The very Very VERY Practical Improv Survival Guide: Improv Surival Guide, #1
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When I first saw improv on stage I *wanted* it. I had never seen anything or anyone so powerful. Envy, desire, and lust filled me. I was terrified and delighted by the mere *thought* of going on that stage. And boy oh boy I wanted that stage. I was determined. I was hooked.
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The very Very VERY Practical Improv Survival Guide: Improv Surival Guide, #1 Rating: 5 out of 5 stars5/5
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The very Very VERY Practical Improv Survival Guide - Philip Geurin
CHAPTER ONE
Introduction
Copying works in everything except improvisation. When I first began, I would watch someone create a fantastic scene, get up there, try it, and fail. In anything else we can watch another do the activity, try to repeat it, adjust, see the difference, and iterate. Watch a tennis serve, try it, watch where it goes, repeat. But in improv and writing how the heck can we do that!? Every scene is different!
This stumped me until I heard a side-coach telling players kinds of things to do: Get closer, look them in the eye, say nothing, tell us how you feel
and doing those things worked. Thats a big deal. There are kinds of things to do? That meant there is a language underneath the surface. Improvisers are communicating things without saying them, and the actual wording doesn't matter much. Every line, every gesture is a repeatable, classifiable move like a layup or pass in basketball.
The moves are hard to see and label at first, but like learning any new word - once you learn it you see it everywhere. Joining, complementing, adding, gifting, landing, denying, dropping, embodying, miming, puppeting, editing, painting, inviting, labeling, othering, offering, bridging, hedging, exploring, heightening, assigning, promising, continuing a pattern, raising status (dominating), lowering status (submitting), shutting down, attacking, and normalizing, changing, reacting, joking, and defining are all types of moves the improvisers do. Then the characters have tactics they can do like seducing, bargaining, arguing, stroking, joking, coaxing, bullying, humiliating, taunting, generating rapport, communing, detaching, redirecting, or relating.
Everything we say and do can be labeled and therefore understood. I cannot overemphasize the power of the label. If you know the word for a kind of action, you can choose to do it or to avoid doing it! Before you know what kind of move you're doing, there's no way to adjust or correct it. It's just 'try again' and you can say or do something that feels completely different, but it could still easily be the same move. Once we can see the language behind each action, we can begin to copy the greats we see.
(By the way, this language is immensely useful in understanding how we interact with others in life, too.)
CHAPTER TWO
The Question
Sometimes a scene looks and feels great, and sometimes it doesn't. It behaves unpredictably, like magic, and many people allow themselves to believe just that, magic. But we know better. History is full of phenomena that were once magic, and then became sciences. The sky, air pressure, fire, electricity, the human body, the human mind, and humor. The goal of research is to understand in order to predict and control. That's the goal of this book. To reliably create great scenes and understand why they worked. Now, many will be appalled by