Looking for an exercise to help with creating characters and embracing endowments? Here's one for you.
Looking for an exercise to help with creating characters and embracing endowments? Here's one for you.
We want to fill our blank stages with imagined environment. We want to engage physically in that environment to help visualize the imagined. And - most importantly - we want to be emotionally affected by where we are and what we're doing. That's Improv As Improv Does Best. Our fellow player(s) and how they emotionally […]
A fun Pack show featuring Nick Leveski and Patrick Gantz having a lot of fun endowing each other and reacting to one another. [youtube https://www.youtube.com/watch?v=9hV5VtQrImA?feature=player_embedded&w=640&h=360]
Feeling about active endowments. That's Improv As Improv Does Best. It ain't easy. That balance between making up imagined details and committing to feeling about imagined details is tough to manage. Already we're trying to see our world's details instead of thinking up details, but we also have to care about those details in-the-moment. Like […]
An improv stage can be anywhere. On it we can do anything. You could be in a submarine on Mars raising talking chickens. Often improvisers are good at labeling the moment. But you need more than words; you have to be in the world. This exercise focuses on attaching emotions to the scene's active elements […]
We’re going to build "two person scenes" on patterns of emotional behavior. LET’S WARM-UP
How do we build our two person scenes after the initiating sequences? Practice. Let's review the components of strong two person scene initiations: 1. From the moment you enter the stage, actively engage either your environment or your scene partner with an emotional perspective dialed up to 11. That is all. With that, or those, […]
The surprise inherent to improvisation is made even more satisfying when we’re specific in-the-moment. If we are too cautiously vague or too ungrounded in grasping for hilarity, then we deny the scene, our partners and the audience the power inherent in the specificity of The Details that allows a world to form from the nothing on […]
When we fill a blank stage with objects and an environment through committed mime, the world we create becomes that much more engaging, for players and audience members alike. The audience loves to be able to "see" what we create on stage. And if we really look at what we create on stage, we'll find it […]
We want active emotions in our scenes, so we need active details to react to. If the doll your character is afraid of is actually on stage with you, then rather than just talking about how you're afraid of dolls, you can actually act afraid because that doll is actively making you afraid in-the-moment. If you endow […]