I cringe when I hear people say “don’t be shy!” to a child. Shyness is not a choice so it’s a bit like telling someone “don’t be tall”. “Don’t be shy” is often delivered under the guise of kindness but packs a subversive punch, I think. Like if you go over to someone’s house and they say “help yourself to some lemonade, don’t be shy!”. What could have been a lovely offer now inspires a slight moment of self-doubt: What makes you think I would be shy about taking lemonade? Do I seem hesitant about my thirst? Am I not lunging for the lemonade as enthusiastically as I should be? It implies that being shy is bad. Don’t do it! Whatever you do, don’t be shy! Western culture tends to celebrate the opposite of reserved, sensitive and observant but having these characteristics can mean that you “are more aware than others of subtleties…you see more than others by noticing more” (see Elaine Aaron’s research on highly sensitive people).
Contrary to popular belief, improvisors are not all outgoing and wacky. In fact, I know a number of shy improvisors. Sure, once you get them together over a few fruit juices, the jokes start flying and the ties come off, but they are seldom the crazy ones yelling loudly at the party (in fact, a good number of improvisors I know can be found playing Scrabble -or some Scrabble variant- in the back room and I, ahem, am usually winning). As we’ve discussed in the past on this blog, trying too hard on stage rarely results in quality improv. Also, the craft demands strong listening skills, likeability, and sensitivity to life’s genuine moments. If you’re too busy yelling “look at me,” you will not have great tools with which to build a scene. Therefore, we improvisors use other ways to get attention like writing a blog entry, hinting at our superior Scrabble skills and having great hair.
In fact, I’m slowly realizing that improv is so inspiring and engaging to do and watch because, even though the situations and characters are fabricated, it is one of the rare occasions where people can enjoy genuine exchanges with others. So much of the interchanges at work and play adhere to social guidelines rather than truth:
“Hi, Barbara, how are you today?”
“Oh, just great, Deirdre, thank you. Getting ready for gardening season?”
“Why yes, I’m looking forward to buying my seeds.”
Take Barbara and Deirdre and put them in a heightened reality and the interchange would be much different:
“Hi, Barbara, how are you today?”
“Oh, just great, Deirdre, thank you. Getting ready for gardening season?”
(crying) “Why yes, I’m looking forward to buying my seeds given that my womb is barren”.
Improv pins you up against the wall of the moment (in a friendly way) and asks for you to express yourself immediately. Even though you do so through the vehicle of a character in a made up setting, a bit of yourself spills out onstage and into the hands of your fellow players. It seems highly likely that Keats was directly referencing improv when he wrote “Beauty is truth, truth beauty” (my research tells me that his favourite game was Fishbowl).