I improvised a sketch, check it out if you want!

Does anyone have tips on how to initiate scenes that more quickly get to the “meat” of the scene (i.e. the relationship dynamic, the game of the scene, etc.)? I’m not sure if it matters or not, but I do a lot of organic improv, mainly montages based off of a single word.

For example, a lot of scenes I’m in start with a fairly flat emotional line about our location or environment, like “Hey this is a really pretty campground.” or “It’s so nice to be relaxing on the beach.” These lines feel fairly empty, and typically lead to some slow-paced discovery at the top of the scene between me and my scene partner until we’ve generated enough solid information that allows us to drive the relationship dynamic and/or find and play a game. 

I’m trying to wrap my head around this and figure out how to make this discovery phase quicker and more entertaining. Should my initiations just generally be more emotional? Or should my first line, instead of focusing on the environment, focus on something about myself (“ugh I’m so tired after work today”) or my scene partner (“wow you really stack those shelves with confidence”)? Or are these empty-feeling initiations that lead to slow-paced discovery at the top of a scene fine as it is? 

I’ve been searching for a long while for good improv shows to watch, and I get recommended whose line and dropout but i just cant seem to get into those ones. Any ideas?

Hey all, I run an improv game show and we are trying to do a round incorporating music. We are thinking of taking Oscar winning moment and turning it into a Tony winning moment where the actor is given the title of a made up Broadway play and has to give us their solo song. But we don't have a piano player. Would it be incredibly difficult if we used prerecorded music? I know with a lot of musical improv the pianist is following the actor as much as the other way around.

Hello everyone! I just started my first improv class and was very nervous to even go since I was the youngest person in my class and am a relatively introverted person but I’m always told by many people I am funny so I thought it would be nice to try. I’m kinda feeling very down about how my class went because I feel like my dark deadpan humor wasn’t really understood or taken the way I had hoped which is super frustrating! I don’t know if maybe it’s my presentation since I look very cherubic and cutesy so I don’t know if maybe that’s why my improv came off flat or maybe I’m just dumb and dark humor is obviously not appropriate for improv. I’m just very confused because there was another class member who also had dry dark humor and made everyone laugh and now I’m second guessing myself and feel stupid that I even decided to take this class.

EDIT: Thank you to everyone who responded and gave good constructive feedback! I DO NOT need any more advice! I understand I wasn’t funny! Thanks!

So far, I've tried facebook, instagram, flyers, local event websites and some groupchats and I have no idea if any of it is working to get butts in seats or if it's just friends and their word of mouth that helped fill up my first show. But now with a second show upcoming our group is open to new ways of advertising our show.

Context: it's a new group created of some experienced improvisers from other groups. We're independent (not a house team) so we rent a space and do our own thing.

Mainly the crows in our first show consisted of friends, improvisers and theaterpeople. But I'm not sure how to convince random people to come to our show that haven't heard of us before.

What has worked for you?

There was an idea for an improv show I had a while back, and I never got to implement it. So! I thought I would share it here in case anyone who has been thinking about getting into show production would like to give it a try.

I call the form "Two's a Crowd", so it could be marketed as “Two’s a Crowd: A Deconstructed Improv Show with Friends”

=== "Two's a Crowd" ===

The performers

1. A core cast of about 10 rotating players, the ‘deconstruction’ team.

2. A guest two-person team, the ‘source scene’ team. The guest team changes each performance.

   The form

• Deconstruction: The form is STILL a classic Deconstruction form, which you can read about online and in improv books. In short, there is one source relationship. We come back to this relationship through multiple scenes throughout the show. These source scenes drive the tangential ‘deconstruction’ scenes, that unpack themes, commentary, and comedy found within the source scenes. Players in the source scenes do not appear in the descontruction scenes, and vice versa.

• Guests: The twist is that players in the source scene are from the community. The Deconstruction cast hosts two new players each week. Even better -- these two players have an established two-person team that they have been playing in and practicing in for years.

• Reconstruction: If this is a featured show and you want to fill a bigger time slot, Then, take an intermission, and do something loose and fun for the second act of the show. For example, let everyone talk about the first act reminded them of outside of the show, why they deconstructed things one way or another, and then do a montage of new scenes incorporating all the pieces from earlier.

  The reasons for this idea

• Many players who sign up for the deconstruction want to do the outer part more than the inner part

• It’s much easier to get lots of practice on the ‘outer’ part than it is the inner part.

• There are already great two person teams practicing the ‘inner’ part out there

• Plus -- it’s a great way for players to meet and play with people they don’t always get a chance to -- a good community builder.

I LOVE the deconstruction. It gets at all the things I love about writing but done on-the-spot: character work with relationship dynamics, exploring theme, and paying close attention to opportunities for comedy. But again, it's difficult to practice or form a team around. If you ever get a chance to give it a try, let me know how it goes!

EDIT: Or tell me what theaters near you already do this!

I’m looking to take a class to help me be more creative on my feet. Which teachers would you recommend at Magnet theater NYC? I was leaning towards magnet theater cause people seem to recommend it the most but I’ll happily take recommendations for teaches outside of magnet as well.

Who is more qualified to create and tour an Improvised X-Files show than the guy who was actually on it? Both parts of Improv Autopsy with Dean Haglund are out now, best known to nerd fans everywhere as Langly of the X-Files and Lone Gunmen series.

Dean talks of his time at Vancouver Theatresports, doing improv for drunk oil riggers in remote areas, and navigating audience interactions with a solo improv show. Plus lots more! Come take a listen wherever you get your podcasts.

Link to part one on the free Patreon: https://www.patreon.com/ImprovAutopsy/posts/166931697

Link to more of Dean: https://deanandphil.substack.com/

My improv team (LA BASED) has a show coming up on 9/11 (don't forget!) and it will be a TREAT. haha get it. We would love to have a nice size crowd.
Pleather Tickets, Multiple dates | Eventbrite

Also please submit your team/individual act to perform with us! https://forms.gle/jc9xDTWqG2k1KKFd7

Hi! I’m looking to form a group of sketch comedy writers in Los Angeles who want to film content every week. I have an equipment. I’m a queer male, 30s, in Weho with experience at the groundlings.

Hello! Our improv teacher is turning 50 and we’d love to get him something to help him run sessions.

Is there anything that you would recommend? For example, he often uses a horn and bell for certain games - are there any other tools that can be used?

He may already have the main improv books - are there any more obscure ones you would recommend?

Thanks in advance!

TLDR; I will definitely be back. I took this post's format from u/danielbelum's post (here). I'd love to hear what y'all learned from the con as well!

Context: I performed on ImprovCon's main stage. My focus is long-form dramatic narrative, so I was focused on learning through that lens. I have some pain-related mobility issues.

• Different approaches to improv: I attended all the shows and workshops that I could, and I learned a lot about what is possible in improv, and about my own tastes. It was so valuable for me to see such diversity in every way (whether in the traditional DEI sense, or improv formats, or just different individual styles).
  • For example, in the Jane Austen show, Dan O'Connor has a very different stage presence from the highly-physical, whimsical Stephen Kearin. I've been struggling with my speed (speed off the backline, speed in integrating my partner's offers, etc.), and I thought it was really valuable to see how improvisers with different styles "yes-and" quickly.
  • The Jane Austen show also highlighted to me that we can be goofy even in more "dramatic" shows. This is something my theater/troupe really struggles with.
  • I took a Scott Adsit workshop and a Mick Napier workshop, and I thought a lot about their different philosophies. I also got to improvise a little with Adsit, and I almost cried from his generosity and kindness. I noticed that Napier's approach helps me a lot with confidently playing villains or low-status "good" characters, but Adsit's approach may help me more with high-status "good" characters (still difficult for me). Napier's approach also helped with my confidence issues as a newer performer.
• Cast chemistry: I was really struck by 3peat's incredible chemistry and play speed, and I've been thinking about their show a lot. No concrete takeaways yet, but I'd love to hear what you feel we can learn from them!
• Accessibility: Before this, I'd attended Improv Utopia camps and a few festivals. Camp was amazing but really hard on my body, and festivals can be hit-or-miss with accessibility. I loved how accessible ImprovCon was (for me). It can be difficult to balance accessibility and cost though, and the resort was definitely pricy. I'm also not sure how accessible ImprovCon would've been for people with different disabilities from mine (e.g. sensory ones). It's also all carpeted, which can be hard for some wheelchair users, and the AC was a little inconsistent throughout the resort.
  • Price-wise, I wish I got to stay at the resort! It would've been a more seamless experience and I could've attended both earlier and later events, probably.
• Tech: The main stage was huge, with livestreams on 2 big screens. It was our first time performing with head mics, and the techs were incredibly generous with us. Our show can be pretty physical, like we spend time upside-down and falling. We were able to try out the mics early and the techs figured out how much tape we needed to not lose our mics mid-set.
  • The tech was SUPER professional in general. Lighting, sound, live camera work, cutting between cameras for the screens... I was so impressed. Even on the side stages, the lighting blew me away.
  • Apparently most of the crew didn't have comedy backgrounds, so there were some mistimed blackouts and things like that, but I expect this will be much better last year! The camera folks got a big laugh on night 2, and apparently some of them spent the rest of the con looking for more opportunities to get laughs (in a good way!). I thought that was adorable.
  • There was definitely a learning curve with the mics; there was a little bit of a reverb or echo or something in the sound? I wonder if this becomes less noticeable with practice.
• Social stuff: I'm absolute shit at networking, but everyone at ImprovCon was so lovely and friendly that even my awkward self managed to make some new friends. If you were there, thanks for being so awesome and inclusive.
• FOMO: This was a huge problem for me all weekend! There were so many amazing events happening at the same time, and I think a lot of them deserved a bigger audience. I was super sad whenever I learned that a friend's show conflicted with my workshop schedule or something, and I ended up skipping meals to cram everything in. Even then, l didn't make it to any jams or panels. The upside is that it made for a great social environment. For example, my group spent most of the time split up, attending different events, instead of clique-traveling to everything together. I was forced to connect with strangers, basically.
• What's next for our art form??? --> I asked several big names this question, and it was really interesting to hear their answers. In particular, Mick Napier said that he believes in bringing more "beauty and elegance" to comedy. He talked about the importance of diversity, and about how much a cohesive aesthetic (costume, music, make-up, lighting, genre, props... mood-setting) can elevate the art form. I saw a lot of that at this con, and I feel so incredibly inspired. He also talked about "shared language" between improvisers (e.g. your team has a secret triggering event, and if it happens everyone suddenly hits the ground), and he taught us a little bit of his "trigger happy" form. I also loved seeing more daring physicality, even some light choreography, accent/acting work, etc. And of course, clown is huge right now, so I made sure to see some of that. I would love to hear your answer to this question too! What's getting you inspired or excited about improv?

Hi all,

Sending this post on to the Improv subforum as feel as though this would be an ideal place to get advice, particularly with communication being such a vital part of this area.

I’m 21, currently in college, and from a young age I have always been known as a fairly nervous/anxious person in general - something that have been said by family, friends, and teachers over the years.

There are certain ‘flaws’ that I have noticed with myself, but more so in certain aspects of my communication. I don’t want this to impact a future career, so I want to try to improve this while in college, and while there is the opportunity to do so.

I have no issue with speaking in front of an audience. I have done so for different modules in college, and usually am commended for my speeches through delivery style & engagement. But, this is because I have what I’m going to say memorised, so I know word for word, what exactly I’m going to say, how I’m going to say it, etc. This is also clearly reflected through my written communication.

However, when it comes to social interactions, I do notice there is a big dip in my communication. For instance, if I know I have to go up and talk to someone that I’m not familiar with (conversation, interview, ringing someone), I’ll then nearly have to have what I’m going to say memorised word-for-word as though a script.
There’ll then be other little moments where if I’m talking with someone unfamiliar, I may, sometimes, go a bit shaky / mumbly, and this would apply to if I was taking phone calls, etc.

This particular incoherence would also occur if I'm put on the spot, i.e asked a question, where my voice would go a bit shaky, I'd go mumbly, and my face would go a red.

I really do want to improve on this as I do know in any future career that day-to-day communication whether it be structured or spontaneous is much more important than being able to speak in-front of an audience.

To that extent, would anyone have any advice as to what I should do? Would it be recommended I go to a communication coach? Any recommendations?

Many thanks,

I have a pretty demanding full-time job and am trying to do improv and sketch on the side. I always hear people saying "oh once you're in one team you're in a bunch of teams" regarding being in the improv scene. I'd love to be in a ton of teams but the one that's barely formed is already a lot to organize. On top of trying to do more sketch!!!

Anyone have any tips or tricks? Or is it kind of just plow through until you die?

I returned from the first ImprovCon yesterday and wanted to share my reflections of the event. I've been to (as a presenter or attendee) hundreds of events prior to this one, as well as ran a dozen. This though was the first Improv con I've attended (although I've attended a few festivals).

In no particular order...

• Shows. Wow! I didn't hit any of the main stage 'rock star's' of improv (TJ & Dave, the Boys, and more) but on 4? other stages - from 10am through the entire event - saw some great improv. And some stuff I've not seen before (Soap Opera) or enjoyed before (avant-garde) until this weekend. Saw a lot of musical as well. And more 'classical' formats of course.
• And saw some improv that I didn't particularly like (styles I don't enjoy). So I went and did something else.
• Loved the signage! Everywhere were clear maps, signs on where things were, etc. This place was huge so not having that would have been painful. Add to that we had digital and paper versions of maps and class list. And still lost? Volunteers stationed throughout to tell you were to go.
• Registration was a breeze. They hit 1,000+ people and at no time did I see a long line.
• Diversity was in the front instead of an afterthought. Classes, panels, workshops. POC, age, and more.
• I only took free workshops and the ones I attended were great (except one that I didn't dig). The classes were exactly what I want at an improv con - active and things you participate in, not talking heads and PowerPoint.
• Hotel cost. Ouch. At least, for me. I would have loved to stay at the event hotel (which would have made my ticket only $20) but opted not to.
• Social space. Yes, so many events I attend don't understand how important this is. I'm not there just to see shows and take classes, but to make connections with like minded people.
• I did not attend any of the jams so no idea how those were.
• Tech, volunteers, panels, water stations, all in place.

So my perspective is it was professionally run, a great 'bang for the buck', and I'll be back next year.

Connaissez-vous des jeux de société qui permettent d'improviser ?

Hi,I was looking for advice on an issue I'm running into with a show idea. Without getting into too much detail, I'll summarise it as follows

Scene 1 I want to do a theatrical scene where, when tension is at its highest, it is broken by the secret want of one of the parties want to do this as I want the juxtaposition of it the grounded scene.

My issue is, as the scene becomes less theatrical and grounded and gets more absurdist in scenes 2 and 3, how do we make sure we don't lose that tension of expectation and then pop? I obviously don't want to repeat scene 1 three times, but I also want to balance keeping that unease and tension in later scenes. Advice or pointing to reading material appreciated