Watch this starter video. I'll contextualize it in a minute.
https://www.youtube.com/watch?v=Dd7FixvoKBw
Remember the "Yes And" principle? Building out a scene starts with an offer and takes off when someone receives that offer and runs with it. But the picture can get a little messy sometimes. To build out a scene, you need not only say, "yes and," but you also have to begin to take the scene in a meaningful direction. When two people (or more) begin to interact in a scene they are not only setting the stage but establishing the structure of the scene. They are creating "sign-posts" (i.e. guides) for people to participate in the game. Above all, improv is only enjoyed by the audience when it makes sense. To do this, you have to build clear and salient structures to play within. To contextualize the video you just watched above check out Keegan Michael Key talk about improv as a process of peeling back the structure:
https://www.youtube.com/watch?v=coZARWbdNlshttps://www.youtube.com/watch?v=coZARWbdNls
This is the core of improv: Working with others to create a scene. In this section you will learn 3 core principles of building out a scene. The order, as per the video you just watched, is pretty important.
https://www.youtube.com/watch?v=a2gWMNJPRVE
Think of a time when you felt like people were listening well in a scene
Think of a time when you felt like people weren't listening at all in a scene
The importance of Team and Setting others up for success (which is a main outcome of listening):
We learned this at the very first session, but I think it's good to review and also to start thinking about how not only how you accept offers, but the ways that you can make them too. Watch these videos:
MAKING OFFERS:
https://www.youtube.com/watch?v=xl5GmWyMHtQ
ACCEPTING OFFERS:
https://www.youtube.com/watch?time_continue=263&v=TGxbgwSa58A
Important definitions to keep in mind as you give and accept offers:
OFFERS Any dialogue or action that advances the scene. New information. Offers should be accepted.
BLOCKING Denying an offer by saying no, or contradicting it. Rejecting the ideas of another player. Blocking can be a symptom of a player trying to dictate the outcome of a scene on their own.
SPECIFICITY Added details to an existing offer. Being specific or making specific choices.
HEIGHTENING Adding significance to an offer often accomplished by adding detail, emotion or context.
WIMPING Accepting an offer but not adding anything new. Wimping often leads to questions regarding what the scene is about.
WAFFLING Failing to make decisions or not taking action. Talking about what you’re going to do instead of doing it. Often accompanies Wimping.
JUSTIFICATION The act of making an offer make sense within the context of a scene.
REINCORPORATION Revisiting an idea from earlier in the scene, or from a previous scene in the show, or even from a previous performance.
SHELVING Shelving is what we call neglecting offers made earlier in a scene. When an offer is figuratively put on a shelf, and forgotten.
ORGANIC Characteristic of, pertaining to, or derived from what has come earlier in the scene.
Acting with purpose means helping to move the scene forward in constructive ways. It means saying yes and, but in ways that ensure you've been listening and in ways that ensure that you are taking responsibility and ownership over the scene. If someone gives you a gift, for example, open it, react, define it. Next week we will also learn about commitment, stakes, and coherence. But this is a first step to that.
Check out this video (watch until 1:53)
https://www.youtube.com/watch?v=egm-gu3rBEQ
Important definitions to keep in mind as you move a scene forward:
BEATS Beats are divisions in a scene by subject/topic/emotion/intention. It’s the smallest unit of action with a beginning, a middle, and an end. In theatre, sometimes pauses are also referred to as “beats”.
WAFFLING Failing to make decisions or not taking action. Talking about what you’re going to do instead of doing it. Often accompanies Wimping.
GOSSIPING Another word for Waffling, specifically referring to talking about what’s going on instead of doing anything to move the scene forward.
PACING The rate of performance. Speed is not the only factor of pacing; equally important are intensity, clarity, and frequency of new offers.
EXPANDING Adding detail or context to an offer, moment or beat. If you’re not advancing, hopefully you’re expanding.
Check out this closer video to watch something called Long-Form Improv, where the scene unravels over an extended period of time. Within it try to locate when players are Listening, Saying Yes And and Acting With Purpose and when they are not. Watch as much as you'd like. Start at 3:00.
https://www.youtube.com/watch?v=oh3zRZhwhSQ
(Watch from 2:39:00 until we finish our theme event to watch baby tanna improvising). It can be finnicky to get on youtube, so if you're having issues let me know).