Improv Is Easy!

(Then why is it so hard?)

Posts tagged Comedy

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Do whatever you want. I’m setting the camera up wide. No close-ups. Comedy only happens when there is a relationship. We’ll see both you and Bill at the same time. Comedy lives in the two shot.

Harold Ramis

This is one of the single most important statements made about how to direct a comedy. I am not exaggerating. Shittier comedy directors focus on closeups, so you can see actors make silly faces. Great directors use more wide shots, so you can feel how everyone reacts.

(via curtisretherford)

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There’s no shortage of dumb comedies. But you know, comedy, it’s got to be more than manipulation. For me, there has to be some point, some message. Frank Capra said a great thing. He said, ‘If you’re going to have the privilege of talking to people for two hours in the dark, you have to take it as a great responsibility.’ And I take it that way, whether it’s comedy or tragedy or anything. So I think there’s a responsible kind of comedy that enlightens us to some extent, makes us think, exposes real hypocrisy, or the real contradictions in society, and that’s useful. That’s valuable. That’s good comedy.

Harold Ramis (via The Comic’s Comic)

!!!!

(via douglasjwidick)

(Source: keithhuang, via douglasjwidick)

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Improv Journal: Growing Pains Redux

nicclee:

Last night I went to the UCB Lady Jam for the first time in probably a year. I somehow found myself awake and with energy enough to stay up past midnight for the show, so I went with a couple of friends. 

For the last several months, probably since I started my La Ronde class at The Magnet, improv has felt easy. Or maybe I should say it hasn’t felt hard. I was enjoying the form and my classmates. I didn’t feel preoccupied with any thoughts other than the desire to have fun and to push myself and expand my range of characters and play. For the most part, I think I succeeded and I got some great feedback from Rick Andrews, who hasn’t seen me play since I took his level 1 class over a year ago. 

But last night, I found myself thinking things that took me away from the focus of having fun. I was worried about not fucking up in front of the audience and wanting to make smart moves to stand out and look good. I felt rail-roaded at certain times, while I was busy trying to find a more patient way to heighten or make moves. I felt a little lost. I hated my moves. It was maybe a 10-minute set, but it felt like it went by so quickly, before I could get my bearings and feel settled. And I get that a jam is a different animal - it’s often faster play. People are more aggressive and the emphasis is more on game moves. I’ve done jams where I felt like an asshole for being aggressive. This time I felt like a lamb, just trying to get through the set without fading away.

I made a move at one point that immediately felt like a negation or like I was undermining or calling another improviser out. I did not like my play. I can chalk it up to it being a long day (I ended up being awake for 20 hours, which is unusual for me). I could blame it on a rough week emotionally for me. I traced back the start of these feelings to the practice I had days earlier where working on game stuff put me back in my head and took me away from the fun. 

Maybe I’m just in one of those waves that we all go through where improv just isn’t working or making sense to me right now. Maybe I’ve sat too long in a bull market and I’m heading into a bear market? 

Then I read the post I reblogged from Sarah Rainone (see below this one), which was a lovely post about why we do improv. It’s about supporting your partner and making them look good. It’s about genuinely making human connection and quickly without thought or pretext. And it’s the reminder I needed for why I continue to do improv. Prior to the Lady Jam last night, I saw a great Monoscene class show with a bunch of people I know. I was impressed at how much fun they seemed to have, how big their choices were, how much they committed to what they were doing and how they supported each other. At the practice where I felt a little mentally strained, I was playing with some improvisers I only recently met, but with whom I’m having a blast improvising. And outside of improv - and this isn’t a profound anecdotal point, but it feels important to me nonetheless - I’m using my improv training to feel comfortable talking and flirting with someone I would never ordinarily have the courage to chat up. 

Improv has given me so much and made my life better in innumerable ways. Who cares if I have a bad show? Why harp on not getting into that class I wanted or failing to impress the audience or beating myself up for not showing off? Why am I even worried about trying to show off? Why can’t I just refocus myself on being good and continuing to improve? 

I just applied to be a Magnet Big Sibling because working with younger improvisers and helping to create a supportive space for them to play and experiment and grow is what I think I need right now. Getting to coach some great people has revitalized my improv perspective. Maybe being a Big Sib will help re-adjust my attitude again and clarify why I continue to do this. 

Filed under improv comedy Nicole Lee growing pains jam jams

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When asked by newer improvisors “What forms are there?”, this is my answer

chrisreblogs:

"The Harold, Montage, La Ronde, Deconstruction, Eventé, Eventé ala Roo Ro, Movie, Documentary, Monoscene, Microscene, Slacker, Kromf, Spokane, Onion, DThe Sleepover, Ladder, Flux Capacitor ie Tracers, Improvised Play, McManus, The Bat, French Harold, Harold Til Bored, Organic Harold, fwand-y Harold, Artificially Flavored Harold, Dearly Departed, The Fugue, The Wait, The Weight, The Way, Bookclub, Season Finale, Hot Tamale, The Burrito, Exploding Dinosaur Pillow Fight, The Chimichanga, Flautas, Whatever, Six Ferrets And A Can Of Worms, Knicker-Knock, and The Flibbity Fibbit.  Those are the basic ones.

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