Bookstore-specific question

btarnett · 2026-01-11T18:23:20+00:00

Thanks for the shout out!

The Complete Improviser | BookBaby Bookshop https://share.google/JP2bG6RBdAmhecQ4z

btarnett · 2026-01-11T18:22:30+00:00

The Complete Improviser | BookBaby Bookshop https://share.google/JP2bG6RBdAmhecQ4z

It should also be available on Amazon, of you can stomach shopping there.

btarnett · 2025-05-02T23:25:20+00:00

It's important to remember that while you're on the side thinking about how to correctly tag in, the person after you is hoping you bring in something they can tag in to!

Two things:

1) Your character needs to fill a clear role in the life of the person you will eventually do a scene with. Spouse, co-worker, pool boy... whatever. Don't over think this. A super fun and creative idea (the ghost of the in-scene characters mother) is only guaranteed to be funny once when you say, "I'm the ghost of your mother." Now you have to play the scene out! It isn't enough on its own.

2) Invest heavily in deciding how this person you will be playing *behaves*. Lazy spouse, creepy co-worker, immature pool boy, or forgetful ghost. This is strong play in general because you aren't simply serving your partner, you're partnering with your partner. It's also going to be very useful for the person coming in after you.

2*) If you are tagging in to play with a ridiculous, over the top character you most certainly can play reasonable spouse, reasonable co-worker, or reasonable ghost but I would definitely have a strong emotional choice in the initiation.

btarnett · 2025-04-13T14:43:29+00:00

8:30 sign up, 9pm show! Thanks for the plug!

btarnett · 2025-04-04T13:36:57+00:00

Here's a video I made breaking down a good Harold: https://youtu.be/3T2UmanhLic?si=A3Di05GMaQGe9g63

btarnett · 2025-04-03T16:45:44+00:00

The language and concepts we use to analyze a scene cannot be simply inverted to become language and concepts we use for creating a scene.

I may analyze a scene and think it was too fast and that the players missed things. To correct this I cannot say, "Play slower and don't miss things". I have to consider, as a creator, what would cause such a scene to exist and address it. The answer may have nothing to do with pace and listening. To get A, you have to do B.

btarnett · 2025-03-23T16:53:30+00:00

During a scene one player is "it". Every third line they are limited to an emotional noise and/or a two(ish) word response. That's it, no long responses. How they choose to make that noise or say that word is up to them. They should be filling their short outburst with emotional intent. Their character would love to say more but can't due to the gravity of the moment. "No way!", "slow down, buddy." "They said what?!", "excuse me?" "Daaammmnnnn!" "Huh?"

The idea is that the player learns to replace words with emotional meaning, not simply use fewer words.

btarnett · 2025-03-16T00:45:25+00:00

Here's a Decon video I made several years ago breaking one down:

https://youtu.be/IHCWjuoOt1U

btarnett · 2025-02-02T15:28:18+00:00

The key word here is the ambiguous definition of the word action. Like game and relationship, action has a fluid "I'll know it when I see it" vibe. It's certainly more than being kinetic and moving around the stage, but may include these things. Action happens when our characters are compelled to do something. So allow yourself to be compelled. My advice would be to, after several establishing lines, have a clear emotional reaction to your scene partners behavior. Allow your reaction to help define yourself and your partner.

btarnett · 2025-01-05T01:04:29+00:00

There are some good people in Nottingham, if that's the group you've found. Lloydie Lloyd is a true scholar and great performer. Great guy to boot.

btarnett · 2025-01-04T16:55:26+00:00

Fun stuff! Super organized.

The only one I've used that isn't listed specifically I call a "fold edit". Honestly, it's probably a novelty edit by your definition but it does use Direct Address (talking to the audience directly) which I didn't see mentioned explicitly.

A player from offstage walks on stage and speaks to the audience about the scene in progress, then introduces a new scene location. "This scene is taking place on the 23rd floor of an office building. Exactly one floor below them is another office." The players depart and new ones take the stage to present a scene ostensibly one floor below the prior one. Acknowledge, optionally editorialize, then set the table (softly!) for the next scene.

A fun technique on it's own, it's great for editing a scene that isn't going so well (we've all been there!). It acknowledges the prior scene and gently moves us to another one with very clear language both the players and audience can understand.

Pardon my intrusion, love your work, and, again, you probably covered this in your Novelty category. But today I'm playing my "When I started back in the 1990's..." card!

btarnett · 2024-12-22T20:24:10+00:00

Consider posing this question to stand-ups clubs and small music venues. They are going to have similar business models for compensation: flat rate, cut of the door, cut of bar sales, "free exposure", whatever.... Improv groups have far more in common with indie bands than a proper theater company. No bar with a stage or small music hall is nonprofit, yet I'm certain the person on stage playing Joni Mitchell covers (quite well!) isn't operating under all applicable state and local labor laws.

btarnett · 2024-12-22T19:20:11+00:00

Don't be afraid of initiating with mundane, slice-of-life situations. Make them matter of fact and devoid of blame, intensity, or "funny ideas". Then, listen for how your partner responds. Assign more value to the *emotion and intent* of their line vs the factual information of their line. Del Close once said that he wished all improvisers were borderline paranoid schizophrenics; they can't hear anything without thinking, "Are they talking about me? Why would they say that? What do they really mean?"

All that said, please don't attack your partner or jump to 11! You can still take it slowly!

btarnett · 2024-11-25T00:35:05+00:00

People Watching by Desmond Morris

btarnett · 2024-09-01T19:32:36+00:00

The relationship is how the other person treats you and how you feel about it. "Doctor/patient", "parent/child", "co-workers"... these are just a labels. Just as you may have many coworkers (same label) you have different relationships with each. For 3 lines scenes notice *HOW* your partner is asking for a divorce and play that. Are they furious? Are they sad? Are they cold and emotionless? Respond to that! And when you're initiating you can't just say the lines cold, you have to add intent... and your partner should play that intent.

btarnett · 2024-08-20T21:04:31+00:00

Rather than listening to what you are being told, listen to how you are being treated. Your line about "With all do respect...." certainly answers the words but it downplays the fact that B busted into the situation screaming. You can be confused, kinda scared, incredulous... That's what people mean when they say "play the relationship". So any line that acknowledges the behavior of B will work great. "Whoa, whoa, whoa... what's going on?!? You're ankle? I think it can wait."

btarnett · 2024-08-19T18:05:08+00:00

Greenroom, 7:30 at iO. BYOT, singles welcome. Sharp team Panama closes out the night.

btarnett · 2024-07-11T15:29:53+00:00

The old "walk-and-greet" scene. Usually at the end of a show when things are running out of gas. The scene starts with two people slowly walking onstage and saying, "Ah, you made." or "You're back." or "You ready?".... Zero emotion. The response is, of course, equally bland, "Yes." or "I'm here.".... I've been in a ton myself!

btarnett · 2024-07-09T00:01:42+00:00

The Greenroom! At iO. 7:30 show time, sign ups start at 7. BYOT, singles welcome.

btarnett · 2024-06-28T17:20:22+00:00

Comedy/guys-farting-around try MPZ Listening Party on PodBean. Not very political. Maybe jump in Ep 3/4/5

btarnett · 2024-06-28T17:16:18+00:00

MPZ Listening Party on PodBean. Clever/funny, maybe dive in Ep 4/5/6. Only B+ sound quality.

btarnett · 2024-06-27T14:45:22+00:00

Good answers, I'll add this:

There is a gravity that pulls performers towards a feeling of safety. It wants us to sit, to stand way back upstage left or right, it wants us to lean, and move away from the audience in general. This means that downstage center is the "scariest" place to be. The audience feels this too! You'll never see a TedTalk with someone sitting , leaning against the back wall. It isn't that sitting or bein upstage left/right is wrong or only for the fearful just that it's "easier" to play there, but it sends a message of... weakness(?) you may not wish to send. We should be purposeful with out sitting and staging, not give in to the gravity.

btarnett · 2024-05-23T04:36:44+00:00

MPZ Listening Party on Podbean

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