E.g. Sarah is in the shower, relaxing, when suddenly the water turns cold. She jumps out of the shower and sets about finding the cause of the problem. She tries turning another faucet.. same problem. She calls in her husband who tries using a wrench on various pipes to no avail. They call a plumber but it’s the weekend. Finally, she boils some water, puts it in a bucket, and has her husband pour it over her slowly as she takes a “shower”.

In this example, the players have managed to tell a nice little story with a quirky ending; but ultimately, the story was about fixing the shower, not about the people involved. Sarah is completed unchanged in her relationship to herself and everyone around her. There isn’t any obvious follow-up scene to this one, because the problem is fixed.

Getting Yourself Into Trouble
While the natural urge in improv is to fix a problem, it’s much more interesting to get the person deeper and deeper into trouble by raising the stakes. This means taking active choices to amp up the tension.

E.g. Sarah is in the shower, relaxing, when suddenly the fire alarm goes off. She rushes outside, then realizes she’s naked. She tries to go back inside but discovers she’s locked out. She looks under the welcome mat for her key, but doesn’t find it. She looks up to discover that the next door neighbour’s kid is smirking, dangling the key in front of her. Sarah chases after the kid, and finally tackles him. With the key finally in hand, she looks up to see 2 cops standing over her, still naked and straddling a boy.

In this example, while there is still instant trouble, the players didn’t try to fix the problem by looking to put out the fire or find the source of the alarm. They raised the stakes and made the scene about Sarah’s humiliation. There are many possibilities for a follow-up scene: Sarah at the police station, Sarah trying to explain herself to the neighbours, a town council meeting where Sarah is discussed, etc.

This example came straight from a game of “Yes, Let’s” by my level 1 class. Pretty amazing given that I had just explained the concept of getting into trouble.

Advancing without advancing
It’s hard to get yourself into trouble. Often, improvisors fall into patterns where the trouble is just a series of obstacles keeping them from what they want. In the first example, Sarah is thwarted at every turn, but the trouble isn’t moving the story forward. If the husband is of no help, and the plumber isn’t at work, and the wrench is useless, what is happening? Nothing is happening. If the wrench fixes the problem, but then the shower no longer drains properly, what is happening? Nothing–we just put up another obstacle and are still trying to fix the shower problem.

Certified organic trouble
The most satisfying trouble is trouble that arises organically from the platform of your scene. If we know the character and what they care about, it will be much easier to get them into trouble with stakes that matter.

Trouble can come in many shapes, but physical injury is not usually helpful, because physical injuries usually require you to fix them. Here is another example from class where the students dealt with injury well:

E.g. A chef is preparing chicken in the kitchen of his restaurant. He has some wine. He nicks himself with his knife. He can’t find anything to stop the bleeding, and starts to feel faint. As he’s about to pass out, he grabs the chicken and uses it to apply pressure to the wound. (In class, this unfortunately fixed the problem, but what if…) Someone walks in to find the chef treating his wound with food… or it’s his last piece of chicken and he serves it to someone and they notice.

Let the trouble find you
Don’t look for trouble early in the scene. Establish your whos, whats and wheres and let the trouble find you.

When does the trouble end?
Once the stakes are high, it’s time for something BIG to happen. Don’t wimp out with an easy fix–the outcome of that something BIG should ideally alter your relationships and mean that you can no longer go back to the way things were before.

Finding the game
Getting into trouble is just one kind of game, that is, a pattern in the scene that gets repeated and amplified. By no means is getting into trouble the only way to approach a scene, but when trouble finds you, resist the temptation to fix it.

7 teams competed this year: Queens, Carleton and Humber in the first semi-final; and McGill, Ottawa, Brock and UQAM in the second. The format used was “Beat It!”, a format I developed that allows multiple teams to face off against each other. Although it worked rather well, the rules are probably way too complicated. In short, a challenge is issued to a specific team. Once they’ve performed, any other team can try to Beat It. Contested scenes are worth 2 points, while uncontested scenes are worth 1. Strategically, it can make sense to let a scene go unchallenged if it was excellent.

Queens won the harder semi-final by a score of 6 to 4 to 4. McGill won its semi-final 6 to 5 to 5 to 2 (Brock). The judges put UQAM through to the final by giving them the richly deserved wildcard entry.

The final was won easily by UQAM 5 to 2 to 2. The tie for second-place was decided by a dice roll, with McGill edging out Queens as runner-up. The MVP (first star) went to a player from UQAM.

I thought UQAM was head-and-shoulders above the other teams. They used their huddle time well and performed tight simple stories. The other teams had trouble consistently putting together coherent stories with any stakes, and yet, there were definitely some nice moments.

Here is a selection of my favourite scenes in the order they happened:
Carleton: “I’m Here on Official Business”. A restauranteur tries to hide a dead body (played by an audience member) from health inspectors. This was one of only two scenes to go unchallenged.
Queens: “Billy Didn’t Speak Like the Other Kids”. The new kid in class is straight from Elizabethan England.
Humber: “It’s in the Subway”. A sound-effects-only scene about a guy working at Subway Sandwiches who uses a light-saber to slice meat.
UQAM: “Love at First Sight”. A woman goes to New Zealand to meet Frodo Baggins, but ends up meeting the eye of Sauron instead.
UQAM: “I’ll Tell You Everything I Know”. Police officers in a coffee shop don’t know the crime they’re trying to solve is happening in an adjacent room. The victim acts like a diva when made to record a ransom videotape.
UQAM: “This Is What I’m Known For”. The Protector will protect the Chosen One at all costs. Too bad he’s only playing a video game and the chosen one is the baby he’s neglecting in the real world.
McGill: “There is Nothing Strange about Miss Chanteclerc” Two players talk to their dead mother, thus rising to the challenge of a 2.5-player scene. Pretty dark and gutsy performance on this one.
UQAM: “Denial” (set to music). A cheating wife hides her 2 lovers as her husband comes home. This was the second scene to go unchallenged.
Queens: “The Teacher and The Pupil” A latin class with a lot of made-up latin words.

• LNI, 7pm @ Club Soda, 1225 St Laurent, Metro St-Laurent
• CIA, 9pm @ Petit Campus, 57 Prince-Arthur E., Metro Sherbrooke
• Lalig, 8pm @ Pub St-Ciboire, 1693 rue Ontario Est, Metro Papineau
• LUDIC (U de M), 8pm @ Café-Bar La Brunante, 3200 Jean-Brillant, Metro Cote-des-Neiges
• Rocambolesque (division P), 8pm @ Saint-Sulpice, 1680, St-Denis, Metro Berri

Les mardis / Tuesdays:

• La Limonade, 8pm @ Café de la Cinémathèque, 335 boul de Maisonneuve, Metro Berri
• Rocambolesque (division E), 8pm @ Saint-Sulpice, 1680, St-Denis, Metro Berri

Les mercredis / Wednesdays:

• Semi-lustrée, 8pm @ Broue Pub Brouhaha, 5860, De Lorimier, Metro Rosemont, Bus 187 Est
• Ligue de cave, 8pm @ le Saint-Sulpice, 1680 St-Denis, Metro Berri
• Rocambolesque (À qui la réplique, 2DUO, Pôpètte), 8pm @ Parc des Princes, 5293 ave. du Parc, Metro Laurier/Outremont

Les vendredis / Fridays:

• La LicUQAM, 8pm @ bar le Grimoire du pavillon Aquin, 400, rue Sainte-Catherine Est, Metro Berri

Les dimanches / Sundays:

• LIM, 8pm @ Lion D’Or, 1676, rue Ontario Est, Papineau
• La P’tite ligue, 7:30pm @ Parc des Princes, 5293 ave. du Parc, Metro Laurier/Outremont
• Les Cravates, 8pm @ Le Petit Medley, 6206, rue St-Hubert, Metro Beaubien
• Gailaxie,7:30pm @ Cabaret à Mado, 1115, rue Sainte-Catherine est, Metro Beaudry

Je vous ai oublié? Laissez-moi votre plogue dans les commentaires.

As the second event of the FrancoFête 2010, the CAF is proud to present to second game of McGill Bilingual Improv Team at 7 p.m. at Gert’s. This time, they will face the Montreal Rocambolesque, an improv league which takes place at the St-Sulpice bar and is based on a mix of classical and experimental improv. You can’t miss this clash of the titans!

and via the CAF Facebook page

Le match d’improvisation de la BIT (Bilingual Improv Team) de McGill face à la LIC (Lique d’Improvisation Centrale) de l’UQÀM fut un franc succès le 22 octobre dernier [...] qui s’est conclu par une victoire de nos favoris par le compte de 6 à 4!

The good:
The Moment I Fell out of Love
Argument with a Dolphin
Serenade
Neighbours
Yours Truly
The Slap

The so-so:
Phone Call from a Former Lover
Answering Machine

The eh:
Pearly Gates
Slumber Party
The Birds

The never played:
POV
Spelling Bee
Diamond Dance
Hat Squad

And of course, on with the show!

Funniness is offense

Offense is the most accessible part of organised sport; everyone loves a goal, a home-run, a slam-dunk. Offense in improv is funniness–it makes the audience cheer and swoon, and it attracts newcomers with its glamour.

From Rocket Richard to Alex Ovechkin, the truly offensively gifted are naturally talented. While experience and training will hone the naturally gifted person’s skills, no amount of study and practice will turn journeyman players into superstars.

Story is defense

Connoisseurs value the defensive game, and see the artistry in the goaltender’s dual, the pitcher’s dual, the perfect game. Defense in improv is story–it gives fundamental structure to the game plan.

Defensemen take longer to make it to the major leagues than forwards, because they need to gain a lot of experience to be good at defense. Storytelling requires talent, sure, but it take years of proper coaching and experience for everything to come together.

Defense wins championships.

Transition game

In hockey, offense begins with the transition game from defense. In other words, how the defensemen are able to get the puck up to the forwards is crucial in building a successful attack. Improv is the same–funniness flows from story.

It stands to reason that if your story is falling apart, then you are lost in your own zone without a hope of getting the puck up ice for a laugh.

What position?

Are you a winger–a natural goal-scorer who delivers the buzzer-beating laughs?
Are you a centre–a play-maker, a team leader in assists who sets up all those zingers for the wingers to tap in?
Are you a defensemen–a behind-the-play architect who sets up interesting platforms and moves the story forward?

Your team

Your team needs wingers, centres and defensemen. If you are building a new cast, or looking to add a member to your team, look at where your team needs help.

Coaches love a forward who back-checks to help our the defense, and a defenseman who can join the rush on offense. Nothing obliges you to be a one-dimensional player. In fact, on some nights, you may be called to play out of position in order to help the team.

Please click through to the blog to comment if you are reading this on Facebook.

BJ

It’s hard to make comics that aren’t about superheroes with the Marvel create-your-own-comic website.

• Kudos to Vinny for keeping the website updated with photos and recaps, and for twittering during shows. At TSC, you have the choice of either watching the show, or reading Vinny’s interpretations of events.
• Andy Eninger was an early audience favourite, garnering a standing O for his one-man show. I was one of the ones standing.
• The mark of a good show is when you can’t imagine it performed in any other way. Pgraph was that good. I don’t understand all the intricacies of French Farce, but it was great to watch.
• I really liked ProjectPROJECT’s format, where they took scene painting to a whole new level. Hard to pick a standout in this great cast.
• Crush from Ottawa did a long-form foursquare. Very playful, very strong ensemble. Liked it a whole lot.
• On The Spot had a very funny short-form outing. Josh has his own cheering section. I impressed Josh’s mom by what I assume to be my keen sense of listening, as I didn’t actually say much in our conversation.
• Focus–the View-like talk-show from NYC–got most of its facts right about Canada, except for marijuana being legal and Pierre Trudeau being alive.
• This was quite possibly the best and most varied night of improv Montreal has seen! Beat that, night 5!
]]> http://www.withoutannette.net/blog/?feed=rss2&p=913 0 http://www.withoutannette.net/blog/?p=906 http://www.withoutannette.net/blog/?p=906#comments Fri, 16 Oct 2009 21:53:23 +0000 b.j.swank http://www.withoutannette.net/blog/?p=906 Some more thoughts that sprang to mind directly or indirectly based on nights 2 and 3 of Mprov:
• Bilingual improv: it’s a neat concept. Ultimately, the show has to stand on its own merits, but the language switching does inject a little extra fun off the top. That being said, after a few scenes, the effect does wear off. In the end, it’s just words you understand (or not). I would classify bilingual improv (at least the formats presented) as a fun idea, no more, no less. That said, Improcrastination did a good job, and so did the All-Star bilingual squad that followed. I thought Isabelle was particularly good.
• Performing in the bilingual show was rather fun–I hadn’t actually improvised in French before–but performing in improv jams is not my favourite. It’s fun to play with new people, but it’s also hard being on the ice with new line mates for what will prove to be a single game. The results are never as satisfying. Still, I got to make fun of Ontario–”C’est pas des mafias, c’est des rednecks”. I had a bit more chemistry with Josh, despite not having performed together in years, and Anders is very easy to play with as well.
• Block of the night:
  

  A – Sir, permission to speak, sir!
  B – No.
  (audience laughs)

  Admittedly, it’s petty to bring up a block committed against oneself in a show, but as Obama might say, we can use this as a teachable moment. Blocks tend to happen for 3 reasons: obliviousness (I didn’t realize I blocked you), obstinacy (I blocked you because my idea is better) or vanity (I blocked you to look good or get a laugh). Of these, vanity is the worst because in improv, your aim should be to make others look good, not to make yourself look good. This flows directly into one of my Deep Improv Thoughts: Look to please your fellow players, not the audience. Unlike stand-up, if people don’t like playing with you, you won’t be able to perform (unless solo.). Plus, vanity blocks are easily converted into grudging acceptances:

  A – Sir, permission to speak, sir!
  B – No.
  (audience laughs)
  B – Fine, soldier, what is it?

  I probably block people all the time. But I purposefully do it obliviously.

• Avi is an interesting guy. He says a big part of musical accompaniment is about when to start and when to stop. He suggests starting on an emotional reaction, and ending when the the suspense ends. I’m going to be paying attention to him tonight.
• A successful show depends on enthusiasm, dedication and talent. If your show isn’t going the way you want, dropping your enthusiasm is practically inevitable, but isn’t going to help. Soldier on! Johnstone formats let you bail on a scene, but most long-form formats won’t. Johnstone says trying harder is like trying to slam a revolving door. I say trying less hard is like trying to make sense of the hazy musings of a codger.
]]> http://www.withoutannette.net/blog/?feed=rss2&p=906 0 http://www.withoutannette.net/blog/?p=904 http://www.withoutannette.net/blog/?p=904#comments Wed, 14 Oct 2009 04:40:43 +0000 b.j.swank http://www.withoutannette.net/blog/?p=904 Gold medal performance: Vinny and Marc from Improv Montreal. Very tight, very funny, very playful.

Random thoughts:

• Saw a scene that just wouldn’t die and thought, I’ve been in this scene. Just. Kill. It.
• I felt more comfortable in solo scenes than in group scenes tonight. Looking forward to Andy Eninger’s workshop.
• If you don’t know if someone was named, it’s more likely you missed it than they weren’t named. Don’t give them a second name.
• My harshest critic complains about black shirts blending into the background, but white shirts are worse. They just make your eyes bleed all show.
• Montreal Improv is selling t-shirts with a witty slogan for him and her. I want the her slogan on a him shirt.
• Uncalled For is also selling t-shirts, $4 cheaper
• Didn’t know the girl performing with Uncalled For was the most famous person in the room–I don’t have cable. She has chops.
]]> http://www.withoutannette.net/blog/?feed=rss2&p=904 6 http://www.withoutannette.net/blog/?p=901 http://www.withoutannette.net/blog/?p=901#comments Tue, 06 Oct 2009 03:01:42 +0000 b.j.swank http://www.withoutannette.net/blog/?p=901

A shot from a recent corporate workshop with a fun group. That’s me, pointing.

]]> http://www.withoutannette.net/blog/?feed=rss2&p=901 1 http://www.withoutannette.net/blog/?p=897 http://www.withoutannette.net/blog/?p=897#comments Thu, 01 Oct 2009 19:18:28 +0000 b.j.swank http://www.withoutannette.net/blog/?p=897 We’re all very busy and excited getting ready for MPROV. As a result, we don’t have a monthly Nest show this month.
]]> http://www.withoutannette.net/blog/?feed=rss2&p=897 0 http://www.withoutannette.net/blog/?p=896 http://www.withoutannette.net/blog/?p=896#comments Fri, 11 Sep 2009 17:24:40 +0000 b.j.swank http://www.withoutannette.net/blog/?p=896 10:30 Comedy Nest — check the shows page for more details.

Only $6. We perform in a zero inflation zone.

]]> http://www.withoutannette.net/blog/?feed=rss2&p=896 0 http://www.withoutannette.net/blog/?p=894 http://www.withoutannette.net/blog/?p=894#comments Mon, 07 Sep 2009 05:27:32 +0000 b.j.swank http://www.withoutannette.net/blog/?p=894 Brian and I used to walk home together after improv workshop and debate the finer points of improv theory. Here is one of the classics from back in the day. What is your take?

During the scene setup, it is established that there is a hunting rifle over the fireplace. Must this rifle be used during the scene?

Point: Yes. Failure to use the rifle is a failure to “yes, and” the offer of the rifle. An offer as big as a rifle cannot be ignored

Counter-point: No. The rifle can be useful to add colour to the scene even if it is not used per-se. For instance, the presence of the rifle might suggest the home’s owner is outdoorsy or an alpha male.

–b.j.

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