Elements of a Hi-Tech Improv:

Maxiumum Flexible Set:

Does this lean towards comedy?

How to train for serious improv?

Comedic improv is always pushing to the punchline

the punchline is the pulse

does serious improv need a pulse?

does scripted drama need a pulse?

Scripted Comedy Improv Comedy

Scripted Drama Improv Drama

•••••

[giving gifts anonymously]

the contract between audience and performer

modern audiences expect that contract

people dancing outside the campus center

raises questions for onlookers?

Boal and nonconsensual theater

•••••

Audience comes in and another audience is already in their seats.

•••••

Show is people come into the theater to see a show, but the show doesn't start. After a while the anxiousness of the audience progresses to a frenziness akin to a witchhunt (thanks to several well-placed actors who incite riotous feelings).

•••••

Street Theater

Consensual

Legal

Illegal

Nonconsensual

Illegal

Invisible

Enforced

•••••

What is "it" in comedy that makes it comic?

Is it the conventions of timing? Non-sequitors?

Although there is a communion & ensemble, each comic accent (unless skilled, layered physical comedy) results from one player's jump-shot.

SO:

Could structures that look similar to comic improv structures be used by folks who were trained OUT of the comic timing conventions AND the conventions of featuring one player at a time (or one brief microevent) for a laugh?

Rather that have a once-per-minute punchiline to remind you of why you're at this show, can the appeal of this kind of improv be that it is an opportunity to watch a composition emerge -- an event where the PURPOSE is to see what happens meaning-wise when we adhere to the rules of a structure for improv that we set. We do not base it around comic timing.

Still, introduce physical objects, start with a monologue as in an Armando Comedy sequence, but don't blow your wadlets all the time for laughs & drop phrasing after each lil' punchline. Armando is a hot & fertile structure already.

•••••

Dance of the Face:

Procure a large lens that would magnify face. Put on music and dance with face. Different facial expressions for different musical expressions.

•••••

Games for People and Non-People:

A gives their hand to B*

B gives their foot to C

C gives their knee to A

each investigates the gift they have received

each tries to use it as a prop

each worships/loves/abuses/investigates their gift

since this is done simultaneously, a feedback loop is created

dynamic energy leads to metaphorical (nonsexual) climax

gifts are detached from bodies via story

the story of the giving and the loss is related one at a time

the audience should be made to sympathize with each speaker

this is a competition for sympathy and love

each performer speaks humanly of their process & story:

gift-giving, gift-receiving, and gift-losing

* This exercise could be done more intensely by using more vulnerable body-parts as gifts.

•••••

Whose (Whose) Theory? she said I said

But who says anyway - any - way -

I was a young girl who lived under

a bridge - under a bridge table

my troll father a life of bill and

goats -

- The Line Described -

What is the value of exploring abstraction?

- The Line Described -

Twelve Virtuous Nuns - Homme - as in how many -

Nuns -

THE LINE DESCRIBED

(.) People in a line [are they waiting] they have already won.

(.) What is your oppression?

(.) What is your plane = what is our pain

NOTE: "your" is acquiesence

(.) Is a cut a slice to borrow a phrase as is drawing God.

(.) Babel Babel Babel Babel Babel Babel Babel

(.) Everyone knows - they all say it - lines are ladders

(.) Is this reflection a curse - very like a hamlet

(.) Hamlet words Hamlet words Hamlet words -

This mirror is tragedy - by many mouthes -

(.) This mirror is heaven - by many mouthes

(.) This mirror is humble the series of young sight(s).

(.) Hamlet = Narcissus = Abstraction = vanity

Time has told be wary the depths of likeness

(.) To fall is to Cut = They all say so. They all fall so.

(.) Lines move. remember.

(.) wordswordswordswordswordswordswordswords [in a design]

(.) The story of a line

(.) conception - this part is all magic -

(.) dissolution - this part is all magic

(.) The rest happens between - look - see -

therestheresttheresttheresttheresttherestthe

(.) These (.s) are crumbs home is on the way

(.) These (.s) are (links) the holocaust is on the way

(.) The fourth little pig built his house with lines

He died sameways

(.)

[A house built out of "house"

inside is "suffocation" all over cramming

and one little "pig"]

[A house built out of "house"

inside is "wolf" and "pig" all over cramming together]

[Underneath "NOAIRNOAIRNOAIRNOAIRNOAIR"

and then "TOOSLOWTOOSLOWTOOSLOWTOOSLOW"]

•••••

LANGUAGE MACHINE #1

every aspect of their journeys through the house must show up

metaphorically in the new journey/story

RESULTS

NAME AGE LOVER PUMPKIN TRUTH

Mama 8 Papa Pie Bored

Goldie 8 N/A Jack O'Lantern Destined to Die Young

PLACE: Hospital

JOURNEYS:

Mama: HALLWAY (WARM) to KITCHEN to DINING ROOM to DECK (FREE)

Goldie: GARAGE (LOUD) to DEN to LAUNDRY ROOM (SECRET)

•••••

LANGUAGE MACHINE #2

RESULTS

PART PROFESSIONAL MACHINE/VEHICLE

hands potter bicycle

tummy ski instructor skis

breasts sculptor jeep

little toe bus driver bus

shoulder architect BMW

TRAVELER: Milroy with Arrogance

PROFESSION/MACHINE LOCATION REACTION OF TRAVELER

potter/bike cape cod "Buy some!"

bus driver/bus alabama "He's mean"

ski instructor aspen "Hot bod"

sculptor/jeep san diego "Buy more!"

architect/BMW seattle "How Ayn Rand"

•••••

A LOVE SCENE

A: No.

B: Do you love me?

A: (silence)

B: I just came in. I was just wondering. While I'm here. If you love me. Or not. I mean, it's okay if you don't. But it would be good to know.

A: (silence)

B: Okay, that's fine.

A: No.

B: No, it isn't fine? Or no you don't love me?

A: (silence)

B: It would be nice if you would speak to me and not just at me all the time.

A: All the time?

B: Well, for the moment.

A: Right now?

B: Yeah, just while we're here.

A: Okay. I'll try. But it's not going to be easy.

B: Well, we won't be here for very long.

A: That's for sure.

B: I mean, I just came in. I'm not sure if you were here earlier, if you've been here for a while.

A: Why do you want me to love you?

B: I don't know. It would boost my self-esteem.

A: Yeah, I understand that. Unfortunately I don't love you.

B: How do you know?

A: I don't know you very well.

B: Exactly. You might love me and not even know it.

A: I might hate you and not even know it.

B: Sure. But let's be reasonable and fair. Let's flip a coin.

A: Okay.

B: Heads.

A: Okay.

B: Ah-hah! Heads!

A: Okay.

B: Then I say we go with you loving me. Until we find out the truth, I mean.

A: Okay...

B: Do you love me?

A: (silence)

B: Do you love me? Come on, you hardly know me.

A: Yes. Okay. I might love you.

B: Benefit of the doubt... We flipped a coin, remember?

A: I love you.

B: I'm going to make you an iconography.

A: What?

B: And a whole system of worship, now.

A: What do you mean?
B: Almost a religion.

A: No...

B: Now that you love me...

A: I don't want an iconography.

B: You can be my rock star.

A: I don't sing.

B: My beautiful tone-deaf rock star.

A: But I'm ugly.

B: Even better. My ugly, pitiful, raging, tone-deaf rock star idol.

A: I'm not like that.

B: But I hardly know you.

A: So?

B: Benefit of the doubt...

A: Reluctantly...

B: We could flip a coin...

A: I already know.

B: You'll be my rock star?

A: Whatever you say.

B: A whole iconography of you?

A: Whatever you make of it.

B: And you'll love me? Promise?

A: Well...

B: Just until I go, you super, oh super star, rock star, hot lover, come on...

A: (silence)

B: Benefit of the doubt...

A: Okay. I promise.

•••••

THEATRE WRITING

Day One

Scene: Three old men in a children's splashing pool. The pool is small and round and plastic, maybe pink or blue. The pool is in the middle of a very public space: a pedestrian walkway, in front of an important building, in an office, etc. The pool is filled with tepid water and the men lounge langorously. Elmer holds a glass of iced tea. Leroy smokes with his right hand. Myron trails his fingers through the water, humming.

[Pause.]

[Myron's hum solidifies into the Blue Danube Waltz.]

Myron: Bum Bum Bum Bum Bum, Da Dum, Da Dum... [continue]

Elmer: Look at your little dinger-danger.

Leroy: [Starts to laugh, sputtering out smoke.] His WHAT?

Elmer: His little teeny weeny dinger danger. His teeny weeny.

Myron: Sir, I would beg you to refrain from gazing upon my privates.

Leroy: Your PRIVATES?

Elmer: Look at your little mumbo-jumbo.

Myron: Jumbo. Jummmm-bo.

Leroy: Jumbo my ass.

Elmer: Indeed! Jumbo your ass. [Pause.] Move!

[The men change places. Repeat. Continue moving and repeating til each man is back to his original place.]

[Myron's hum becomes the Yellow Rose of Texas.]

Myron: Da Dum Da Dum Da Dah Dah, Dum Dum De Dum De Dum… [etc.]

Elmer: Look at your little-bitty BIRD.

Leroy: Brr-gawk! Brr-gawk!

Elmer: Little bitty BIRD. Little... Bitty... BIRD.

[Myron continues humming.]

[Elmer and Leroy stare at Myron.]

Elmer: Shall we?

Leroy: Yes.

[When Myron gets back to the top of the song. Elmer and Leroy start singing.]

Elmer/Leroy: Hope is the thing with feathers

That perches in the soul...

[continue through first stanza]

Elmer: Indeed. Jumbo your ass. [Pause.] Down!

[The three men slowly submerge. End of Day One.]

Day Two

Scene: Same pool, same men, different public space. The pool today is filled with jello but the men act as though nothing is different. Elmer holds a glass of iced tea. Leroy smokes. Myron hums.

[Pause.]

[Myron's hum becomes the theme from Peter and the Wolf.]

Myron: Bym Bym Ba Da Dum Dum, Ba Da Dum Dum Da Da Dah, dum de dum, dum de dum, dum de dum, Dum, Dum... [continue]

Elmer: Nice day.

Leroy: Ayuh.

Elmer: Storm a-comin'.

Leroy: Ayuh.

Elmer: Doris made a strawberry-rhubarb-pie.

Leroy: Nooo!

Elmer: Ayuh. How's the ol' ball and chain?

Leroy: [Lifts his left leg out of jello to reveal a ball and chain.] Ball and chain? Can't complain.

Elmer: Feels like rain.

Leroy: Knee's in pain.

Elmer: [pointing] See that plane?

Leroy: With the stain?

Elmer: Gonna make it rain.

Leroy: Make it rain?

Elmer: Knee's in pain?

Leroy: Ayuh. Knee's in pain.

Elmer: Gonna rain.

Myron: [splendidly] Gentlemen -- more champagne?

[Elmer and Leroy beat Myron until he collapses face-first into the jello. Leroy lights up. Elmer absently eats some jello.]

Elmer: Nice day.

Leroy: Ayuh.

Elmer: Storms a-brewin'.

Leroy: Ayuh.

Elmer: Sliding into your wife was like diving into some fine, exquisite oil.

Leroy: Ayuh.

Myron: [muffled by jello] Murgh murgh blunthe blurpt.

[Elmer whacks him on the head with his free hand.]

Elmer: We're running dry.

Leroy: Time to fly.

Elmer: No alibi.

Leroy: Aces high.

Elmer: Me-oh-my.

Leroy: What a guy.

Elmer: FIVE syllabi?

Leroy: Grow old and die.

Elmer: Four eggs to fry.

Leroy: Grow old and die.

Elmer: Three cans to buy.

Leroy: Grow old and die.

Elmer: Two cats walk by.

Leroy: Grow old and die.

Elmer: One chance to sigh...

Leroy: Grow old and die.

Myron: [suddenly sits up]

Teach your children not to cry!

Teach your children not to cry!

Teach your children not to cry!

Daddies, make a fist and try.

[End of Day Two.]

Day Three

Scene: Same pool, same men, different outdoor/public site. The pool is filled with newspaper. Elmer with his glass, Leroy with his cigarette, Myron humming.

[Pause.]

[Myron's hum becomes the 59^th Street Bridge Song.]

Myron: [humming, then] La Da Dee Da Da Dah Dah, Feelin' Groovy... [continue]

Elmer: I read the news today, oh boy.

Leroy: Help! I need somebody.

Elmer: Woke up, got out of bed, dragged a comb across me head.

Leroy: Help! Not just anybody.

Elmer: Help! You know I need someone... Help!

Leroy: Hey!

Elmer: [starting over] Woke up, it was a chelsea morning...

Leroy: She wakes up, she makes up...

Elmer: [sings] The best part of waking up...

Leroy: Comma comma down, dooby doo down down, waking up is hard to do.

Elmer: S. S. D. D.

Leroy: WHAT?

Elmer: Same Shit, Different Day.

Myron: The Revolution will not be Televised.

[Pause.]

Don't follow leaders, watch yer parking meters.

[Pause.]

Don't sleep in the subway.

[Pause.]

Just do it.

[End of Day Three.]

•••••

ABSTRACT COMPOSITIONS: Each person writes the part of a character. In more complex scenes, one person might write several characters. Each person keeps track of the lines they've written as they go along. The lines themselves are known only to the individual author. When a line is written, its author gives an abstract explanation of it. Discussion can take place between the authors only on the abstract level. For example, one person might have her character say, "The brontosaurus looks bigger than I remember." She would announce to the other(s) that she has written "about change" or "about dinosaurs." The other characters would have to respond to just that.

•••••

ABSTRACT COMPOSITION FOR TWO PEOPLE

A: The brontosaurus looks bigger than I remember.

B: It makes me sad to see such losses.

A: But he's still the same.

B: Are you an essentialist? What do you mean?

A: I mean, I've gone through so many lifetimes since I was here. But he's always here, standing, looking out at Central Park. He doesn't move.

B: But it isn't like that for us! We are weak.

A: I can't even think, I mean, I can't imagine, how long ago, I mean, he was REAL once, like alive... I can't do it.

B: My father died a year ago. I don't know how to think of him now.

A: If we remember them, they're real. I think. Not REAL real. But real somewhere.

B: I feel myself starting to forget. To forget what he looked like. Then what?

A: Sometimes I think I remember people, but I've forgotten their voices. Or I remember something they said but not what they look like.

B: And when he got Alzheimer's... I became nothing to him. Do you understand? Nothing.

A: I remember the first crush I ever had, on my swimming teacher when I was four. His name was Dan and he wore a red bathing suit. But I don't remember the discovery of what it meant to love in a non-mommy-daddy-way.

B: Yesterday I forgot that I have children. Just forgot. And then I remembered. I think I'm going crazy.

A: Sometimes I think I can't learn anything new because my brain is filled with memories and tiny events, things I have no need to remember. Tiny details, meaningless observations. I remember those instead of what book I should read. Am I crazy?

B: What about when your mind is blank? What then? Are you sane or insane when you're not thinking at all?

•••••

ABSTRACT COMPOSITION FOR FOUR PEOPLE

1: The ocean terrifies me.

4: I'm afraid of the dark.

3: Sometimes I think that if I have children I'll never get laid again.

2: Am I the only one here for the Mah-Jong tournament?

1: Do you ever outgrow it? When do you stop being afraid of the boogie man and start worrying about death?

4: Are there different kinds of fear? Who knows?

1: Don't get theoretical. This is visceral, not intellectual.

3: Hey, simmer down. Things could be worse.

2: How about that Elian Gonzales? What a little face. That kid is traumatized, I'll bet anything.

1: Why? You're always slipping out of really talking to me. Why can't you talk to me?

4: You can't always psychoanalyse everyone!

2: I'm not the one under attack. I just wanted to play Mah-Jong.

3: I feel like a non-intellectual in a group of proponents for the changing society in which we, the youth of today, strive to lock-down with capitalistic endeavors like our forefathers.

1: What is the fucking problem? I was talking. You NEVER listen to me. You never hear what I'm trying to tell you. [Pause.] See? You can't even respond. You know you don't listen.

2: Get your head out of your ass.

4: Wanna shoot some hoops?

3: Yeah, that sounds spiffy.

1: No. You can't even commit to the moment.

4: You're such a fucking crybaby.

1: Why are you so defensive?

4: Oh, that's really deep.

1: Am I wrong here? Does anyone else sense what's going on?

4: Whatever. I'm going home.

2: What exactly is this? Is this the debate team or some shit?

3: Why do you keep doing that?

1: Are you going to take that? Did you HEAR what he just said?

2: I think we've met before, kid. I think you stole my wallet once.

3: Things will never get better.

4: It's impossible to get a taxi here.

1: What do you mean? Like, leaving the room? Like leaving the group? Like moving on? Like I'm done with you?

4: Here we go with Freud again...

1: I think you've always wanted me to go.

2: Are you a criminal? Do you have a criminal record?

3: Uhh, what do you mean?

1: What are you afraid of?

3: I thought you knew.

4: I'm going to go shoot some hoops.

3: Yeah, I'm bored and I have an appointment.

1: Please don't go. I'm so scared.

4: Let's get out of here. [Exit.]

3: Yes Conrad, let's go. [Exit.]

1: I need you.

2: Leave me alone, you're nuts! That kid stole my wallet!

1: Do you love me?

2: You little shit! Come back! [Exit.]

1: I hate this.

•••••

ABSTRACT COMPOSITION FOR FIVE PEOPLE

Scene: Picasso's Guernica in the Prado.

[An old man enters, stares with blank face.]

[A child enters.]

Child: That's so ugly.

Old Man: Uh-huh. Mmm.

Child: It's all messy. That's so icky. His head is backwards.

[The child's mother enters.]

Mother: Kenny, what are you doing? Don't stray from mommy.

Child: Why is that there? It's so ugly. I hate it.

Old Man: This was his largest painting by far.

[The child's father enters.]

Father: Why do you leave the damn boy with me?

Mother: I thought he was with you! Goddamnit, don't embarrass me in front of Guernica!

Child: I hate when you're like that. Why don't you love each other anymore?

Old Man: Kids need more parenting these days, I think.

Father: What do you know about our youth, Mr. Yesteryear?

Mother: Dear! This man just gave us a very knowledgeable treatise on Picasso! Shut up!

Child: You're all so mean.

[Child exits.]

Old Man: See?

Father: [Rolls eyes and grunts and paces.]

Mother: Look at the torment of war in all those cubes.

Father: Oh, sure, life is but a dream.

Mother: Honey, we're here to see art, not squabble in front of elderly.

Old Man: When I was young, my parents worried more about putting food on the table than bickering.

[Cut to gift shop.]

Worker: Hey kid, want some candy? Yummy.

Child: Never take candy from strangers.

Worker: That's a load of crap. This is good, sweet candy.

Child: Prove it.

Supervisor: What in hell do you think you're doing?

Worker: Hey. I wasn't doing anything.

Supervisor: You're fired. Please leave.

Worker: Hey! Get off me!

Child: I want it! You said I could have it! You can't go til I get it!

[Cut to Guernica.]

Mother: This was well after Picasso's blue period. He was a heavy drinker, like you dear. Holy shit! Where's the kid?

Father: Where indeed?

[Rich old woman enters.]

Old Woman: We're quiet in museums.

Old Man: That's a nice fur you have there!

Old Woman: How DARE you speak to me like that?

Father: Ah, I always thought the Spanish Civil War was frightfully romantic!

Mother: Oh, Harold. Shut the fuck up!

Old Woman: Are you MAD? There's no love there. That's death and war and pain.

[Old Man exits ruefully.]

Old Woman: DRUNK. He should NOT be allowed in here. Those Americans, they come here...

Father: [Eats an apple from his bag.]

Old Woman: No eating in front of Guernica.

[Supervisor enters with child.]

Father: Apples, anyone?

Supervisor: Keep an eye on your children, please. This isn't a petting zoo where you can let your children roam. There's some real sickos in Madrid.

Child: Yeah, you guys are bad parents.

Old Woman: In my day we kept them on leashes.

[Mother enters.]

Mother: Kenny! You little shit! You think those people in Guernica are suffering, wait til we get back to the trailer!

Father: Oy, Generation N is nasty!

Old Woman: Those God-awful Americans and their beer commercials. I blame them.

Supervisor: Nice fur you have there, miss.

Old Woman: This is PRADA in the PRADO, you cultural philistine.

Child: That's a neat uniform, Mr. Guard.

Father: Ya done right by us, Pabs.

Mother: Shut up, kid!

[Supervisor bashfully exits.]

Old Woman: Cultural philistines, all of you.

Father: I'm with you. Let's go to Miller's Pond and forage for mushrooms.

Mother: I'll beat you, senseless boy! [Hits child.] Take that!

Child: [Punches Guernica.]

Mother: I'm sorry honey, these paintings make me so sad.

[The Old Man enters again. The child runs up and hugs him.]

Old Man: Have we met, little girl?Have I seen this painting yet?

Child: Oh! I'm sorry!

[The child exits.]

Old Woman [offstage]: Cultural philistines!