Keeping improv fresh

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.

Hello!

I’m excited to announce I’ll be playing at the Robin Hood International Improv Festival in Nottingham, UK, this September. It’s got a killer lineup of performers and workshop teachers.

Let me know if you’ll be going. I’d love to meet up with you and talk about physical improv!

Deepening the improv experience

I discovered this article by improviser Michael Such and I highly recommend you read it. It got me thinking about how we can keep ourselves from falling into ruts. If all our experiences feel the same, players and audiences eventually lose interest. And some drift away from improv altogether.

The thing that struck me most about Michael’s article is his suggestion that people view improv as a skill demonstration rather than an art-form. This leads to the general impression that improv is “light entertainment.” Audience members comment less on the content or themes of a show as much as they say things like, “You were so funny! I could never do that.” We’re not giving them experiences they can hold on to, that they can reflect on the way the best plays do.

In my international travels, I’m discovering a lot of groups pushing the boundaries of improv beyond simple comedy. It’s happening in North America too, but here we’re up against an overwhelming view that improv is only one thing, and that people can either do that one thing well or not. Which leads to all the pop culture stereotypes of bad improv.

We can fight back by showing audiences there’s more to improv than Whose Line is it Anyway? or Theatresports or Harold Night.

As a professional improviser, I recognize that I have the privilege not only to think about these things, but also to have a large and supportive community for exploring new ideas and modes of performance. I’m sure you love improv as much as I do, but for you it may be only a hobby. Or you may live in a part of the world where there aren’t many types of shows to get involved in.

Nevertheless, our art-form needs YOUR input. Working on this will help keep improv fresh for you, as well as your audiences.

Here are a few ideas:

• How are you using your skills? It’s important for improvisers to develop a full and well-balanced skill set. But consider how you’re applying those skills. It’s great to learn physical improv, for example, but are you just adding environment to the same short-form scenes, or are you exploring silent scenes, physical expressions of emotion, stagecraft, and other uses?
• Consider your audience. Think in advance about the experience you want audiences to have at your shows. Light comedy is fine, but it feels disposable. Do you want to explore a theme, or convey a range of emotions? Do you want to tell deeper stories? Can you expand your theatre atmosphere to link it to your show content? Plan around the audience experience instead of repeating the same old formats.
• Watch new shows. Explore what others are doing. Seeing new shows can inspire you, and your support also inspires the improvisers putting on those shows. Even if your local scene is limited, you can find lots of stuff online. Consider what you can adapt for your own work. (Remember to ask permission before trying another company’s unique format or show premises.)
• Create new shows yourself. What’s interesting to you about improv? What do you wish you could say about the world? Design your shows around themes or premises to explore those ideas. Experiment with different formats or types of scenes. Try to rehearse shows in advance so you don’t face unexpected problems in front of a paying audience. Take your time to get good, so you’re presenting quality theatre.
• Take risks in scenes. Instead of “following the funny” all the time, explore different emotional tones. Show your audience there’s more to improv than gags.

Finally, have a professional mindset. Again, there’s nothing wrong with being an amateur or hobbyist improviser. But improv is art, and you can try approaching with some level of rigour. Work on getting better. Take an active role in your local company. Volunteer at shows and festivals (a great way to see new stuff). Think of ways to break the light comedy mould.

We don’t need a complete transformation of improv, but let’s expand the options and experiences for everyone to explore.

What do you think about taking improv beyond “light entertainment”?

Help choose next month’s “big idea”

[A poll appeared in the original email. Sometimes I’ve got a number of ideas in mind for new articles. As a subscriber, you can vote to tell me which one you’re most interested in and you might see it next month! Or, you can always contact me if you’ve got an idea you’d like to see.]

Things to Try

Exercises, scenes, and practices to work out your physical improv skills.

• Present a new experience. In your next show, plan for at least one moment that’s outside the range of “light comedy.” Aim to inspire a different tone, like pathos or fear. Explore something dramatic. It doesn’t require a special introduction or any changes in the show, just a different approach from players within the scene.
• Watch a video, with fellow players if possible. Get inspired by other improvisers. Some options include TJ and Dave (Vimeo On Demand), Middleditch & Schwartz (Netflix), or anything that strikes your fancy on YouTube. Talk about what works for you and what doesn’t, and what you might bring to your own shows.
• Solo: Practice the Chatterbox exercise. Perform an activity while chattering away about anything except the activity. You can pause your action occasionally, but don’t stop your monologue. Watch for repetition of movement and try to have a variety of components to the activity. See if you can notice how the energy of your speech can affect your activity, and vice versa. Watch that your focus on the activity doesn’t drop. BONUS: Can you aim to convey an emotional response in your monologue?

More from Improv Illusionist

​The Improv Illusionist book – Preview and order info

​Emotional Safety Resources​

​Improv Exercises for Physical Skills​

​Improv Books — Reviews & Recommendations​

​Improv Podcasts — Reviews & Recommendations

Book Review

A Subversive’s Guide to Improvisation: Moving Beyond “Yes, And”​
by David Razowsky
​(more info here)

Razowsky is a popular teacher and performer with experience from Second City and many international projects. Half memoir, half manual, his improv book lays out a simple approach based on present awareness to create compelling, smart, truthful, and surprising scenes. There are some “formulas” here, but Razowsky mostly encourages you to keep your perceptions open and use everything.

• Pros: Highly practical methodology with lots of exercises to practice its elements.
• Cons: If you’re not interested in the memoir aspect, half the book won’t appeal to you. Skip to the second half.
• Best for: Intermediate-experienced players who want to learn a more natural approach to improv. Of particular interest, the book includes Razowsky’s detailed adaptation of the Viewpoints technique to draw offers and inspiration from the physical aspects of the scene.

Read more book reviews on my website.

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.

Back for more on August 1st.

Ex nihilo!
— Dave