Dear Sean...

[Sean_Taylor]

1/16/02
Today, on the eleventh year anniversary of the Desert Storm invasion, I began my improv journal. I intend on making most of my entries short and to the point. This one is already longer than I anticipate future entries but that is because background info is necessary.

Background info
I'm currently enrolled in Michael Delaney's level 3 class on Mondays 7-10. In addition to class, I also attend at least one practice group a week and usually visit the UCB theatre on Thursday for Harold Night and Sunday for ASSSCAT. My two favorite discoveries here in NYC is that I love to watch improv comedy and that I love to perform improv comedy. My least favorite part is that I have to have a full time job to afford living here (improv watching just doesn't pay like it used to).

<UL>Goals for journal<LI>Spout my improv theory(ies)</LI>
<LI>Discuss all improv theory</LI>
<LI>Comment on other people's journal entries</LI>
<LI>Not tell people I'm reading their journal entries</LI>
<LI>Make unordered lists</LI>
</UL>

 

[Sean_Taylor]

My Dearest Sean

1/17/02
Last night I got three nuggets of improv advice/theory that really seem 'on the money'.
<LI>Make the scene about the particpating characters</LI>
<LI>When 'chit-chatting' reveal a 'want'</LI>
<LI>No matter what your character or your scene, love it, cherish it, and commit to it</LI>
All of these, thanks to Curtis Gwinn.

We'll see how they play out next time I perform, but for now, it's good fodder.

 

[Sean_Taylor]

Remember me?

Hi, Sean. I'm sorry it's been so long since I last wrote. I don't want to come up with lame excuses for that either. You know the truth and that is what is most important in moments like these.

As for improv, I had my last class of the term with Michael Delaney last night. It was a great class and I will miss it, my classmates, and Mike. Class went so quickly and I still haven't mastered the art of improv comedy. I did, on a more optimistic note, hear two more improv nuggets that might help in future classes/rehearsals/performances. And those two items are as follows:
<UL><LI>Be where you want to be</li>
<LI>Don't come into a scene with more than half an idea</Li></UL>

These make so much sense too because both relate to the love of the art. Improv comedy should be fun for the players involved. Thus, playing where you want to play enables you endless possibilities. The other fun part about improv comedy is the creation and discovery that takes place during the course of a scene. If a player comes out plot heavy, both players are now forced to make the most within the confines of an already thought out idea.

 

[Sean_Taylor]

more bulleted improv nuggets

Dear Sean,
What did you learn last week at improv rehearsals and who did you learn it from?
signed,
Just Curious

Dear Just,
&nbsp;&nbsp;&nbsp;&nbsp;Thanks for your questions. Here ya go.
What I learned:<LI>Invest in your problem</LI>
<LI>Start off both specific and active</LI>
<LI>Become your character and act/react accordingly
Who I learned it from:<LI>James Eason</LI>
<LI>Bob Wiltfong</LI>

Very often scenes begin with a somewhat confrontational initiation. In order to move the scene forward, invest in the problem at hand. Don't give into disagreement or the scene won't move anywhere until the conflict has been resolved (for proof of this, see security cam footage of Sunday's rehearsal). As for initiating a scene yourself, having a motivating factor (a want) will enable you to begin both specifically and actively. This is the difference between starting a scene with "hey, let's talk about baseball" (less right) and "Coach, my pitching arm hurts pretty bad" (more right). Although there is no right and wrong in improv, the latter example is more conducive to progressing a scene beyond the 'who' 'where' and 'why's and get to the discovery phase sooner.
The third thing I learned this past week was to become your character. You got to be in the mindset of your character in order to keep up. If before speaking you wonder what your character would say, then you are filtering. Eventually, you won't have time to filter and your character will suffer. Much like speaking Spanish. You can get to a point where you can translate any sentence into English, come up with a response in English, then translate it back into Spanish BUT you'll never truly speak Spanish until you remove the 'translation' filter. You've got to think, act, and react in Spanish before you can keep up.
Adios,
--Sean

 

[Sean_Taylor]

Improv decoder ring

Dear Sean,

Let's hear some more stuff you learned!

Paraphrased brilliance:
<LI>Listen closely and respond truthfully to effectively set up a reality for the scene (Slocum 4/24/02)</LI>
<LI>Make the scene about the people in the scene by focusing on their relationship. Anything mentioned that doesn't have to do with the characters emotional interaction with each other might be good, but isn't necessary for advancing the scene (Gwinn 4/27/02)</LI>
<LI>Any "odd" occurance that breaks the reaity established will be noticable and have game potential if embraced (Morris 4/14/02)</LI>
<LI>If a scene appears to stagnate, clarify the relationship and/or the location action is taking place (Mullaney SUMMER '01)</LI>

Bibliography
Gwinn, Curtis.
Morris, Seth.
Mullaney, Kevin.
Slocum, Ptolemy.

 

[Sean_Taylor]

July notes

I did a practice group with Curtis Gwinn in July and got some really helpful improv advice that I intended to put in this journal but forgot for 5 months.<TABLE WIDTH=350 BORDER=1><TR><TH COLSPAN=2>Ways to deal with improv 'no-no's</TH></TR><TR><TD Align=center>Scene partner action:</TD><TD ALIGN=center>Response</TD></TR><TR><TD>goes blue</TD><TD>Focus on specifics of blueness. Yes, you have to go blue with them but focus on what they have given you and explore it specifically.</TD></TR><TR><TD>non-commital</TD><TD>200% commitment is required for a scene. If your partner commits 50%, you commit 150%. More often than not, your commitment to the scene will spur your scene partner into giving more.</TD></TR><TR><TD>Jokey</TD><TD>Be aware of the jokiness and solidify the reality. Call out the jokiness if you must in order to maintain the reality of a scene. If you give in and get jokey yourself, then you and your scene partner will be the only two laughing.</TD></TR><TR><TD>asks questions</TD><TD>Ask questions back and make your scene partner answer. Choices have to be made at the top of a scene so make them together.</TD></TR><TR><TD>too much info</TD><TD>Once your scene partner lays on a bunch of information, use a second to take it all in, then repeat it. If you are thrown by too much exposition, the audience is too. Slowing down helps connect you with your scene partner and also informs the audience.</TD></TR></TABLE>