What kind of improv class would you like to see?

[kliphtin]

I have been wondering what types of improv skills people would like to continue to work on here in Austin. So I ask the group, if you could have an improv class that was targeted on stuff that you wanted to work on, then what would that class be focusing on?

[poltergasm]

Advanced object work (if there is such a thing)
Three-person scenes
Heightening the Game
Duo-only narrative longform

[Spots]

Advanced object work (if there is such a thing)

Definitely a thing.

Advanced object work, aside from more advanced objects or machines, would be multi-tasking while juggling all the abstract relationships, characters, games, universes, and dialogue of an improv scene. Basically Advanced Multi-tasking.

I too have been waiting for someone to tackle this and really nail the shit out of it with targeted exercises. Anyone?

I admit multi-tasking is my biggest weakness. I can do object work while not speaking. But when I open my mouth I might be able to stir my coffee while juggling all the various abstractions of a scene. (basic motor skills) To this day Chris Trew is the one I've seen multi-task the most ambitiously. It serves him well that he can isolate object work during shows like Air Sex, challenge himself, and bring that over to his scenework.

You and I can effectively use object work during silence so I think when we request "object work classes" multi-tasking is what we're really getting at. Pushing our motor skills while also abstractly speaking.

An example of the muscle I seek to strengthen: When I worked as a prep cook I would begin to tell a story and immediately have to pause my work. This resulted in me getting yelled at by the chef. "Work while you talk!"

So obviously one exercise to stretch this muscle would be to tell a story while juggling harder and harder (actual) activities. Solving a rubics cube, knitting a glove, restringing a guitar etc. The less ritualistic the activity the better. The more engaged you are in the story the better. Work while you talk.

[bradisntclever]

Just some quick tips on object work from a Rich Talarico workshop at OOB a few years ago - spend a good 5-10 minutes every day picking up common objects and getting a feel for their heft. See how your hand looks while holding those objects and then try to make your hand look the same way without the object.

Rich also said he was forced to do a lot of object work in class. Stephen Colbert would make his class do tasks for like 5-10 minutes as a warm-up. Think about all the steps that go into making a peanut butter and jelly sandwich, for instance. On the bread alone, you're going to want to undo the twist tie, open up the bag, skip over that end piece and retrieve two slices. It's those details like skipping over the end piece that really make the difference between object work and advanced object work.

[Spots]

It's those details like skipping over the end piece that really make the difference between object work and advanced object work.

Which I agree with. And Dan Grimm teaches this regularly. "How do you really hold your keys?" But I stress that many will lose this ability once their mouths open in a scene.

[ratliff]

Think about all the steps that go into making a peanut butter and jelly sandwich, for instance. On the bread alone, you're going to want to undo the twist tie, open up the bag, skip over that end piece and retrieve two slices. It's those details like skipping over the end piece that really make the difference between object work and advanced object work.

Not to turn this into the object work thread, but here are a few of my favorite quotes from Seth Weitberg:

"Think of every object as a process. It's not as simple as you think it is."

"Use the UCB idea: If this is true, what else is true? Every decision about an object implies other facts about it."

"The environment is a character who cares deeply about what happens to you and the way you can communicate with it is by touching it."

[trabka]

I also know this isn't the object work thread, but I will say the one of the biggest laughs I had during DCM was Neil Casey processing a credit card transaction by entering the amount on the pad, swiping it, having his scene partner enter his PIN, and then waiting the appropriate amount of time for the receipt to print before moving on to the next.

So yeah, advanced object work can really help a scene. (And in my head the best class to teach it would just be 2 hours of teacher calling out an item and then having students mess with it.)

[kbadr]

I will likely teach a details/space work elective in the not too distant future, if there's interest.

It's all about being an obsessive idiot. In fact, that's what I tell students at the top. "The goal of this class is to teach you to be an idiot like I am an idiot." It's not difficult stuff, it just takes knowing that it's worth spending time doing and that even if the audience doesn't see what you're doing, it will inspire and enrich your performance.

[happywaffle]

One of my favorite gags to play in False Matters (retro sci-fi) is call somebody using an old-fashioned rotary phone. I take the full amount of time to dial all seven numbers, and sometimes get the number wrong and have to re-dial.

[Spots]

This isn't exactly something that can be taught. But deluding yourself into actually SEEING the object helps too. I guess that's a skillset that can be taken for granted.

Watch Eddie Murphy's "Delirious" and try to imagine how he does his character work.

Like... just conjure the spoon before your eyes. See it rotate around in space. Then take hold of it. It will have more weight & will just... be there.

How do you form an exercise around this? I dunno.

[Jastroch]

Love everything I'm hearing so far. To me, the main goal(s) of solid space work are two fold:

1) Making your scenic choices active.
I.e. showing, not telling. Doing, not talking. Playing the game, not talking about the game. Being funny, not talking about funny stuff. If you've got a good bead on your character, literally any active choices you make in your environment will play the scene. It's tough to make active choices if we're only doing scenes in the improv void.

2) Believing your reality.
Improv should feel effortless. The more work you put into existing in a 3 dimensional world, to actually seeing and believing in what your mind is making up. The more effortless your decisions will be. Take care of the space, and the space will take care of you.

As a director, I'm less interested in theatrical mime work than I am in people REALLY doing the things they are pretending to do. For that reason, it always bugs me when I see people make sound effects for their actions from within the scene. Not because I care so much about the aesthetic choice, but because I'm worried that it's taking the improviser out of the moment.

[ratliff]

For that reason, it always bugs me when I see people make sound effects for their actions from within the scene. Not because I care so much about the aesthetic choice, but because I'm worried that it's taking the improviser out of the moment.

Asaf has a great solution for this, which is to make a sound that the character would make instead of a sound the object would make. It's surprising how often you can approximate the sound of the object/process with a believable human noise (which also connects you more to the physical). When it works, you get a lot of the fun(ny) of the sound effect without stepping on the reality of the scene.

I guess this really is the spacework forum now. Sorry, Clif!

[Jennifer3001]

I will likely teach a details/space work elective in the not too distant future, if there's interest. .

I'm interested in this class

[Jastroch]

Ratliff,

Tell Asaf I said to stop being so insightful. He's stealing my thunder.

[contentlove]

Mastering pop-outs
Playing multiple characters in a scene and moving seamlessly between them
art of the extended solo scene