This is an excerpt from a coach’s handbook David Shepherd put together in 1982, when he was producing the Improv Olympics with Charna Haplern in Chicago. His suggestions are still relevant to today’s improv scene.
Players need your encouragement to assume a full and active role in team play. How can you help? As players arrive to practice, ask them what situation and what character they want to play. Each player should know not only what she/he wants, but also what teammates expect. Base the session on those needs. FOR INSTANCE: One night a player came in with the humiliation of being sold a fake 19” color TV set for $98. We used this experience as a base for a Work Put event (to show the street corner con), Silent Wrestling event (the 2 minutes after she tells her husband) a Song event, and Moral Lift event (team explains the meaning of what it’s done in the preceding events). After an hour of play the player felt better because she now understood why she allowed herself to be cheated.
The brains of those who are not playing often go to sleep -- because of anxiety or excitement. CURE: Ask every player off-stage to choose both a sound effect and a “cross over” role to support the main section. For instance, suppose the audience wants to send two lovers in a Space Jump event into “high grass under a harvest moon.” Then each of the other ten players will be ready with the sound of a cricket, while thinking “what role can I play to enrich this improv? Does it need me to be a big sister, a mother, the man’s last lover, a dog, a cat, the woman’s neighbor, etc.?” Players doing “cross overs” do not stay on stage to monopolize the scene. They add an appropriate note and leave.
|God Squad at the Chicago Improv Olympics|
Improvisations succeed on their feet, die sitting down. How to keep players moving? Never stop creating and relating to imaginary objects so the environment becomes real. Find a mutual focus (like a fly in the soup), and then “go to the walls,” expand the “where,” to find the things in the environment that can enrich the improvisation. SIDE COACH: i.e. to make suggestions during the improvisations. Example: “Go in…find a focus…do it together…find more details…good…now go to the walls...find something in the outer environment, both of you…good…now go in again…” Make sure your players are using all five senses to explore.
Michael Golding is a writer, director and improv teacher. He can be contacted for workshops, festivals and private consultations at firstname.lastname@example.org. Michael participated in the evolution of the Improv Olympics & Canadian Improv Games. Artistic director of the Comic Strip Improv Group in N.Y. & created the Insight Theatre Company for Planned Parenthood, Ottawa. He is a faculty member at El Camino College in Los Angeles, working with at-risk teens and traditional students. Michael holds a BFA degree in Drama from New York University’s Tisch School of the Arts & an MA degree in Educational Theatre from NYU’s Steinhardt School of Culture, Education & Human Development.