So, I told my Improv Spring-breakers that I'd post a little info about the Whitemud Crossing workshop. Even if you didn't take the workshop, you might find something interesting in the process, so please, join us.
We started off with a little round of "Whoosh!", or whatever you call it... Heck, it's the improv world, so it probably has some nutty name like "Barbra-Ann" or "Mitzy", but for the sake of memory, let's call it Whoosh. Mostly just an energy warm-up, I find it also brings the spontaneous side of the brain alive. By that, I mean it's a good starting point for doing things without thinking too much about consequences and if what you are doing is "good" or "acceptable"... This lead into "Pass the Anything", where we started to accept creative offers of others by receiving an imaginary item the same way it was passed to us. We then turned it into something entirely new. It's always been one of my favorites.
We moved on to "Yes, Lets!", a game where the only rule is that we must accept enthusiastically the suggestions of others and do the activity suggested with full commitment. I like using this early on because of all the fundamentals it has in it: Spontaneity (shouting a random activity without premeditating it), accepting (always saying yes, which is important to the beginner improv artist), commitment (doing every activity to the fullest) and not questioning each other (making the other improviser look good by committing to the task they suggested). I'm sure there's even more good in this game.
Next up: "What are you Doing?", an activity where two improvisers make constant offers to each other, making both create a reality based on a simple activity. This game can be used to help reinforce how the mundane is a great place to start in a scene. We don't have to be blasting off to outer space. We could be tying a shoe. An extra challenge to add to this is to say a platform must be set up; Each suggestion should have a Who, What and Where. For example:
A: "What are you doing?"
B: "I'm eating breakfast in the kitchen before my high school midterm".
Person B doesn't have to say "I'm a student eating breakfast in the kitchen", they can allow us to figure who they are by just being clear. We did not attempt this version of "What are you doing" for the workshop, but it's worth a try if you have a chance.
We took a little break. When we came back, I took out the pool noodles. I use them for something called "This is my...", in which participants take turns imagining the pool noodle as anything but. They announce what it is, and then they must use it as that item. Really good for developing the creative and imaginative side in my opinion.
It was then time for some character work. I love the fact that characters allow freedom to the actor, in that they are no longer confined to what they personally would do, it's now all about what the character does. I showed everyone a little trick in which you lead yourself with various parts of the body to change your posture and frame of mind: those who were there know what I mean. We played a fast and furious version of "Hitchhiker", in which the actors come up with characters on the spot and are driven to destinations, allowing for some conversation along the way. It's an interesting way to lead into relationships, but for the most part, the meetings in "Hitchhiker" are between strangers... which can certainly develop a relationship, but I save that for the next little item...
"Fairy tale in a Minute". Finally, a story. Some might wonder why this game. I use it because we have a simple story that everyone should have a basic understanding of, and we put a time constraint on it so that we start seeing the game side of improv as well as making sure all dialog is to-the-point. Also, the relationships and status in these stories are mostly already understood, so there doesn't tend to be battles among improvisers for attention or importance. It also makes for a clear beginning, middle and end, so is a good beginner narrative tool. People can totally argue this stuff with me, but that's what I've found about this game in my experience. We chose Cinderella, and honestly, I have never done a workshop where the group didn't choose Cinderella. Can't explain that, other than maybe it has a Fairy in it, and that subconsciously influences folks to suggest it. Just before we did our "Cinderella in a Minute", we did a little story-from-scratch stuff by doing a tap-out monologue and a conducted story... We also touched on some popular ask-for's/suggestions from the audience, like asking for:
- an occupation
- a non-geographical location
- what is in my hand (the improviser holding an imaginary, un-formed object)
- a relationship between two people
- an emotion
et cetera, etc. etc.
It wrapped up well. The improvisers shared the stage, weren't selfish, and worked like a team. All around, the smoothest workshop I've been a part of yet. Thanks, if you all came by to read.
Any senior/junior/beginner improviser/person can certainly discuss the validity of any of the games and activities if they would like in the comments section or they can e-mail me at:
spallier@hotmail.com
