Improvise: Scene from the Inside Out by Mick Napier

[smerlin]

I'm in the middle of reading
Improvise. : Scene from the Inside Out
by Mick Napier

I bought it hopng I could finish it in one reading but I'm having a hard time finishing it.

Is anyone else reading or finished reading this book?

I'm curious what you think of it. And what you think the "important" or "new" ideas in the book are.

[vine311]

I read that book a few months ago and I liked a lot of it. One of the things that stood out to me as being a little bit different from the AIC ways of teaching things is that taking care of yourself first by making strong character choices and interesting offers is the best thing you can do. In AIC training we are taught to endow our partners and make them look good in the scene first. I actually think both methods are good advice and that both of them can be accomplished in the same scene.

He also gives great advice on how to approach rehearsals and auditions. Some of them are common sense but others are a bit more subtle. (bathing? who knew?) In particular I liked the part about not discussing ways of rehearsing. Just do it...don't discuss. Try it first, then pick it apart.

Another great thing about this book are all of the solo excercises printed in the back. He gives lots of good ideas on how to practice your improv skills when your home alone or driving to work or sitting in church...whatever.

[mcnichol]

I read it awhile ago so my memory might be a bit selective here...


I really liked that he tries to move away from "rules"-based improv and tries to break down why things work or don't work. He really gets into the meat of what makes a scene work, in a very easy-to-understand way. He breaks down all parts of a scene and the different choices we have as improvisers. Many other things I'd read about improv tended to get into "here's the 23 things you need to remember..." areas.

I was taught at IO years ago, which is very "take care of your scene partner first." I'd taken classes at Annoyance (Mick's theater) after IO and it proved to be a very healthy balance. The Annoyance training focused on (as Jason mentioned) taking care of yourself first, and knowing that you can support your scene partner in that way as well. The book follows much of that same mentality.

I highly recommend this book to anyone who wants to improvise.


Also, as a disclaimer: I hate books about improvising. Or books about music. Someone had that quote that writing about music is like dancing about architecture. So there's that too.

[ChrisTrew.Com]

I don't remember if this is an exact quote from the book, but what I took from the book is this: Nobody has time for your fear.

And I really like that.

[acrouch]

I have exactly 30 seconds for your fear. After that you're on your own.

[kbadr]

If he's talking about on stage, 30 seconds seems like a really long time.

[Wesley]

Except for the part about how to handle rehearsals (which should be handed out to everyone upon graduating level 3), I think a person should improvise for a solid 6 months post classes, even a year, before reading that book. I read it too soon, I think.
Sure, I was able to use some of it, but I was still green as the grass is long and some of the advice almost did more harm than good. Especially when I was still working through the more subtle basics of offers and blocking and finding stories and beats and characters and editing, etc.

The book contains great ideas and powerful knowledge and one should be mentally ready to accept the truths it tells.

I recently did a reskimming of the book and found it much more helpful now than it was then. I plan a full on re-read shortly.

But for the new student, my advice is work on what you learn in Heroes classes first (if that's where you are learning). Then, after a few months as that basic foundation starts to become second nature and you are getting comfortable with your own on-stage persona and need something new to kick it up a notch again, read this book. Otherwise, you are throwing a bunch of new fuel on a fire you haven't gotten under control yet.

[vine311]

I agree with Wes. I also read this book too soon and it was information overload. Get comfortable with the "Heroes Rules", get some performances under your belt, then read this book.

[kbadr]

I would love to read this book.

But some bastard, or set of bastards, has had it out from the AIC library for months.

Thanks, bastard(s)!

[beardedlamb]

the annoyance style is a deadly potion that can wreak/reak/reek havoc if put in the wrong hands. a lot of bad improv has been done by people misinterpreting the principles of mickdom. the whole system tows/toes a fine line and on paper is contradictory to a lot of other schools of thought. once you really get in there and hash it out (it helps to have the guy himself there) it makes more sense and can enhance your overall toolbelt.
but it can be an evil, evil potion.

[erikamay]

I think a person should improvise for a solid 6 months post classes, even a year, before reading that book. I read it too soon, I think.

i agree with that completely - there a lot of debate in chicago as to when to take Annoyance classes. bob took his early on, i took mine after completing both SC conservatory training and IO training + 2 years of playing before starting there.

i just read this book this summer (this is the first improv book i have read after 'impro for storytellers' i refused to read truth in comedy after the overzealous sales pitch i got in my first IO class). it was really inspiring to me and reminded me of a lot of the beliefs i have about what makes great improv.

i HIGHLY recommend this book if you have some years under your belt and are ready to push your concept and performance of improv into a new area.

[HerrHerr]

I would love to read this book.

I have a beat-up, war-torn copy, Kareem.

[kbadr]

I have a beat-up, war-torn copy, Kareem.

Hook a brother up and that brother will likely give you a kiss.