Improvising Tragedy - What Happens When a Comedy Show Gets Surprisingly Intimate?

Last Saturday, I encountered an improv show that radically expanded what I believe the form is capable of.

At the Upright Citizens Brigade Theatre in Chelsea, New York, an improv team called Grandma's Ashes has a Saturday night show titled Grandma's Ashes Gets Dark. In lieu of getting a one-word suggestion for inspiration, the team invites an audience member to share the story of the worst moment of his or her life.

That's right. Grandma's Ashes starts its improv comedy show by asking the audience to think of the most painful thing that's ever happened to them.

While asking for volunteers, an improviser offers up some past stories as examples—somebody nearly severing her leg in an accident and calling her dad thinking that she might be telling him she loved him for the last time, a person who lost his job, got kicked out of his apartment, and found out his mom died—and the examples are extreme, but have a certain, could-have-happened-in-a-movie quality, a survived-the-storm distance that allows us to laugh.

A young woman volunteers, and improviser Abra Tabak sits down with her for the interview, asking what moment in her life she'd like to talk about. The woman takes a breath and answers:

"It's when I realized that my dad had been raping my sister for 18 years... and then I remembered that it had happened to me too."

 

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Comedy Love Letter - from Kristen Schier to Improv 101 Students

by Kristen Schier

Here is why I love you, Improv 101 Student: You are embarking on a huge adventure even if you aren’t aware of it yet. Your willingness to discover and to try something new is courageous and inspiring. I wait with anticipation to see how you will change the face of the scene in Philly as you become more involved--and you will become more involved, because improv is a sort of cult. Ok, improv is definitely a cult—but don’t be scared, because it’s a benign cult. But definitely a cult. (One more time: “cult.”)Some level one students sign up without any idea of what they are getting into. Some are returning to improvisation/acting or a creative endeavor for the first time in a long time. Some of you have loved improv for years, but this is your first time giving it a shot in a brand new city. No matter what, you’re on an adventure, and you’re making new discoveries, and for that I admire you. At the risk of sounding cheesy, a sense of discovery is what it’s all about, isn’t it? I love watching people discover/rediscover how much fun it is to play. I mean, it’s darn-right inspiring.

Also, the willingness of the new improv student to jump into the unknown and be game for anything is a great reminder for more experienced improvisers of how they’re supposed to play. I suppose someone could make the claim that this doesn’t apply to all level one students, and that my portrait of the level one student is somewhat idealized.  And to them I say, “Yup, you’re probably right. But some of them do exist, and those are the ones I care about.” I think that a beginning student’s sense of adventure is a model for those who have been improvising a while longer, and consequently have a bit of a stick up their bum about it. Improvisers who have been working for a long time develop a somewhat understandable sophomoric skepticism about the work. They start to close themselves off from possibilities. Not everyone—just some people. And these are the exact people who need to watch a level one class, and see that the students in there are trying things that are brand new, and playing in a wonderful, earnest way.

As an experienced improviser, I’ve learned from my level one students to always try new things—which is a great way to prevent myself from developing a myopic view of the world. Being around level one students is one of the reasons I recently forced myself to sign up for a dodgeball group, even though I pretty much suck at dodgeball. Level one students, by their example, continuously encourage me to venture outside my comfort zone.  Of course life is and should be about more than just improv—but I guess it’s strange that a group of people signing up for an improv class reminds me of that, and reminds me that I should always be looking to try something else - something new, different and definitely uncomfortable. I can’t wait to see what I sign up for next. (I’m thinking some sort of martial art. Yeah, that ought to do it. So, thanks for that, too, level one-ers.)

And here comes the creepy cult-like part: I remember when I first started hanging around improv shows and falling in love with improv, and how the people I met became my really good friends—and I like that I see that happening with you students who are just beginning now. I hate to think that any of you will stay shy and/or intimidated in such an open and accepting culture. We can appear to be a closed group at times, but none of us are perfect, and I can assure you that at one point in time all of us were “new.” But it did not take long for this community to absorb us. So—see you around!

Kristen Schier is one half of the Philadelphia-based improv duo The Amie & Kristen Show/The Kristen & Amie Show, as well as a Philly Improv Theater instructor; improv instructor at University of the Arts; director for PHIT House Team ZaoGao; and Artistic Director for the short-form Philadelphia improv group The N Crowd.

Want to write a Comedy Love Letter to your favorite comedian, theater, improv team or sketch group? Email alison@witout.net!


Full Schedule for The 8th Annual Philadelphia Improv Festival

Below you can find the full schedule for this year's Philadelphia Improv Festival. All shows take place on the second floor of The Prince Music Theater (1412 Chestnut St. Philadelphia). Tickets for the event are $10 for a single block of shows, $15 for a full night (Wednesday, Thursday), $20 for a full night (Friday, Saturday, Sunday), or $60 for a full festival pass and can be purchased online.

WEDNESDAY, NOV 7TH

7:30PM
Rintersplit - Philadelphia
Nielsen - Philadelphia
Hot Dish - Philadelphia

9:00PM
Gross Butler - Philadelphia
Chaperone - Philadelphia
Beauty School Dropouts - Toronto
Davenger - Philadelphia

THURSDAY, NOV 8TH

7:30PM
N Crowd - Philadelphia
Firth&Arjet - Austin
Soiree - Philadelphia

9:00PM
Iron Lung - Philadelphia
Photobomb - Baltimore
King Friday - Philadelphia
Briami Sound Machine - Chicago

FRIDAY, NOV 9TH

7:00PM
Mister Licorice - Baltimore
Popular Science - Los Angeles
ZaoGao - Philadelphia

8:30PM
Adrift - Various Cities
Wisdom Teeth - Philadelphia / Los Angeles
'Til Death Do Us Part - Philadelphia

10:00PM
The Imposters - New York City
BWP - Philadelphia
Rich Uncle - Boston
Grimacchio - Philadelphia

SATURDAY, NOV 10TH

7:00PM
Birthday Milk - Boston
Lekker - Baltimore
Junior Varsity - New York City

8:30PM
Hey Rube - Philadelphia
ImprovBoston - Boston
BillyHawk - Los Angeles

10:00PM
Live Nude Improv - Austin - AGES 18 & OVER W/ ID

11:00PM
PHIF All-Stars - Various Cities
Rare Bird Show - Philadelphia / Los Angeles
Vox Pop - Brooklyn / DC

SUNDAY, NOV 11TH

7:00PM
Population: Six - Baltimore
Double Date - New York City
Suggestical - Philadelphia

8:30PM
Mayor Karen - Philadelphia
Scoresby - New York City
Amie & Kristen Show / Kristen & Amie Show - Philadelphia
ShawnMikael(s) - DC


Discussing a Bit with Matt Holmes - I Decry All Improv Rules

by Matt Holmes

The biggest hurdle for good improv is the rules for good improv. Most rules are phrased as strict negatives. Few tell you what youshould do. Many are vague, optimistic tips for how to handle stuff, instead of how to create stuff.

These all swirl around in people's brains, along with the mechanics of performing. It can be confusing, frustrating, and counter-productive, especially when coupled with a freewheeling, everything-is-good attitude.

People seem to like rules and want a clear do or don't, but they can be problematic.


Yes And
My problem with the concept of "Yes And" is that it's tailored for how to respond. Improvisers first need something to say yes to, yet this second step is often the first rule you learn. Giving this as the be-all/end-all number-one rule of improv leads to boring scenes that go nowhere or obnoxious scenes that go straight to insanity.

This rule also leads to beginners who literally say "yes" to everything, no matter how awkward. They then become experts who follow in any and every direction that happens, instead of picking a track and staying on it.

"Yes And" leads to scenes that are all beginnings, with no middles or ends.

Agreement
Players need to agree upon the facts of a scene, because improv doesn't use props or costumes or sets to convey information. Hesitation and resistance can stall an improv scene, so players should be willing, but that's a different concern.

However, the concept of agreement can be confusing and lead to characters that only ever say yes to things and a backlash against anything other than an explicit "yes" in a scene.

I think a better term is "accepting."

  • Improvisers can accept the fact that there's a table in the room, but decide whether or not their character agrees that it's pretty.
  • Improvisers can accept the fact that their partner's character wants to rob a bank or go to a movie, but decide whether or not their character agrees that it's a good idea.

No Questions
This rule sucks, and it's often one of the first taught. In life, people ask questions. Theatre is a reproduction of life. Similarly, life involves strangers, teachers, and transactions (also outlawed), no matter how tricky it can be to do a scene with them.

It's fine to clarify the difference between demanding stuff from your partner and offering it, but making a rule out of it just leads to stressed improvisers thinking about the rule instead of playing.

Plus, if you can do a scene that's only questions (a thing people do), then you can certainly do a scene with one or two questions.

Take Your Third Idea
Improvisers don't have time to come up with an idea, judge it negatively, and repeat. Improvisers should take anything and make it work.

Play to the Height of Your Intelligence / Don't Think
The phrasing of these two rules, especially when learned in conjunction, is the zenith of confusion. How do I use my intelligence if I'm not thinking?

Sometimes, people can get ahead of themselves. They start planning instead of playing. Sometimes, people will do lowest-common-denominator comedy that doesn't challenge themselves or their audiences.

Teachers, directors, and coaches can clarify the situation without turning it into a rule that people can fail at. People can play sloppy and stupid sometimes; help them not do that without stressing their minds.

Get the Who/What/Where/Names/Relationship in the First Three Lines
Firstly, this tip leads to scenes that start with too much exposition and go nowhere. Secondly, improv scenes aren't about facts.

Scripted scenes also aren't about facts. Whether it's in a ballroom or a prison, you can get the feel of the scene without worrying about the details, especially not all at the beginning. You can do a lot more with a lot less stress if you focus on showing instead of telling.

There's nothing wrong with details; they can make all the difference and be really fun. But they should be the icing, not the cake. Also, some details don't matter.

Make Your Partner Look Good
My big problem with this is how vague it is. It's nice to nudge players towards helping each other and point out behaviors that aren't "playing well with others." But how and when exactly are do you make your partner look good? This concept gets warped into people forgetting about themselves and playing sloppily because they're worried about someone else.

A lot of improv techniques are lovey-dovey and hippie-dippie and end up being helpful paradigms for working together, but let's remember that you're performing for an audience. Otherwise, it's not art; it's art therapy.

Thou Shalt Not Shine Above Thy Fellow Players
While you don't want somebody hogging the limelight or screwing somebody over to get a laugh, you don't want to discourage people from doing their best. I'd rather have to keep up with someone great than herd mediocrity.

Making a rule for this topic leads to players afraid to stand out, try hard, or take risks. Talk about it, but don't make it into a commandment.

Don't Pimp
Pimping is making your partner do something. The label of pimping can be slapped onto anything in improv, and you could say that everything any improviser does or says demands something from their partner.

The best ensembles have members who trust and support each other through anything that comes up and have fun creating together. Even if they pimp their partner, it's not a problem.

  • If you know that your partner has your back, you'll let them do anything to you.
  • If you have your partner's back, you'll never let them suffer (too much).

Listen
This seemingly clear word can be used vaguely in improv, and the accusation of not listening can happen at any time, from literally not hearing something to not getting what somebody intended or wanted to just not being on the same wavelength as your partners. Focusing on listening can be great, but boiling it down into a rule that you violate is not helpful.

Don't Wimp
Wimping is making a weak offer or not doing enough with what you're given. This issue phrased as a rule leads to improvisers afraid to do anything simple or realistic. Any and every choice can work.

Don't Try To Be Funny
I think it's a mistake to shift gears away from comedy in the form of a tip or guideline. People get into improv because they are or wish to be funny or fun or interesting.

It's better to show people how to be funny (via the acting and writing that improv is) and explain what else is being created, rather than just telling them not to try to be funny.

Make The Active Choice
There's nothing wrong with being active, but it's just one option. Making it a requirement is like telling all painters to always only use blue.

I think the hesitation seen in improvisers is a symptom of the overwhelming and confusing nature of improv rules (as well as just warming up to playing), rather than being a disease of its own.

If your character is shy about jumping off the diving board, making the active choice destroys that choice. Of course, you shouldn't play every scene as someone who is hesitant, shy, or disagreeable.

Create Conflict
This might be the rarest rule, but perhaps the most damaging. The majority of improv education is about reducing conflict between players, but then there's a faction that says every scene needs conflict between the characters.

Again, it's one choice of what could happen in a scene.

Don’t Talk about the Past, Future, or Anything Not on Stage

If there can be a scripted show about waiting for someone who never arrives, then there can be an improv scene where two characters reminisce.

If you start a scene about two people complaining about their boss, I want more of that, not to blow the scene's wad by jumping immediately to seeing the boss.

Be Changed
This is another good option that shouldn't be forced. Characters are interesting when you see them develop, but let's earn it.

If you're going to make a rule, at least make it something like "Be Capable of Changing If You Want That To Happen."

Find the Game of the Scene

Determining what 'game' is and how you play it is a blurry, moving target for even the best players. Game becomes a spiritual feeling, instead of anything pragmatically achievable.

Underlying all the games, patterns, deals, motifs, routines, and breaking of routines is the simple concept of repetition and doing more of something that everyone has invested in.

That's all you really need: a track to follow. A good education in improv should highlight what works and how to get there. Creating a label for success, instead of a method, leads to formulaic scenes and limited players (or frustrated people who gave up).

Justify
In improv, you're creating an entire universe with its own reality. Whatever you say is true. You don't need to explain. You don't need to derail everything to follow that tangent.

Everyone is accepting that you're an octopus lawyer; they'll accept that this jury has 13 people. Don't get distracted trying to make sense of things. Don't explain away the interesting thing that's happening. Don't destroy what someone else is creating because you feel like you're on a tightrope; you're supposed to feel like that.

Don't Deny/Cancel/Bulldoze/Steamroll
It's easy to screw your partner over in improv. You can ignore them and even disintegrate what they've created. This creates confusion for everybody.

The problem with these as rules is that you can accuse anybody of doing any of these. It shouldn't just be a violation; it should be a discussion.

Of course, a good teacher can clarify rules, explain away any confusion, put things into context, and give real examples.

Of course, people can misunderstand anything and create a rule in their head even when it's not presented as one.

There are bigger, deeper issues that improvisers could work on if they get past the few, limited, basic-level rules for making stuff up together.

Improv education seems to be especially rules-based, more than other things you could learn. Perhaps it grew out of the history of improv as games with rules of play. Perhaps it's because improv is so ephemeral that we're drawn to anything solid and certain. Some rules were more helpful 10 or 20 years ago, but now they're immortalized in a book. Some things that weren't a strict rule got edited down into items on a list.

Rules aren't inherently bad, but you can really do a lot of damage with them, and they can really get in your way.

My work in improv focuses on reducing fear and doubt and judgments. I try to get people to play, to make any choice and then make that choice work by doing it more and bigger.

If you're trying to make something out of nothing, you want a small number of clear, simple, pragmatic things to do (instead of what not to do). In something as free as improv, you shouldn't let any "rules" hold you back.

Matt Holmes is an improviser in Philly. He performs a full improv comedy set with a complete stranger from the audience in Matt& (“playful and winning” –TimeOut Chicago). He also teaches improv and co-founded Rare Bird Show (“Top Shelf” –The Apiary, “Philly’s homegrown ‘enfants terrible’” –Inquirer, “Seven Thumbs Up” –Phil, “arguably the best improv group Philly has ever produced” –AV Club).

Look for the next installment of “Discussing a Bit,” Matt’s monthly WitOut column, on December 1st.

Have a comedy issue or theory you’d like Matt to examine? Email alison@witout.net.

 


Comedy Around the Web, Vol. 5

Splitsider and Billy Merritt illustrated the Six Different Types of Improv Students.

Comedy Central revamped their Jokes.com page, where you can watch classic clips and highlights from the latest stand-up specials and series, read about stand-up, tweet about stand-up, live, breathe, dream stand-up.

Creative fans have the chance to win a walk-on role in the new season of Arrested Development.

They gave away some Emmy Awards for comedy at the Emmy Awards.

Bill Burr talked to Splitsider about his new special, his alt-room statements, false outrage, and more.

Here's an anthology of animated GIFs from South Park. Why not?

Chris Parnell and Deon Cole reveal the iPhone 5's secret sexy feature on Conan. Chris Parnell makes everything better.


The Return of...Asteroid's B-Movie Teaser

All through the month of October, Philly Improv Theater House Team Asteroid will present their B Movie format - an improvised tribute show celebrating the fun of the low-budget sci-fi/horror films from the Golden Age of Hollywood. The group has released this second teaser video for their shows.

http://www.youtube.com/watch?v=u0Bma7sZKaw

Asteroid's B Movie runs all through October at Philly Improv Theater at The Shubin Theater (407 Bainbridge St. Philadelphia). Tickets and schedule for PHIT shows can be found online.


8 Simple Rules for Dating Someone in Your Improv Group

By: Greg Maughan

1. Don’t date someone in your improv group.
2. Don’t date someone in your improv group.
3. Don’t date someone in your improv group.
4. Don’t date someone in your improv group.
5. Don’t date someone in your improv group.
6. Don’t date someone in your improv group.
7. If you are considering dating someone in your improv group and you are both straight but of the opposite sex, consider talking yourself into having gender reassignment surgery. If that doesn’t work, convince the person you are interested in to undergo the sex change. This approach also works for homosexual improv group members who are both of the same gender at the beginning of the attraction.
8. Don’t date someone in your improv group.

Greg Maughan is the Executive Director of Philly Improv Theater, currently in their first of a six week run of shows at The Shubin Theater (407 Bainbridge St. Philadelphia). You can find their schedule and purchase tickets online.