Is a good improviser necessarily funny?

#1
Alright IRC. Let's have a lively discussion. I think it’s complete bullshit whenever a teacher or a coach says something like "I can't teach you to be funny, but I can teach you to be a good improviser." Though I do think that students learn important skills in classes like listening, committing, and leading with your hips to create zany characters, I think it's a bit disingenuous because it implies that you can be a good improviser without, in some way, being funny in scenes. In my opinion, to say that you can teach someone who is not funny to be a good improviser is ridiculous. I have yet to see someone perform and later think something like "oh he wasn't funny, but damn is he good at improv" and I defy anyone to say otherwise (but don't mention any specific performer because that would be hurtful). In other words, I don't believe that there are any improv skills that you can learn which do not in some way make your scenes, and by extension, yourself, funnier. And isn't it a fundamental skill for the improviser to make people laugh, whether it's with an honest reaction, some weird physicality, or a wild rant?

I can think of two reasons why a teacher would want to say this. First, because it's pretty much impossible to teach some people to be funny. Some people just don't have a sense of humor and they never will, and there's nothing wrong with that. However, there is something wrong with saying that these people are still learning improv skills even though they'll never be funny or do funny scenes, insofar as it is a way to take their money and excuse the fact that they are not improving. In other words, I think that any teacher who says that they are teaching improv skills that have nothing to do with making scenes funnier is a shyster, plain and simple. What's the point then? What on earth is this teacher teaching? The second reason that I can think of is that these teachers are seeking to appease the nefarious corporate improv workshop industry, which markets improv as a team-building exercise that helps people get better at public speaking. Thankfully, no one on this forum knows my true identity, so I am safe from such soulless hounds.

Your thoughts? Am I completely wrong about all of this?

BTW, anyone who wants to hijack this thread with a discussion about short-form improv and its merits should die from a carbon-monoxide leak in their homes while they're sleeping.
 
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#2
I think it's a line mostly used to keep students from feeling like they need to be funny all the time and (a) freezing up, (b) ignoring/torpedoing their partners' offers for the sake of jokes, and/or (c) being that guy and doing their Christopher Walken impression in every scene.
 
#3
Improv does not have to be funny. Some of the greatest scenes I've seen were the ones where it was about emotion, and not about laugh.

That said, it depends on what you mean with funny. You can't be taught how to craft beautiful one-liners on the spot. But I do think (almost) anyone can learn how to support a funny scene.

Not saying it can be taught, but it can be picked up with experience.
 

Holmes

of the Rare Bird Show
#4
Improv teachers say "I can't teach you to be funny"
  1. to clarify that improv isn't primarily about being wacky and silly and funny and getting laughs (for guys who think they'll get laid more if they can be 'funny'),
  2. to get people to stop trying to be funny (for those people who are serious about comedy and/or improv but are going about it the wrong way)

Kevin Dorff is an example of a great improviser who isn't what you'd call "funny" per se. He does things that are smart, entertaining, surprising, interesting, but not LOL funny. You can be good at improv and have people laugh without being "funny."
 

El Jefe

latitudinarian
Staff member
#7
It does help to be a witty, smart person, of course. Good ideas and funny lines have a place in improv, and often the lines we quote the next day are those delivered by a clever person trying to be clever. But I would argue that many of the huge, surprising laughs come from the moments that are more deeply rooted in the scene itself: the honest reaction, the logical justification of something crazy, the way a normal piece of object work can be transformed by a strong character.

Some of the best laughs I've gotten in scenes happened when I wasn't trying to be funny at all. I was just saying or doing what my character would say or do, and those moments were made possible because I wasn't thinking about what the next funny line would be.

In my level 2 class, long long ago, in a scene about cavemen inventing things, I literally tried to explain how a refrigerator worked to the best of my ability. (Talking like a stereotypical caveman, of course.) It got a lot of laughs, to my surprise, and the teacher loved it. I didn't make up any wacky details. Why did people think it was funny?

The main reasons why improv teachers and coaches often coach you to not try to be funny are 1) looking for the funny line distracts you from being in the scene, and 2) what's funny in the moment doesn't necessarily serve the cumulative humor of the whole scene. Becoming a good improvisor is learning what the scene you've just created wants and needs.
 

mikelibrarian

Lost in the stacks.
#9
I have yet to see someone perform and later think something like "oh he wasn't funny, but damn is he good at improv" .
When I was an inexperienced player I would have agreed whole-heartedly with what you said, but now I hope I can recognize if a player decides to decides to be supportive and make their scene partners look more brilliant.

Conversely I have seen improvisors get laughs by doing things at the expense of their partners. However, if you regard yourself as the star of the show and everyone else as your supporting players, then no onewould want to play with you.
 

mikelibrarian

Lost in the stacks.
#10
I have been taking stand-up and improv classes for seven years now. None of my teachers made me funny. But I am a heck of a lot funnier than I was seven years ago. There's a big difference between making your friends laugh and having the techniques to make a room full of strangers laugh at what you are doing. What you're paying for is the skill to make strangers laugh and the skill to be a good ensemble player.

What also makes you funny is practice. Practice with your teammates and practice in front of an audience so you know what gets laughs.
 

goldfish boy

Otium cum dignitate
#11
Many improvisers are good support players. They're very skilled at reacting honestly, yes-anding and moving the scene forward, so that the scene as a whole can be funny (and/or moving, and/or astonishing, etc).
 
#12
Conversely I have seen improvisors get laughs by doing things at the expense of their partners. However, if you regard yourself as the star of the show and everyone else as your supporting players, then no onewould want to play with you.
Exactly, nail on head. Its a cliche but comedy comes from the improv. I have worked with really funny people but as mike has said, sacrifice their supporting players for the laughs. It essentially created blocks everywhere.

Of course it would be foolish to say it doesnt help to be funny but I know from my own experience sometimes there are elements that the audience fall off their chair with laughter that you may not have expected to be a big laugh.
 

mullaney

IRC Administrator
Staff member
#13
I believe that you can teach someone to be funny. Unless their amygdala is damaged, most people can learn to be more funny over time. I'm a lot more funny than I was when I was 20.
 

Holmes

of the Rare Bird Show
#14
I have yet to see someone perform and later think something like "oh he wasn't funny, but damn is he good at improv" ...
Your average person in the audience or an inexperienced improviser might not pick out moments of creation, support, trust, etc. (good improv that isn't about being 'funny' or doing something wacky or saying something clever), but they are aware of it.

I've had friends who don't know improv well come see me and say that they didn't like the group opening for me as much because they just kind of stood around and said shit and it was only funny once in a while.

I've also had people go on about object work with me after a show, not because it was particularly funny, but because it helped them get into the scene. They could really see the hoopskirt I was wearing or really felt like a character they got to know was getting shot or really could imagine all the tiny details of the train set I was describing.

People like when it's funny, but that's a lot harder to teach than how to make a scene and characters and relationships, etc., which people also like.
 
#15
I always tell my students that a big difference between being an okay improvisor and a great improvisor is this. An okay improvisor knows THAT something is funny. A great improvisor knows WHY something is funny.
 
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