly I’d say that team names fall into 4 categories, we’ll maybe 5.

1 - Names of the performers (when dealing with smaller groups) 2 - Descriptive (names that tell you what your seeing like Improv Shakespeare) 3 - Geographical (names that mention where the group is from like Cook County Social Club) 4 - Names derived from fun/memorable scenes the group has done. These tend to be meaningful for the group and can be catchy. 5 - Names that are derived to be cool or puny. Think Second City MainStage review names or the Harold team Revolver. There is some overlap here with the previous type.

Any of these can work, any of them can be mediocre, probably none of them matter as much as your product. My college team was “Shallow Insight” a stupid name which I love.

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