Truth in Comedy: The Manual of Improvisation by Charna Halpern, Del Close, Kim Johnson Page A
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player would have no trouble dis- covering the game to play from the first three lines:
"Is this the right room for an argument?"
(Even though this is a question, it is loaded withinformation and clear intent to play a game.)
"I've told you once."
"No you haven't."
The game, or structure of the scene, is already crystal clear from those lines alone, and any experienced improvisers could step in here and keep it going.
When an improviser finds the game within a scene, he's found the scene, and that's why it's so important to pick up onany possible game moves. If a game move is clear-cut, it can excuse almost anything — as actor George Segal told Del, "Even if you're five minutes into a scene, it's not too late to put on a foreign accent!"
36
Another good example of a game being discovered in a scene occurred during a workshop involving six players. One of them was to receive a huge promotion from the company president, and they waited anxiously in a conference room for the decision to be announced.
PETE: My son is on a kidney dialysis machine. (An obvious sympathy ploy)
JENNA: And you're not with him?
PETE: No, I had to be here today.
JENNA: Oh, you should be with him every second. At times like these, a
child needs a father. (The others all agree, increasing Pete's guilt.)
PETE: You're right. I'm going to him now. Thanks, guys. (He hugs the
others and exits.)
DENNIS: Thank goodness my kid is healthy.
JENNA: Is he?
DENNIS: Yes, and athletic. A little league baseball player.
JENNA: Does he play in little league games after school?
DENNIS: Yes, he's pitching today.
JENNA: And you're not there?
DENNIS: Why, no. I had to be here.
PAT: When I was a boy, my dad never watched me play. I once pitched a
no-hitter, and he missed it. I never forgave him.
(Others chime in, once again indicating Dennis is neglecting his son,
jeopardizing their relationship.)
DENNIS: You're right. My son is only young once.
What's more important than my son? I'm going to him. Thanks, guys.
(Dennis exits. The others look around at each other, sensing fully their
intent to get rid of each other.)
JENNA: (Relieved) I have no kids. Nowhere to go, nothing to do.
PAT: That explains that nice tan. Plenty of time to lie in the sun and pamper
yourself on the weekend.
JENNA: Yes.
PAT: That's a cute little mole on your arm. Probably from the sun.
MARK: Sounds like something that could develop into cancer. I knew
someone who had a mole just like that, may she rest in peace. The sun
is very dangerous.
PAT: You should have that checked immediately.
JENNA: It's just a little mole. Do you really think I should worry?
PAT: What's more important than your health?
37
JENNA: You're right. I'd better go. Thanks, guys. (She exits. There are just
three men left.)
PAT: Can you believe it? Twenty-seven million dollars in the lottery. Did
you guys get your tickets yet?
MARK: Yep.
BILL: No. But I've been playing the same number every single day for a
year and I never win. I'm not too worried about missing this one day.
PAT: What's the matter, Bill? Trying to prove to yourself that you're not
addicted?
BILL: (Nervously) No.
MARK: I knew a guy who always played the same number for years. Then,
one day, he was too busy to buy a ticket, and sure enough, that was the
day his number was drawn. He missed his chance. Boy, he wanted to
kill himself.
PAT: Twenty-seven million, Bill.
BILL: I gotta get a ticket, quick! (He runs out, Pat and Mark eye each other
carefully.)
MARK: Isn't that your car alarm?
This game of manipulating each other out of the room was established in the very first exchange between Jenna and Pete; all the others observed it, and skillfully played it out.
Another example of finding a game in the scene was done by a house team called The Family. They were doing a Harold with the theme of "Santa." Throughout the Harold, they per- formed monologs giving statistics about the homeless and the increasing suicide
"Is this the right room for an argument?"
(Even though this is a question, it is loaded withinformation and clear intent to play a game.)
"I've told you once."
"No you haven't."
The game, or structure of the scene, is already crystal clear from those lines alone, and any experienced improvisers could step in here and keep it going.
When an improviser finds the game within a scene, he's found the scene, and that's why it's so important to pick up onany possible game moves. If a game move is clear-cut, it can excuse almost anything — as actor George Segal told Del, "Even if you're five minutes into a scene, it's not too late to put on a foreign accent!"
36
Another good example of a game being discovered in a scene occurred during a workshop involving six players. One of them was to receive a huge promotion from the company president, and they waited anxiously in a conference room for the decision to be announced.
PETE: My son is on a kidney dialysis machine. (An obvious sympathy ploy)
JENNA: And you're not with him?
PETE: No, I had to be here today.
JENNA: Oh, you should be with him every second. At times like these, a
child needs a father. (The others all agree, increasing Pete's guilt.)
PETE: You're right. I'm going to him now. Thanks, guys. (He hugs the
others and exits.)
DENNIS: Thank goodness my kid is healthy.
JENNA: Is he?
DENNIS: Yes, and athletic. A little league baseball player.
JENNA: Does he play in little league games after school?
DENNIS: Yes, he's pitching today.
JENNA: And you're not there?
DENNIS: Why, no. I had to be here.
PAT: When I was a boy, my dad never watched me play. I once pitched a
no-hitter, and he missed it. I never forgave him.
(Others chime in, once again indicating Dennis is neglecting his son,
jeopardizing their relationship.)
DENNIS: You're right. My son is only young once.
What's more important than my son? I'm going to him. Thanks, guys.
(Dennis exits. The others look around at each other, sensing fully their
intent to get rid of each other.)
JENNA: (Relieved) I have no kids. Nowhere to go, nothing to do.
PAT: That explains that nice tan. Plenty of time to lie in the sun and pamper
yourself on the weekend.
JENNA: Yes.
PAT: That's a cute little mole on your arm. Probably from the sun.
MARK: Sounds like something that could develop into cancer. I knew
someone who had a mole just like that, may she rest in peace. The sun
is very dangerous.
PAT: You should have that checked immediately.
JENNA: It's just a little mole. Do you really think I should worry?
PAT: What's more important than your health?
37
JENNA: You're right. I'd better go. Thanks, guys. (She exits. There are just
three men left.)
PAT: Can you believe it? Twenty-seven million dollars in the lottery. Did
you guys get your tickets yet?
MARK: Yep.
BILL: No. But I've been playing the same number every single day for a
year and I never win. I'm not too worried about missing this one day.
PAT: What's the matter, Bill? Trying to prove to yourself that you're not
addicted?
BILL: (Nervously) No.
MARK: I knew a guy who always played the same number for years. Then,
one day, he was too busy to buy a ticket, and sure enough, that was the
day his number was drawn. He missed his chance. Boy, he wanted to
kill himself.
PAT: Twenty-seven million, Bill.
BILL: I gotta get a ticket, quick! (He runs out, Pat and Mark eye each other
carefully.)
MARK: Isn't that your car alarm?
This game of manipulating each other out of the room was established in the very first exchange between Jenna and Pete; all the others observed it, and skillfully played it out.
Another example of finding a game in the scene was done by a house team called The Family. They were doing a Harold with the theme of "Santa." Throughout the Harold, they per- formed monologs giving statistics about the homeless and the increasing suicide
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