Truth in Comedy: The Manual of Improvisation by Charna Halpern, Del Close, Kim Johnson Page B
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rate at Christmas. In their last scene, they found a game to illustrate how depressing Christmas is. As a group, they began singing Christmas carols. During the first verse of "Jingle Bells," Adam took an imaginary gun and shot himself in the head, then fell on the stage.
The others stared briefly and began to sing "The First Noel." During the first verse, Miles pretended to hang himself from a noose. The others cut him down, and his body fell next to Adam. The survivors began to sing "Rudolph, the Red Nosed Reindeer." One by one, they continued to play the game of "committing suicide." Finally, with a pile of bodies next to her, Rachael began singing, softly and beautifully, "Silent Night." On the last line, she pointed to the heap of bodies and sang "Sleep in heavenly peace" to end the game.
Another example of finding the game within the scene is a one-upmanship game Charna discovered in a scene with Scott.
The scene established that they had been dieting for days, when the pair sat down to their three ounces of protein and one cup of vegetables. Scott took a slice of bread. Charna scolded him, because he'd eaten his daily serving of bread at breakfast. To spite her, Scott took the bread and put a whole stick of butter on it, topped with a second slice of bread.
To retaliate, Charna put four teaspoons of sugar in her coffee. Scott picked up the sugar bowl and poured it into his mouth. Charna ran to the refrigerator to get the cake she baked for
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their party, and began shoving fistfuls of it into her mouth. The food war game escalated until it could build no more.
LISTENING AND RESPONDING
Hearing and listening are two different things. When a player is given an initiation, he must let the words resonate inside his head for a moment, so that he can decipher the underlying meaning.
An improviser must consider what is said, and what is left unsaid, as well. He must think, "Why was that said? What does she mean by that? How does it make me feel?"
If a player takes the time to consider what the other speaker means, then his response is more intelligent than the knee-jerk response (usually a one-liner that attempts to be witty). A more carefully considered response takes a second or two longer, but the wait is well worthwhile.
A player's move is not complete until he sees how it affects his partner. When his line has been heard and pondered, his fellow player then responds from a similarly honest and emotional state.
Some of the very best improvisers are those that listen an remember. Former ImprovOlympic player Chris Farley is an expert at this rule, both on and off the stage. Chris listens with his emotions; his fellow players can see him responding while they are still saying their lines. And he never forgets a thing that is said.
Charna says Chris still reminds her of something she said or did years ago, which is why she finds "The Chris Farley Show" on Saturday Night Live so funny. Chris interviews show business giants by reminding them of his favorite moments from their films, saying "Remember when you did this . . . That was awesome . . ." Hosting his own talk show, he never asks questions — he just remembers! The SNL writers are very obviously heightening one of Chris' natural traits. He remembers everything! .
AVOIDING PRECONCEIVED NOTIONS
Preconceived ideas for an improv scene can get a player into trouble.
Avoiding preconceptions is as easy as listening and using each other's initiations.
Of course, a previous scene may give an actor a notion for a location, relationship, or a situation. However, his grasp on such a thought must be loose, and dropped quickly if the scene takes a turn that contradicts his plans.
For example, Madeline might enter a scene with the intention of being Dave's long lost lover. She begins by saying, "I've missed you terribly." If Dave responds by saying, "I know. Sorry I haven't written, Mom," then Madeline must immediately discard her romantic scenario.
Of course, it's
The others stared briefly and began to sing "The First Noel." During the first verse, Miles pretended to hang himself from a noose. The others cut him down, and his body fell next to Adam. The survivors began to sing "Rudolph, the Red Nosed Reindeer." One by one, they continued to play the game of "committing suicide." Finally, with a pile of bodies next to her, Rachael began singing, softly and beautifully, "Silent Night." On the last line, she pointed to the heap of bodies and sang "Sleep in heavenly peace" to end the game.
Another example of finding the game within the scene is a one-upmanship game Charna discovered in a scene with Scott.
The scene established that they had been dieting for days, when the pair sat down to their three ounces of protein and one cup of vegetables. Scott took a slice of bread. Charna scolded him, because he'd eaten his daily serving of bread at breakfast. To spite her, Scott took the bread and put a whole stick of butter on it, topped with a second slice of bread.
To retaliate, Charna put four teaspoons of sugar in her coffee. Scott picked up the sugar bowl and poured it into his mouth. Charna ran to the refrigerator to get the cake she baked for
38
their party, and began shoving fistfuls of it into her mouth. The food war game escalated until it could build no more.
LISTENING AND RESPONDING
Hearing and listening are two different things. When a player is given an initiation, he must let the words resonate inside his head for a moment, so that he can decipher the underlying meaning.
An improviser must consider what is said, and what is left unsaid, as well. He must think, "Why was that said? What does she mean by that? How does it make me feel?"
If a player takes the time to consider what the other speaker means, then his response is more intelligent than the knee-jerk response (usually a one-liner that attempts to be witty). A more carefully considered response takes a second or two longer, but the wait is well worthwhile.
A player's move is not complete until he sees how it affects his partner. When his line has been heard and pondered, his fellow player then responds from a similarly honest and emotional state.
Some of the very best improvisers are those that listen an remember. Former ImprovOlympic player Chris Farley is an expert at this rule, both on and off the stage. Chris listens with his emotions; his fellow players can see him responding while they are still saying their lines. And he never forgets a thing that is said.
Charna says Chris still reminds her of something she said or did years ago, which is why she finds "The Chris Farley Show" on Saturday Night Live so funny. Chris interviews show business giants by reminding them of his favorite moments from their films, saying "Remember when you did this . . . That was awesome . . ." Hosting his own talk show, he never asks questions — he just remembers! The SNL writers are very obviously heightening one of Chris' natural traits. He remembers everything! .
AVOIDING PRECONCEIVED NOTIONS
Preconceived ideas for an improv scene can get a player into trouble.
Avoiding preconceptions is as easy as listening and using each other's initiations.
Of course, a previous scene may give an actor a notion for a location, relationship, or a situation. However, his grasp on such a thought must be loose, and dropped quickly if the scene takes a turn that contradicts his plans.
For example, Madeline might enter a scene with the intention of being Dave's long lost lover. She begins by saying, "I've missed you terribly." If Dave responds by saying, "I know. Sorry I haven't written, Mom," then Madeline must immediately discard her romantic scenario.
Of course, it's
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