A classic exercise to unlock your physicality
Note: This is a reprint of a previous Improv Illusionist newsletter. If you’re not receiving my email newsletter, you can subscribe here and get my “Learning the Improv Illusion” series as a bonus.
Welcome to another issue of the Improv Illusionist Newsletter, a monthly update from me, David Raitt, with a focus on the improv skills of environment, object work, and physicality in character and performance. I’m honoured by your interest.
Greetings!
This month, I’d like to introduce you to an old physicality exercise that’s been forgotten, at least in my experience.
It’s interesting because it lets you explore physicality without actually moving around the stage. This different perspective may give you some new insights.
ALSO: in a couple of weeks, I’m off to the UK to check out the improv scene in London and the Midlands. Do you have any recommendations for theatres I should check out? Hit reply and let me know!
Try this to build your physicality
I’ve been experimenting with a classic Viola Spolin exercise recently. It could help if you’re having trouble unlocking your physicality in improv scenes.
It’s called…
Verbalizing the Where
Here’s the description, right from Spolin’s Improvisation for the Theater (Third Edition, p.118):
Two or more players, having agreed on Who, Where, and What, sit quietly on stage. Without leaving their chairs, they go through the scene verbally, describing their actions in the Where and their relation to the other players. Players narrate only for themselves, not other players. When dialogue is necessary, it is spoken directly to the other player, interrupting the narration. All verbalization is in the present tense. For example:
Player 1: “I tie my red-and-white apron around my waist and reach for the cloth-covered cookbook on the table. I sit down at the table and open the book. I turn to the section on cookies and thumb through the smooth, shiny, white pages, looking for a recipe. Hmmm, sugar cookie—that sounds pretty good. I put the book down, get up and walk to a cupboard, looking for my large mixing bowl…”
Player 2: “I open the screen door and run into the kitchen. Darn it, I let the door slam again! Hey Mom, I’m hungry. What’s for dinner?” (and so on).
Remember to only describe actions, not opinions. The “Darn it” narrated by Player 2 reflects the character’s reaction to the slamming door, not an internal monologue. Focus on external action.
As an optional Part B, you can then get up and actually play the scene through. You no longer verbalize your actions, but speak only when dialogue is necessary.
Spolin doesn’t mention this, but I’d say it’s possible to play this exercise solo as well. By yourself, you’ll probably use little or no dialogue (a silent scene), but you can definitely narrate your actions.
Why this works
This exercise does many useful things…
1. Like most Spolin exercises, the focus on external action helps get you out of “thinking mode” and into present experience. This creates more opportunities for spontaneous ideas.
2. It highlights your physicality and relation to the environment. Depending on your balance of narration and dialogue, it points out how much you tend to think physically. You can then work on shifting this balance.
3. You can explore physicality without the pressure of execution. If you’re uncomfortable with object work, or if you don’t feel you have the mobility, you can still train your physical improv skills through the narration. This is valuable mental rehearsal for training mindset and building confidence.
4. Thinking about physical details in the environment can give you ideas for stronger offers or ways to affect your characters more deeply. You learn to make choices from your own motivation, as well as in reaction to other players.
5. You can optionally go over the top with your physicality in complete safety. If your character gets a delightful surprise, you can narrate backflips of joy across the stage, or some other cartoonish reaction. You wouldn’t do these same moves in real life, but it gets you used to making bigger choices, which is extremely useful. (Note that if you’re working this way, avoid the Part B so you don’t risk an injury. Or use the opportunity to think about how you could perform those big physical moves—maybe show those backflips using finger puppets?)
Other notes from Spolin
Here are a couple of other points from Spolin’s book. (There are also more ideas there about how the exercise fits in with larger improv training.)
- If you choose to play the scene (Part B), it’s unnecessary to remember and cover every detail in the narration. Spolin says, “This exercise gives an enrichment in detail and underlining which will be accomplished even if the narration is not followed to the letter.”
- Avoid playwriting. “If narration deals with what the players are thinking rather than on the detail of physical realities around them, this exercise can become a series of ‘soap operas.’”
- This is useful for improv rehearsals to help focus on creating physical detail. Spolin says it can also be valuable for formal theatre rehearsal to explore blocking.
Try Verbalizing the Where and let me know if it helps you make any new discoveries!
Things to Try
Exercises, scenes, and practices to work out your physical improv skills.
- Experiment with Viola Spolin’s Verbalizing the Where exercise above. Try it both in groups and as a solo thought experiment. (For more about thought experiments, see last month’s newsletter.)
- Solo exercise: Yes-And-ing the Use of an Object. Start by handling an improvised object, using it for any activity. While you continue to handle it, let the movement help you make strong decisions about character and location. Where are you? Who is doing this? Other example prompts to build on your choices: Are you doing it fast or slow? Is this important to you? Do you like this activity? After each prompt, continue to ask yourself “What does that suggest?”
- Remember last month’s total solar eclipse? Seems like some people in my area weren’t looking at the sun safely and are now reporting eye damage to their optometrists. Interesting idea to start a scene.
More for the Improv Illusionist
The Improv Illusionist book – Preview and order info
Improv Exercises for Physical Skills
Improv Books — Reviews & Recommendations
Improv Podcasts — Reviews & Recommendations
News and Links
Improv’s Babel: Defining the Game of the Scene
What does “game of the scene” actually mean? Some of improv’s most well-known performers and teachers provide their ideas. No definitive answers here, but it will help you understand the different ways people talk about it.
How I stopped worrying and learned to love competitive improv
With competitive improv formats, we’re not supposed to care about who “wins,” since the goal is for everyone to put on a great show. But that can be a tough nut to crack for some people. Chris Mead has some great tips for getting over it.
Question(s) of the Month
Will you visit an improv festival this year? Which one(s)?
Hit Reply and share. I love to chat with readers, and it gives me ideas for future content to help the entire community.
Do you have any feedback about Improv Illusionist? Send me a message or just reply to this email. Seriously, I read everything and respond to nearly all of it as my schedule allows.
I’ll be back with more on June 6th.
Ex nihilo!
— Dave
