By Sonnjea Blackwell
Sorry for the absence. I got distracted by some sparkles. Hey, it happens. But I'm back now and chock full of vital information I just know you're eager to have. Here ya go.
If you've taken a Held2gether improv class, you know that every scene starts with space work, eye contact and emotion. Theoretically, of course. But anyway, that's the goal. You're doing something with your hands, you're connecting with your scene partner and you're in some recognizable emotional state that does not include boredom. All of these things help ground you in the scene and get you on the same page as your partner and give you something to work with besides just the audience's suggestion.
Sometimes as improvisors we're tired or lazy or confused and we forget some or all of those scene starters... which actually just means we've given ourselves and our partners more work to do, which is not what we want when we're tired or lazy or confused. So it's good to remember Darren's mantra: space work, eye contact emotion, space work, eye contact emotion, space work, eye contact emotion!
Only now I'm going to suggest that there should be two more parts to the mantra. Ack! More to remember! Yes and no. It's stuff you should be doing anyway as a character, but I had this brilliant idea to break it down for myself because I tend to forget to have characters. It's extremely frustrating to think, "Okay, I'm gonna be a clumsy oaf who spills all over everyone and bumbles around apologetically," and then go up on stage and see some sparkles and totally forget the oaf and then I'm just Sonnjea. And no one wants to see her!
So my two new parts are: voice and posture. I really do [almost] always remember the first three. Sometimes my emotion isn't as big as certain people would like, but it's not that I've forgotten it. So I'm hoping I can just think of the 5 things when I go on stage - it seems doable; after all, it coincides with the number of fingers I have on each hand. So I'll do my space work, make eye contact, have an emotion, stand a certain way and when I open my mouth, a different voice will come out. Standing and speaking differently can lead to a point of view which is, technically, a character! Yay! And this way, even if I'm all distracted by sparkles and don't have a character in mind, at least I won't look and sound like me. You're welcome.
I'm gonna try it in all my classes this week and I'll let you know how it goes. And if you try it, let me know. Now I'm off to feed the unicorns. What? I haven't mentioned them for, like, a week.
Tuesday, June 28, 2011
Friday, June 24, 2011
Turns Out, Traffic Isn't Personal
By Sonnjea Blackwell
Sometimes I just wanna tell people to shut the f*ck up. Oh, not you. Honest.
But there are people in the world who say, "Hey, Sonnjea! How are you?" and before I can even open my mouth to reply they've launched into a 30-minute monologue about what a jerk their boss is, how overworked/unappreciated/mistreated they are, and how traffic on the 405 conspired to jack up their entire day.
First, let me just say this: traffic does not single anyone out to personally mess with them. We live in SoCal. Traffic is a given, just like June Gloom, hipsters and Live Team Coverage on the local news stations about Justin Bieber going to Starbucks. It just is and it's not a personal attack. Get over it already.
Anyhoo. I understand that sometimes people need to vent, and I'm fine with that. But sometimes people just can't stand silence. Or they don't trust that whomever they're talking to will fill the void (or fill it with anything as dramatic as traffic jams) if they so much as pause to take a breath.
Guess what? It's the same with improv. I know you didn't see that connection coming! Happy to keep you on your toes with my awesome unpredictability.
Sometimes in a scene, a person will say a perfectly good line, only before their scene partner can respond, they add another line. And another. And another. Every time a performer adds another line of dialogue, they make it harder and harder for their partner to respond organically. In improv, we really want to jump on the last thing the other person said and make a big deal about it. So if they said, "By the way, Georgina, I've been meaning to tell you I just don't think your fried green tomatoes are good enough for the county fair," their scene partner is just about to burst into tears because their fried green tomatoes are no good. But then they continue with, "Oh, and your hair is ugly that color." And suddenly their partner is thinking up a response involving hair color. And pretty soon, one person is monologuing and the other person is standing there with a deer-in-the-headlights expression because they no longer have any idea what the scene is about.
In improv, less is more. You've got 3 minutes to tell a story, so you don't want to muddle it with a lot of extraneous noise about... well, anything, actually. Say your line. Then stop. It's totally fine if a few seconds go by. Stay connected with your scene partner through eye contact and emotion and let the scene breathe. They will respond, trust me. And if you trust them and yourself enough to let it happen naturally, the scene will be much better than if you keep on spewing facts about sharks eating their young, the teen pregnancy rate in Tennessee and the stupid traffic on the 405.
Of course, Held2gether improv classes can help you learn to just stay calm, take a deep breath and let the other person have their say. It'll help your improv, and it'll help your real-world conversations. And I promise, no one will tell you to shut the f*ck up.
Sometimes I just wanna tell people to shut the f*ck up. Oh, not you. Honest.
But there are people in the world who say, "Hey, Sonnjea! How are you?" and before I can even open my mouth to reply they've launched into a 30-minute monologue about what a jerk their boss is, how overworked/unappreciated/mistreated they are, and how traffic on the 405 conspired to jack up their entire day.
First, let me just say this: traffic does not single anyone out to personally mess with them. We live in SoCal. Traffic is a given, just like June Gloom, hipsters and Live Team Coverage on the local news stations about Justin Bieber going to Starbucks. It just is and it's not a personal attack. Get over it already.
Anyhoo. I understand that sometimes people need to vent, and I'm fine with that. But sometimes people just can't stand silence. Or they don't trust that whomever they're talking to will fill the void (or fill it with anything as dramatic as traffic jams) if they so much as pause to take a breath.
Guess what? It's the same with improv. I know you didn't see that connection coming! Happy to keep you on your toes with my awesome unpredictability.
Sometimes in a scene, a person will say a perfectly good line, only before their scene partner can respond, they add another line. And another. And another. Every time a performer adds another line of dialogue, they make it harder and harder for their partner to respond organically. In improv, we really want to jump on the last thing the other person said and make a big deal about it. So if they said, "By the way, Georgina, I've been meaning to tell you I just don't think your fried green tomatoes are good enough for the county fair," their scene partner is just about to burst into tears because their fried green tomatoes are no good. But then they continue with, "Oh, and your hair is ugly that color." And suddenly their partner is thinking up a response involving hair color. And pretty soon, one person is monologuing and the other person is standing there with a deer-in-the-headlights expression because they no longer have any idea what the scene is about.
In improv, less is more. You've got 3 minutes to tell a story, so you don't want to muddle it with a lot of extraneous noise about... well, anything, actually. Say your line. Then stop. It's totally fine if a few seconds go by. Stay connected with your scene partner through eye contact and emotion and let the scene breathe. They will respond, trust me. And if you trust them and yourself enough to let it happen naturally, the scene will be much better than if you keep on spewing facts about sharks eating their young, the teen pregnancy rate in Tennessee and the stupid traffic on the 405.
Of course, Held2gether improv classes can help you learn to just stay calm, take a deep breath and let the other person have their say. It'll help your improv, and it'll help your real-world conversations. And I promise, no one will tell you to shut the f*ck up.
Thursday, June 23, 2011
Free Long Beach Improv Show!
By Sonnjea Blackwell
Hey, I keep forgetting to remind you all that Held2gether presents Last Laugh Saturday is THIS Saturday. See:
Told you. I don't lie about these things.
For the uninitiated, LLS is our free monthly show at Hot Java, where we do an hour of unscripted short-form improv based entirely on the audience's suggestions. Since it's improv, we never know exactly what to expect, but there's a good chance vampires, Westerns and lovers will be suggestions. Maybe we'll take 'em, maybe we won't, although we are especially fond of scenes about vampire lovers in the Wild West.
For you regulars, I just wanted to let you know we're making some changes! Even though it's improv and every scene is always different because it's based on its own unique suggestion, it is possible to get into a rut. I don't know what surprises Darren has up his sleeve, but he's been going around laughing that evil mwahahahahaha laugh for a few days now, so I for one am a little concerned.
The show's at 8 p.m., and it's a good idea to get there a pretty early if you want a good seat. If you want a crappy seat, come whenever.
Hey, I keep forgetting to remind you all that Held2gether presents Last Laugh Saturday is THIS Saturday. See:
Told you. I don't lie about these things.
For the uninitiated, LLS is our free monthly show at Hot Java, where we do an hour of unscripted short-form improv based entirely on the audience's suggestions. Since it's improv, we never know exactly what to expect, but there's a good chance vampires, Westerns and lovers will be suggestions. Maybe we'll take 'em, maybe we won't, although we are especially fond of scenes about vampire lovers in the Wild West.
For you regulars, I just wanted to let you know we're making some changes! Even though it's improv and every scene is always different because it's based on its own unique suggestion, it is possible to get into a rut. I don't know what surprises Darren has up his sleeve, but he's been going around laughing that evil mwahahahahaha laugh for a few days now, so I for one am a little concerned.
The show's at 8 p.m., and it's a good idea to get there a pretty early if you want a good seat. If you want a crappy seat, come whenever.
Tuesday, June 21, 2011
Improv + Apathy = Death. (Not literally. Duh.)
By Sonnjea Blackwell
I read this on Facebook this morning:
Okay, what I really thought was, "Hey! A blog topic! Thank you Facebook!"
See, in improv, apathy = death. If the improvisor doesn't care, the audience doesn't care. I mean, if you're okay with everything, why would the audience get worked up in any direction? And the truth is, the audience wants to be worked up... they want something that's going to surprise them and make them laugh or groan or whatever. "Oh, he just told her he's secretly been in love with her cat for the past 3 years, that's gonna be HUGE!" And it should be huge. But that whole apathy/comfort zone/status quo thing sometimes makes us as improvisors respond to the cat confession with, "Oh. Well, okay, I guess I can see that. She is a very fluffy cat."
Um, what? The audience was on the edge of their seats, dying to be in it with you, and you bailed. So all they can do is let out a big sigh and wait for the next big revelation. But there might not be another revelation. So what we learn in H2G improv classes is to jump on that first bit of information. And it doesn't have to be as big as interspecies love affairs. It could be, "You know, I'm tired of you stealing my pencil." Which is actually funnier because the audience is like, "What? It's a pencil, who cares!" But when you react and care about that pencil-stealing accusation, they're surprised and caught off guard and then they're in it with you.
That's a good thing, fyi.
Okay, you all know how I roll by now, so you won't be surprised that I'm going to tie this little nugget in with real life. In life, we want to stay in our comfort zone, avoid change and maintain the status quo. Why? Because the opposite is scary as hell. Duh. But life is so much more interesting when you choose to care. Be happy. Be mad. Change directions mid-stream when you realize things aren't the way they oughtta be. It's hard to fight that natural human instinct towards comfort, and harder still to fight society's idea that we should go with the flow and make peace and all that. I won't go so far as to say that in life, apathy = death. But in the same way that a scene can't grow and flourish if you don't push and react and change, your life won't grow and flourish if you don't push and react and change.
We all resist change to a certain extent. Evidently, that whole inertia concept has some merit. But staying the same means you can never get better. And at Held2gether, we want to help you get better. Not that you're not already good. You are. We're sure of it. But a little push outside the comfort zone couldn't hurt, right?
Now could you please return my pencil?
I read this on Facebook this morning:
Apathy is a natural, human instinct, common to us all, that consistently encourages us to seek a comfort zone in which nothing ever changes.And I thought, "Eh, whatever."
Okay, what I really thought was, "Hey! A blog topic! Thank you Facebook!"
See, in improv, apathy = death. If the improvisor doesn't care, the audience doesn't care. I mean, if you're okay with everything, why would the audience get worked up in any direction? And the truth is, the audience wants to be worked up... they want something that's going to surprise them and make them laugh or groan or whatever. "Oh, he just told her he's secretly been in love with her cat for the past 3 years, that's gonna be HUGE!" And it should be huge. But that whole apathy/comfort zone/status quo thing sometimes makes us as improvisors respond to the cat confession with, "Oh. Well, okay, I guess I can see that. She is a very fluffy cat."
Um, what? The audience was on the edge of their seats, dying to be in it with you, and you bailed. So all they can do is let out a big sigh and wait for the next big revelation. But there might not be another revelation. So what we learn in H2G improv classes is to jump on that first bit of information. And it doesn't have to be as big as interspecies love affairs. It could be, "You know, I'm tired of you stealing my pencil." Which is actually funnier because the audience is like, "What? It's a pencil, who cares!" But when you react and care about that pencil-stealing accusation, they're surprised and caught off guard and then they're in it with you.
That's a good thing, fyi.
Okay, you all know how I roll by now, so you won't be surprised that I'm going to tie this little nugget in with real life. In life, we want to stay in our comfort zone, avoid change and maintain the status quo. Why? Because the opposite is scary as hell. Duh. But life is so much more interesting when you choose to care. Be happy. Be mad. Change directions mid-stream when you realize things aren't the way they oughtta be. It's hard to fight that natural human instinct towards comfort, and harder still to fight society's idea that we should go with the flow and make peace and all that. I won't go so far as to say that in life, apathy = death. But in the same way that a scene can't grow and flourish if you don't push and react and change, your life won't grow and flourish if you don't push and react and change.
We all resist change to a certain extent. Evidently, that whole inertia concept has some merit. But staying the same means you can never get better. And at Held2gether, we want to help you get better. Not that you're not already good. You are. We're sure of it. But a little push outside the comfort zone couldn't hurt, right?
Now could you please return my pencil?
Monday, June 20, 2011
Held2gether Happenings!
By Sonnjea Blackwell
So much happening... so few brain cells to process it all...
Okay, first things first. We've updated the H2G website and we think you'll approve. And in the next few weeks, we'll be adding pages with more details about our group offerings - corporate workshops, lunch-time stress reducers and H2G parties at your place! If you want one of those awesome things in the meantime, just email us and we'll get you all the deets.
OMG! We finally have video of the last Hot Java show, way back in April! Trust me, it was worth the wait. We'll be posting a video every day at our FB page... but if you're really impatient, you can go right to the source and see a bunch of 'em right now on our YouTube page. (And yes, my shirt does say "Praise the Lard.")
Pretty funny, eh? Well, seeing video isn't as awesome as seeing it live, so come out this Saturday night, peeps! June 25th, 8:00 pm at Hot Java - we're ba-aaack! Need details? Check out the Last Laugh Saturday page!
Can't wait to see you all at Hot Java!
So much happening... so few brain cells to process it all...
Okay, first things first. We've updated the H2G website and we think you'll approve. And in the next few weeks, we'll be adding pages with more details about our group offerings - corporate workshops, lunch-time stress reducers and H2G parties at your place! If you want one of those awesome things in the meantime, just email us and we'll get you all the deets.
OMG! We finally have video of the last Hot Java show, way back in April! Trust me, it was worth the wait. We'll be posting a video every day at our FB page... but if you're really impatient, you can go right to the source and see a bunch of 'em right now on our YouTube page. (And yes, my shirt does say "Praise the Lard.")
Pretty funny, eh? Well, seeing video isn't as awesome as seeing it live, so come out this Saturday night, peeps! June 25th, 8:00 pm at Hot Java - we're ba-aaack! Need details? Check out the Last Laugh Saturday page!
Can't wait to see you all at Hot Java!
Friday, June 17, 2011
Go Ahead and Bug Me!
By Sonnjea Blackwell
Um, sorry for the lack of posting today. I had to get up at 5:15 and do some stuff, take the BFF/Fearless Leader to the airport, work out with Evil Trainer and drink the afternoon away with Someone Else.
That doesn't mean there were no improv-y thoughts going on in my noggin. There were. But nothing profound is coming to me at the moment, so I'm just gonna share a short thought I learned in class this week: Evidently it's extremely rewarding and cathartic to create improv characters based on people who bug the crap out of you.
OMG, I suddenly have an entire posse of characters. And thank you to all the annoying people I've met in my life.
Anyway, I can see how taking on those characteristics and kind of mocking them would be sort of a getting-the-last-laugh kind of scenario. And, from a kinder, more Buddhist perspective, playing those people who annoy the living hell out of you can give you a new look into what makes them the way they are and will help you have more compassion for them.
Anytime I can mock someone AND feel like I'm being a good person, I'm a happy girl.
Um, sorry for the lack of posting today. I had to get up at 5:15 and do some stuff, take the BFF/Fearless Leader to the airport, work out with Evil Trainer and drink the afternoon away with Someone Else.
That doesn't mean there were no improv-y thoughts going on in my noggin. There were. But nothing profound is coming to me at the moment, so I'm just gonna share a short thought I learned in class this week: Evidently it's extremely rewarding and cathartic to create improv characters based on people who bug the crap out of you.
OMG, I suddenly have an entire posse of characters. And thank you to all the annoying people I've met in my life.
Anyway, I can see how taking on those characteristics and kind of mocking them would be sort of a getting-the-last-laugh kind of scenario. And, from a kinder, more Buddhist perspective, playing those people who annoy the living hell out of you can give you a new look into what makes them the way they are and will help you have more compassion for them.
Anytime I can mock someone AND feel like I'm being a good person, I'm a happy girl.
Thursday, June 16, 2011
Improv Is Easy. Unless, Of Course, You're Switzerland.
By Sonnjea Blackwell
Improv is hard. There's just no getting around it. You go up on stage with no clue what's about to happen and you get a suggestion like "you're bowling," and bam! you gotta make something funny happen and you gotta be quick about it cuz it'll all be over in 3 minutes.
What the hell?!?
Okay, sorry. I'm not trying to freak anybody out here. I had a rough improv week; whatever, it happens.
The good news is, improv is also totally easy. No, really. You go up on stage with no lines to memorize or expectations to live up to and you get a suggestion like "you're bowling," and bam! you get to be whoever you want and call your scene partner whatever you want and yell or laugh or cry or stomp your feet and you don't have to worry about anything cuz it'll all be over in 3 minutes.
The only thing you don't really want to be in improv is neutral. Sorry, Switzerland. Nobody likes someone who won't take a stand. A teacher told me today that audiences mirror the improvisor's faces when they watch them - if you're smiling, the audience is smiling; if you're scowling, the audience is scowling. Either way is great because they're in the scene with you. But if you're neutral, they're neutral. They don't know what side you're on, so they can't root for you. All they can do is wait for you to speak and then see how they feel about whatever you say. And after making them wait like that, you need to really bring it, which just puts even more pressure on yourself.
So to hedge your bets and have your experience be "improv is totally easy" as often as possible, don't be Switzerland. Go up on stage with no clue what's about to happen and be GIDDY about it or in DESPAIR about it or FURIOUS about it and get a suggestion like "you're bowling," and bam! care about it, one way or another, and tell your scene partner in no uncertain terms what you think about it and how you feel about them and have a big ol' reaction to everything they say and ...
Sorry. Your 3 minutes are up. See? Told you improv is totally easy.
Improv is hard. There's just no getting around it. You go up on stage with no clue what's about to happen and you get a suggestion like "you're bowling," and bam! you gotta make something funny happen and you gotta be quick about it cuz it'll all be over in 3 minutes.
What the hell?!?
Okay, sorry. I'm not trying to freak anybody out here. I had a rough improv week; whatever, it happens.
The good news is, improv is also totally easy. No, really. You go up on stage with no lines to memorize or expectations to live up to and you get a suggestion like "you're bowling," and bam! you get to be whoever you want and call your scene partner whatever you want and yell or laugh or cry or stomp your feet and you don't have to worry about anything cuz it'll all be over in 3 minutes.
The only thing you don't really want to be in improv is neutral. Sorry, Switzerland. Nobody likes someone who won't take a stand. A teacher told me today that audiences mirror the improvisor's faces when they watch them - if you're smiling, the audience is smiling; if you're scowling, the audience is scowling. Either way is great because they're in the scene with you. But if you're neutral, they're neutral. They don't know what side you're on, so they can't root for you. All they can do is wait for you to speak and then see how they feel about whatever you say. And after making them wait like that, you need to really bring it, which just puts even more pressure on yourself.
So to hedge your bets and have your experience be "improv is totally easy" as often as possible, don't be Switzerland. Go up on stage with no clue what's about to happen and be GIDDY about it or in DESPAIR about it or FURIOUS about it and get a suggestion like "you're bowling," and bam! care about it, one way or another, and tell your scene partner in no uncertain terms what you think about it and how you feel about them and have a big ol' reaction to everything they say and ...
Sorry. Your 3 minutes are up. See? Told you improv is totally easy.
Wednesday, June 15, 2011
No Mental Improv, Please
By Sonnjea Blackwell
There have been studies that show playing tennis, for example, in your head actually improves your tennis game. Not as much as practicing with a coach, obviously, but mentally playing games and practicing strategies definitely helps when you go out on the court and face a real-life opponent.
Same with playing a musical instrument. Running through complicated fingering in your head helps you get the notes and chords right when you pick up the sax, or whatever it is you were practicing. I mean, if you were practicing the flute in your mind and then tried to play the trumpet, I don't think it would work. It's not magic, people.
And we've all practiced important speeches, job interviews and what-we're-gonna-say-if-he/she-picks-up-the-phone so that those conversations go more smoothly and don't make you sound as if you're a hyena having a seizure when you laugh nervously at the other person's opening remarks.
So you'd think the same would be true of improv. But no. Practicing improv in your head amounts to pre-planning, which is the antithesis of improv. So it's totally counter-productive. Which is super annoying to people like me who like to over-think and plan things to death... well, maybe "like" is a strong word. After all, I suppose most of us don't actually enjoy our mental illnesses.
Um, hello, tangent. Anyway. My point is this: don't practice improv in your head. Don't play out imaginary scenes. Don't think of clever ideas or opening lines that you just can't wait to shoe-horn into an exercise. Don't think, "Ok, I'm going to be brushing my teeth. And then, no matter what he says, I'm going to say, 'Here's the thing. I've always hated your brand of toothpaste.' Ahahahahaha! That'll be friggin' hilarious." Trust me. It won't.
If you must do improv in your mind, think up names that don't include Sally, Frank, Timmy or Jo-Jo. Come up with interesting locations so you can offer suggestions that haven't been done to death. Tell yourself a story using "Yes, and I" and "Yes, and you" as the beginnings of each sentence. Pretend you're a mouse or a duck or a tractor and figure out what kind of human character that would be. Play zip-zap-zop until you exhaust obscure categories like Australian shellfish or most annoying Christmas gifts.
Then come to a Held2gether improv class and wing it with the rest of us. It's win-win: you don't force pre-planned crap into scenes where it makes no sense, and you give yourself more time to practice your winning American Idol speech in your head. You're welcome.
There have been studies that show playing tennis, for example, in your head actually improves your tennis game. Not as much as practicing with a coach, obviously, but mentally playing games and practicing strategies definitely helps when you go out on the court and face a real-life opponent.
Same with playing a musical instrument. Running through complicated fingering in your head helps you get the notes and chords right when you pick up the sax, or whatever it is you were practicing. I mean, if you were practicing the flute in your mind and then tried to play the trumpet, I don't think it would work. It's not magic, people.
And we've all practiced important speeches, job interviews and what-we're-gonna-say-if-he/she-picks-up-the-phone so that those conversations go more smoothly and don't make you sound as if you're a hyena having a seizure when you laugh nervously at the other person's opening remarks.
So you'd think the same would be true of improv. But no. Practicing improv in your head amounts to pre-planning, which is the antithesis of improv. So it's totally counter-productive. Which is super annoying to people like me who like to over-think and plan things to death... well, maybe "like" is a strong word. After all, I suppose most of us don't actually enjoy our mental illnesses.
Um, hello, tangent. Anyway. My point is this: don't practice improv in your head. Don't play out imaginary scenes. Don't think of clever ideas or opening lines that you just can't wait to shoe-horn into an exercise. Don't think, "Ok, I'm going to be brushing my teeth. And then, no matter what he says, I'm going to say, 'Here's the thing. I've always hated your brand of toothpaste.' Ahahahahaha! That'll be friggin' hilarious." Trust me. It won't.
If you must do improv in your mind, think up names that don't include Sally, Frank, Timmy or Jo-Jo. Come up with interesting locations so you can offer suggestions that haven't been done to death. Tell yourself a story using "Yes, and I" and "Yes, and you" as the beginnings of each sentence. Pretend you're a mouse or a duck or a tractor and figure out what kind of human character that would be. Play zip-zap-zop until you exhaust obscure categories like Australian shellfish or most annoying Christmas gifts.
Then come to a Held2gether improv class and wing it with the rest of us. It's win-win: you don't force pre-planned crap into scenes where it makes no sense, and you give yourself more time to practice your winning American Idol speech in your head. You're welcome.
Tuesday, June 14, 2011
Tired of Being a "Good Girl"
By Sonnjea Blackwell
Have you ever noticed there are fewer women than men in comedy? Not just improv, but comedy in general. It's true. It seems like the same number of women start off in the beginning classes, but as the classes advance, fewer and fewer women keep pace. At Groundlings, it takes far less time for women on the waiting list for Writing Lab to get there than men, because they keep the classes balanced gender-wise and there are just fewer women at that level. Even in the Held2gether Improv Comedy Troupe there are twice as many men as women.
So what's the deal? Are men naturally funnier than women? Huh, as if! And don't worry, I'm not going to go off on a feminist rant or anything; that's just not how I roll.
But I do think there's something to the relative dearth of women at the highest echelons of comedy. Look at Tina Fey: she's fabulous, brilliant, hilarious and did I mention brilliant? And yet, if she were a man who had accomplished everything she's accomplished, no one would care. Because plenty of men in comedy have achieved her level of success.
Here's my take: In general, girls (even in 2011) are more conditioned to be pleasers. As a gender, we don't take the risks that men take. We don't feel as free to say whatever's on our minds. We drink beer... but we don't belch. If we had balls, we still wouldn't scratch 'em all the time. There's still some ingrained "Good Girl" nonsense that keeps us from going all-out and being fearless and just not giving a fuck. We don't want to look foolish or inappropriate. We want to please everyone. We want to do it right.
If we're me, we want to do it right the very first time and if we don't, we don't want to do it again. Like the time I tried to roller skate on my fifth birthday. But I digress.
In improv, I hold back A LOT... without even realizing it. I'll think I look furious as a character in a scene, and Darren will say I look mildly irritated. "Loud" for me is quieter than a normal speaking voice for the guys. I don't do raunchy or over-sexed or brash or inappropriate - because it's not appropriate to be raunchy or over-sexed or brash or, um, inappropriate.
Which isn't to say there are no women who do those things. There are. But not nearly enough. I'm getting better, but it's slow going even in classes that are as encouraging and supportive as Held2gether improv classes in Long Beach. I know I'm not the only one out there, so if you're a woman and you are sick and tired of the Good Girl label, come take an H2G improv class and learn to be completely inappropriate with me. After class, I'll buy you a beer and we can practice our belching.
Have you ever noticed there are fewer women than men in comedy? Not just improv, but comedy in general. It's true. It seems like the same number of women start off in the beginning classes, but as the classes advance, fewer and fewer women keep pace. At Groundlings, it takes far less time for women on the waiting list for Writing Lab to get there than men, because they keep the classes balanced gender-wise and there are just fewer women at that level. Even in the Held2gether Improv Comedy Troupe there are twice as many men as women.
So what's the deal? Are men naturally funnier than women? Huh, as if! And don't worry, I'm not going to go off on a feminist rant or anything; that's just not how I roll.
But I do think there's something to the relative dearth of women at the highest echelons of comedy. Look at Tina Fey: she's fabulous, brilliant, hilarious and did I mention brilliant? And yet, if she were a man who had accomplished everything she's accomplished, no one would care. Because plenty of men in comedy have achieved her level of success.
Here's my take: In general, girls (even in 2011) are more conditioned to be pleasers. As a gender, we don't take the risks that men take. We don't feel as free to say whatever's on our minds. We drink beer... but we don't belch. If we had balls, we still wouldn't scratch 'em all the time. There's still some ingrained "Good Girl" nonsense that keeps us from going all-out and being fearless and just not giving a fuck. We don't want to look foolish or inappropriate. We want to please everyone. We want to do it right.
If we're me, we want to do it right the very first time and if we don't, we don't want to do it again. Like the time I tried to roller skate on my fifth birthday. But I digress.
In improv, I hold back A LOT... without even realizing it. I'll think I look furious as a character in a scene, and Darren will say I look mildly irritated. "Loud" for me is quieter than a normal speaking voice for the guys. I don't do raunchy or over-sexed or brash or inappropriate - because it's not appropriate to be raunchy or over-sexed or brash or, um, inappropriate.
Which isn't to say there are no women who do those things. There are. But not nearly enough. I'm getting better, but it's slow going even in classes that are as encouraging and supportive as Held2gether improv classes in Long Beach. I know I'm not the only one out there, so if you're a woman and you are sick and tired of the Good Girl label, come take an H2G improv class and learn to be completely inappropriate with me. After class, I'll buy you a beer and we can practice our belching.
Monday, June 13, 2011
What I Learned At Improv Yesterday
By Sonnjea Blackwell
I crashed the Held2gether Intro to Improv 1/2-day Workshop yesterday, and it was so inspiring! Most of the people had zero improv experience, zero acting experience and zero idea what to expect. There were a few exceptions, and it was fun to see them as well. But I was blown away by the all-out commitment and fearlessness the new folks showed in a difficult, sink-or-swim sort of intensive class. Everyone had a great time, and many of the first timers signed up on the spot for an H2G six-week class.
Wait! Don't get pissy, I'm not just being an annoying H2G cheerleader. I actually have a point. And anyway, I lost my pom-poms.
My point was: I learn SO MUCH from classes of beginners. I don't know if there will ever be a point at which I know so much about improv that I can't learn from an intro class, but I know if there is, I'm nowhere near it. Sure, I know it's important to "yes, and" everything and add information and commit. But I can still get in line for an add info line-up and freak out because I can't think of any space work to do. Surely I must do more every day than cry while typing? I mean, I probably cry while washing dishes, or while painting my nails or maybe while paying bills, right? I know lots of people, but there's still a good chance I'll call my scene partner Frank. And it's a safe bet that if I get confused in a scene I will start an argument.
And then I think, wait! I've been doing this for two years. Look at these people who just jumped into the deep end with no experience and are giving it their all. It would take an amazing amount of arrogance to think that I can't learn anything from them - and even I don't have that kind of arrogance! Some people are obviously terrified, and yet they keep on going, totally enthusiastically, trying over and over to get something right without getting dejected. They haven't been doing it long enough to have decided, "Well, I suck at characters, so I'm never going to be as good at them as [insert favorite H2G troupe member's name here]" so it doesn't occur to them to give up.
Anyway, that's what I learned at improv class yesterday. What I learned at improv class today is that "I suck at characters, so I'm never going to be as good at them as [insert name of virtually anyone reading this blog]." But fortunately, I learned from the beginners yesterday, so I didn't give up. I just called my scene partner Frank, started an argument and pretended to cry while circling ads in the newspaper. Hey, it's progress.
I crashed the Held2gether Intro to Improv 1/2-day Workshop yesterday, and it was so inspiring! Most of the people had zero improv experience, zero acting experience and zero idea what to expect. There were a few exceptions, and it was fun to see them as well. But I was blown away by the all-out commitment and fearlessness the new folks showed in a difficult, sink-or-swim sort of intensive class. Everyone had a great time, and many of the first timers signed up on the spot for an H2G six-week class.
Wait! Don't get pissy, I'm not just being an annoying H2G cheerleader. I actually have a point. And anyway, I lost my pom-poms.
My point was: I learn SO MUCH from classes of beginners. I don't know if there will ever be a point at which I know so much about improv that I can't learn from an intro class, but I know if there is, I'm nowhere near it. Sure, I know it's important to "yes, and" everything and add information and commit. But I can still get in line for an add info line-up and freak out because I can't think of any space work to do. Surely I must do more every day than cry while typing? I mean, I probably cry while washing dishes, or while painting my nails or maybe while paying bills, right? I know lots of people, but there's still a good chance I'll call my scene partner Frank. And it's a safe bet that if I get confused in a scene I will start an argument.
And then I think, wait! I've been doing this for two years. Look at these people who just jumped into the deep end with no experience and are giving it their all. It would take an amazing amount of arrogance to think that I can't learn anything from them - and even I don't have that kind of arrogance! Some people are obviously terrified, and yet they keep on going, totally enthusiastically, trying over and over to get something right without getting dejected. They haven't been doing it long enough to have decided, "Well, I suck at characters, so I'm never going to be as good at them as [insert favorite H2G troupe member's name here]" so it doesn't occur to them to give up.
Anyway, that's what I learned at improv class yesterday. What I learned at improv class today is that "I suck at characters, so I'm never going to be as good at them as [insert name of virtually anyone reading this blog]." But fortunately, I learned from the beginners yesterday, so I didn't give up. I just called my scene partner Frank, started an argument and pretended to cry while circling ads in the newspaper. Hey, it's progress.
Friday, June 10, 2011
New Held2gether Improv Classes Starting Soon!
By Sonnjea Blackwell
Holy guacamole! It's that time again... a whole new round of Held2gether improv classes is starting up in the next week or two. There's Intro to Improv Comedy, Improv Comedy Level 2 and Long Form Improv. And this weekend is the June 1/2-day Intro to Improv Intensive, which is totally sold out. You see what happens when you dilly-dally? I try to give you plenty of notice so you don't miss out on things, peeps, but I can't come over to your house and click on the links and sign up for you. You really have to do some things yourself.
What I can do for you is give you the run-down on the classes so you know what's what. In case you haven't noticed, that's what I do. Cuz I'm a giver.
So. Intro to Improv Comedy is, as the name cleverly implies, an introductory class to improv comedy. In the Intro class, Darren covers the basics - agreement, commitment and information - in a bunch of really fun improv games and exercises. It's designed for people who haven't taken improv before, or people who have taken improv a long, long time ago in a galaxy far, far away, or people who have taken improv at other improv schools. All the "big" improv schools have their own methods and just because you've completed 87 classes at 2nd City or UCB doesn't mean you know the basics of the H2G format (which is essentially Groundlings-based), so rather than be frustrated in the Level 2 class, it's usually best to take the Intro just to get the H2G style down pat.
Lots of people just hang out in the level one class forever because it's so much fun. Unlike improv schools elsewhere, there is no pressure to "move up or get out."
One more thing: no acting experience is required, and most of your fellow students will have none either. Having said that, improv is not stand-up, and you will be playing characters in games and scenes. Don't freak out! It's fun!
Improv Comedy Level 2 is the intermediate Held2gether improv class. After taking Level 1 a few times, you'll probably be ready for Level 2. Darren will let you know when he thinks you're ready for the big times! The Level 2 class focuses on strong characters and building relationships in scenes and exercises. It's a big leap from the Intro class, but there are plenty of people who take Level 2 over and over as well, and they will be delighted to help you out and make you feel at home.
Long Form Improv is a whole different ball of worms. It's by invitation/instructor permission only, and it's getting into the more advanced areas of improv to create a 30-minute long, totally improvised "play." It's hilarious! And totally worth the work it takes to get to this level!
1/2-day Intro to Improv Comedy Workshop is, well, a half-day intro to improv comedy workshop. Are these names fabulous or what? Anyway, in four hours you'll get an intensive intro to improv and you'll be doing scenes by the end of the day! It's a hoot!
You can sign up at the website. If you have any questions about the classes or which one would be right for you, email Darren. He'll be more than happy to guide you in the right direction. Cuz, you know, he's a giver too.
Holy guacamole! It's that time again... a whole new round of Held2gether improv classes is starting up in the next week or two. There's Intro to Improv Comedy, Improv Comedy Level 2 and Long Form Improv. And this weekend is the June 1/2-day Intro to Improv Intensive, which is totally sold out. You see what happens when you dilly-dally? I try to give you plenty of notice so you don't miss out on things, peeps, but I can't come over to your house and click on the links and sign up for you. You really have to do some things yourself.
What I can do for you is give you the run-down on the classes so you know what's what. In case you haven't noticed, that's what I do. Cuz I'm a giver.
So. Intro to Improv Comedy is, as the name cleverly implies, an introductory class to improv comedy. In the Intro class, Darren covers the basics - agreement, commitment and information - in a bunch of really fun improv games and exercises. It's designed for people who haven't taken improv before, or people who have taken improv a long, long time ago in a galaxy far, far away, or people who have taken improv at other improv schools. All the "big" improv schools have their own methods and just because you've completed 87 classes at 2nd City or UCB doesn't mean you know the basics of the H2G format (which is essentially Groundlings-based), so rather than be frustrated in the Level 2 class, it's usually best to take the Intro just to get the H2G style down pat.
Lots of people just hang out in the level one class forever because it's so much fun. Unlike improv schools elsewhere, there is no pressure to "move up or get out."
One more thing: no acting experience is required, and most of your fellow students will have none either. Having said that, improv is not stand-up, and you will be playing characters in games and scenes. Don't freak out! It's fun!
Improv Comedy Level 2 is the intermediate Held2gether improv class. After taking Level 1 a few times, you'll probably be ready for Level 2. Darren will let you know when he thinks you're ready for the big times! The Level 2 class focuses on strong characters and building relationships in scenes and exercises. It's a big leap from the Intro class, but there are plenty of people who take Level 2 over and over as well, and they will be delighted to help you out and make you feel at home.
Long Form Improv is a whole different ball of worms. It's by invitation/instructor permission only, and it's getting into the more advanced areas of improv to create a 30-minute long, totally improvised "play." It's hilarious! And totally worth the work it takes to get to this level!
1/2-day Intro to Improv Comedy Workshop is, well, a half-day intro to improv comedy workshop. Are these names fabulous or what? Anyway, in four hours you'll get an intensive intro to improv and you'll be doing scenes by the end of the day! It's a hoot!
You can sign up at the website. If you have any questions about the classes or which one would be right for you, email Darren. He'll be more than happy to guide you in the right direction. Cuz, you know, he's a giver too.
Thursday, June 9, 2011
What a Character!
By Sonnjea Blackwell
I was talking with Lisa yesterday (and by "talking" I mean "texting," which is how people "talk" in the 21st century) about a scene we did at Wait Till Your Father Gets Home that didn't work. We knew why it didn't work... we probably even knew at the time why it wasn't working. But sometimes knowing what's wrong and knowing how to fix it in the moment don't exactly go hand in hand.
All three of us in the scene were waiting for one of the others to take the lead, because all three of us got confused by a suggestion and went right into our heads, wondering, "Are we men? Are we gay? Is this Shakespeare? Is it almost time to drink? Where did I leave Koji's leash, anyway?" Or, you know, some of us may have been thinking some of those things.
Now, if you don't know what's going on, it's perfectly fine - preferred, in fact - to take your time at the top of the scene to connect with your scene partners and just figure out what page you're all on. We learn that in Held2gether Intro to Improv class. The thing is, though, (and Darren will be so proud that I'm finally understanding this), YOU probably won't have the answer... because you are most likely not a gay Shakespearean man. So even though you don't know what the heck's going on, you make an instant choice and take on a character and DO something as that character while you're making eye contact with your partners.
Then magic things happen, and your character knows what's going on and what to do. I won't have to spew information as Sonnjea because Romeo will get angry or happy or sad while pulling petals off a flower, or chopping wood, or throwing beer at Ralph.
We forgot that part. Eh, it happens. The whole character thing is tough for us regular non-actor-y improvisor folks. That's why it's so awesome that there are H2G classes and shows happening all the time, so we can keep practicing being gay Shakespearean men until we get it right. Come out and play with us! New classes are starting in a couple weeks!
I was talking with Lisa yesterday (and by "talking" I mean "texting," which is how people "talk" in the 21st century) about a scene we did at Wait Till Your Father Gets Home that didn't work. We knew why it didn't work... we probably even knew at the time why it wasn't working. But sometimes knowing what's wrong and knowing how to fix it in the moment don't exactly go hand in hand.
All three of us in the scene were waiting for one of the others to take the lead, because all three of us got confused by a suggestion and went right into our heads, wondering, "Are we men? Are we gay? Is this Shakespeare? Is it almost time to drink? Where did I leave Koji's leash, anyway?" Or, you know, some of us may have been thinking some of those things.
Now, if you don't know what's going on, it's perfectly fine - preferred, in fact - to take your time at the top of the scene to connect with your scene partners and just figure out what page you're all on. We learn that in Held2gether Intro to Improv class. The thing is, though, (and Darren will be so proud that I'm finally understanding this), YOU probably won't have the answer... because you are most likely not a gay Shakespearean man. So even though you don't know what the heck's going on, you make an instant choice and take on a character and DO something as that character while you're making eye contact with your partners.
Then magic things happen, and your character knows what's going on and what to do. I won't have to spew information as Sonnjea because Romeo will get angry or happy or sad while pulling petals off a flower, or chopping wood, or throwing beer at Ralph.
We forgot that part. Eh, it happens. The whole character thing is tough for us regular non-actor-y improvisor folks. That's why it's so awesome that there are H2G classes and shows happening all the time, so we can keep practicing being gay Shakespearean men until we get it right. Come out and play with us! New classes are starting in a couple weeks!
Wednesday, June 8, 2011
Improv Lunch Parties!
By Sonnjea Blackwell
I've said it before and I'll say it again: a "job" is a concept with which I'm only peripherally acquainted.
Okay, okay. I used to have a real job. I was actually quite good at it, as a matter of fact. But I prefer working for myself, doing a little of this and a little of that, wearing PJs all day, having a 20-second commute, showering at 2 p.m. (if I feel doing it that early), winning all the office arguments and always having someone to give the sh*t jobs to.
Oh, right.
Anyway. Even someone with as cushy a gig as I have needs improv to keep my morale up. So all you incredible people who manage to go to an office or a factory or a funeral home or a baseball park or a hospital or a school or a fire station or wherever and deal with John Q. Public as well as all the office politics and cutbacks and coworkers' shenanigans... wow! you guys need improv a LOT!
Once again, Held2gether's got you covered! We do lunchtime stress reduction/morale boosting improv gigs at the office/factory/funeral home/baseball park/hospital/school/fire station/wherever to give you a break from the mundane and grease up those rusty laugh muscles. 30-minute options include Feed Me the Line, where you and your coworkers write lines of dialogue that a 3-person H2G troupe turns into a 30-minute long-form play; or Laughter Supplement, 30 minutes of improv games and exercises that you and the gang play to relieve stress and shake off the afternoon doldrums.
I'm embarrassed to admit that my office hasn't gotten the website updated to include the specifics of these awesome options yet; you can rest assured I'll have a talk with my employee about that. In the meantime, you can email Darren for more information.
I've said it before and I'll say it again: a "job" is a concept with which I'm only peripherally acquainted.
Okay, okay. I used to have a real job. I was actually quite good at it, as a matter of fact. But I prefer working for myself, doing a little of this and a little of that, wearing PJs all day, having a 20-second commute, showering at 2 p.m. (if I feel doing it that early), winning all the office arguments and always having someone to give the sh*t jobs to.
Oh, right.
Anyway. Even someone with as cushy a gig as I have needs improv to keep my morale up. So all you incredible people who manage to go to an office or a factory or a funeral home or a baseball park or a hospital or a school or a fire station or wherever and deal with John Q. Public as well as all the office politics and cutbacks and coworkers' shenanigans... wow! you guys need improv a LOT!
Once again, Held2gether's got you covered! We do lunchtime stress reduction/morale boosting improv gigs at the office/factory/funeral home/baseball park/hospital/school/fire station/wherever to give you a break from the mundane and grease up those rusty laugh muscles. 30-minute options include Feed Me the Line, where you and your coworkers write lines of dialogue that a 3-person H2G troupe turns into a 30-minute long-form play; or Laughter Supplement, 30 minutes of improv games and exercises that you and the gang play to relieve stress and shake off the afternoon doldrums.
I'm embarrassed to admit that my office hasn't gotten the website updated to include the specifics of these awesome options yet; you can rest assured I'll have a talk with my employee about that. In the meantime, you can email Darren for more information.
Tuesday, June 7, 2011
Bravo! or Rotten Tomatoes?
By Sonnjea Blackwell
I had a class the other day with a substitute teacher who happened to be one of the founders of the Groundlings. So I guess you could say she knows a little something about improv comedy. And Phyllis got on to the subject of audiences for some reason, saying that if she could ever study anything she wanted she would study the psychology of audiences.
I totally agree. Audiences are just plain weird, no offense to those of you who find yourselves in an audience from time to time. Which I guess would technically be all of us.
When H2G performed with The Magic Meathands the other week, it was interesting to hear the audience's comments. People who are Meathands regulars liked the Meathands better. Our fans liked H2G better. So there appears to be a certain element of liking what you're used to better than that new, weird stuff that other people do.
Of course, there's a limit to that as well, because recently some of our hard core regulars have suggested we mix it up a bit more. So audiences want to feel comfortable and know kind of what to expect, but they still want surprises and changes from time to time.
But enough about my musings. Back to Phyllis who, after all, is the expert. She said that in her years of performing with and directing the Groundlings she learned that sometimes it simply doesn't matter what the performers do on stage - the audience will love or hate the show regardless because for whatever reason, that's what that particular audience was in the mood to do that night. She said there were shows where the cast was beyond spectacular, and they all knew they nailed it. Only the audience was like, "meh." And other shows when everybody sucked and the audience could not get enough.
This is not meant to encourage the Held2gether troupe and students to quit practicing and throw all the rules out the window. It's simply to illustrate that you can't please all of the people all of the time, and with improv (as with life) you should just do the very best you can and be happy with that - regardless of what anybody else thinks.
I mean, that's just my opinion and all, and I hope you think that's okay.
I had a class the other day with a substitute teacher who happened to be one of the founders of the Groundlings. So I guess you could say she knows a little something about improv comedy. And Phyllis got on to the subject of audiences for some reason, saying that if she could ever study anything she wanted she would study the psychology of audiences.
I totally agree. Audiences are just plain weird, no offense to those of you who find yourselves in an audience from time to time. Which I guess would technically be all of us.
When H2G performed with The Magic Meathands the other week, it was interesting to hear the audience's comments. People who are Meathands regulars liked the Meathands better. Our fans liked H2G better. So there appears to be a certain element of liking what you're used to better than that new, weird stuff that other people do.
Of course, there's a limit to that as well, because recently some of our hard core regulars have suggested we mix it up a bit more. So audiences want to feel comfortable and know kind of what to expect, but they still want surprises and changes from time to time.
But enough about my musings. Back to Phyllis who, after all, is the expert. She said that in her years of performing with and directing the Groundlings she learned that sometimes it simply doesn't matter what the performers do on stage - the audience will love or hate the show regardless because for whatever reason, that's what that particular audience was in the mood to do that night. She said there were shows where the cast was beyond spectacular, and they all knew they nailed it. Only the audience was like, "meh." And other shows when everybody sucked and the audience could not get enough.
This is not meant to encourage the Held2gether troupe and students to quit practicing and throw all the rules out the window. It's simply to illustrate that you can't please all of the people all of the time, and with improv (as with life) you should just do the very best you can and be happy with that - regardless of what anybody else thinks.
I mean, that's just my opinion and all, and I hope you think that's okay.
Monday, June 6, 2011
All I Really Needed to Know, I Learned in Improv
By Someone Else
You know the book, All I Really Need to Know I Learned in Kindergarten, by Robert Fulghum? We’ve taken the liberty to adapt his fantastically written perspective on life and frame it in the context of improv. Yeah, we’re ego-centric like that.
People who have seen one of Held2gether’s long form shows (Trixie Keeps the Books, Jim Beam & a Hundred Dollars, Over Easy Like Sunday Morning) often express how seemingly more difficult long form is to perform than short form improv. And yes, long form can be more complex -- you’ve got multiple story lines to juggle, you’ve got a performance set that can last 20 to 30 minutes (which means your energy and your commitment needs to last that long, too), and you’ve got multiple characters to play.
But the rules of short form still apply to long form. Sometimes, you may have to modify the rules a touch to fit the complexities of long form; however, the underlying principles remain the same. For example, you still need to agree with the information your partners have provided (yes, and!). But in long form, you don’t have to stay confined in the same scene - you can branch out to create something new that agrees with already established information. The underlying principle of “yes, and” still remains. Only now, you can form a whole new scene, based on a previous scene.
In other cases, the rules of short form are intensified in long form. For example, in short form improv, you learn to balance the amount of listening you do with the amount of talking you do (give-and-take). In long form, that balance becomes even more critical. That’s because long form improv involves eight, nine, maybe even ten players -- way more than in the typical two or three-person short form improv scene. Now you have more information to synthesize with your own brilliant ideas.
It’s just like the lessons Robert Fulghum covers in his book. In Kindergarten, you learn that warm milk and cookies are good for you. As you get older, the same still holds true - only now you drink 2% milk to maintain your girlish or guyish figure. In Kindergarten, you learn to share everything. Later in life, you know to share everything, except communicable diseases. In Kindergarten, you learn to not hit people. As an adult, you never hit someone, unless they really, really deserve it. See? Life is just like improv. Stuff you learn in Kindergarten still holds true, but you may have to adjust the lessons a bit as you get older.
So, whether you prefer short form or long form, Held2gether classes teach you the foundation for good improvisation. We’ll teach you a set of basic rules: listen to the information given to you, balance give-and-take, commit to the scene, and agree with your scene partner. Once you’ve mastered the basics, the improv sky is the limit!
You know the book, All I Really Need to Know I Learned in Kindergarten, by Robert Fulghum? We’ve taken the liberty to adapt his fantastically written perspective on life and frame it in the context of improv. Yeah, we’re ego-centric like that.
People who have seen one of Held2gether’s long form shows (Trixie Keeps the Books, Jim Beam & a Hundred Dollars, Over Easy Like Sunday Morning) often express how seemingly more difficult long form is to perform than short form improv. And yes, long form can be more complex -- you’ve got multiple story lines to juggle, you’ve got a performance set that can last 20 to 30 minutes (which means your energy and your commitment needs to last that long, too), and you’ve got multiple characters to play.
But the rules of short form still apply to long form. Sometimes, you may have to modify the rules a touch to fit the complexities of long form; however, the underlying principles remain the same. For example, you still need to agree with the information your partners have provided (yes, and!). But in long form, you don’t have to stay confined in the same scene - you can branch out to create something new that agrees with already established information. The underlying principle of “yes, and” still remains. Only now, you can form a whole new scene, based on a previous scene.
In other cases, the rules of short form are intensified in long form. For example, in short form improv, you learn to balance the amount of listening you do with the amount of talking you do (give-and-take). In long form, that balance becomes even more critical. That’s because long form improv involves eight, nine, maybe even ten players -- way more than in the typical two or three-person short form improv scene. Now you have more information to synthesize with your own brilliant ideas.
It’s just like the lessons Robert Fulghum covers in his book. In Kindergarten, you learn that warm milk and cookies are good for you. As you get older, the same still holds true - only now you drink 2% milk to maintain your girlish or guyish figure. In Kindergarten, you learn to share everything. Later in life, you know to share everything, except communicable diseases. In Kindergarten, you learn to not hit people. As an adult, you never hit someone, unless they really, really deserve it. See? Life is just like improv. Stuff you learn in Kindergarten still holds true, but you may have to adjust the lessons a bit as you get older.
So, whether you prefer short form or long form, Held2gether classes teach you the foundation for good improvisation. We’ll teach you a set of basic rules: listen to the information given to you, balance give-and-take, commit to the scene, and agree with your scene partner. Once you’ve mastered the basics, the improv sky is the limit!
Friday, June 3, 2011
Playing Pretend
By Sonnjea Blackwell
Last night's Held2gether Improv Comedy Level 2 class was, like, totally AWESOME, as Missy would say. It made everyone stretch and work new improv muscles, and the entire class rose to the occasion.
The best thing about H2G is that we are committed to making improv accessible to everyone, and as far as I can tell it's the regular people who see the real power of improv - the skills it teaches and the personal growth it offers. Actors are wonderful people as well, it's just that most actors simply see improv as another way to perform and/or a way to improve their acting. Totally valid, of course and if you happen to be an actor, we'd love to have you in class!
What I'm getting at is that, the L2 class is made up of normal folks just like you and me. Okay, like you. I'm not normal, as regular readers of this blog can attest. And yet, no matter how you slice it, when you do improv you are pretending to be people other than yourself. Which is, technically speaking, acting.
ACCKKK! She said the A-word. Don't freak out. I figured out a way to get around my fear of acting and learn to be okay with being characters. I just call it make believe, or playing pretend. You did that when you were little, right? Played house and you were the mom or the dad, or perhaps you were movie stars or you were in the Army or whatever. When I played pretend, my characters were always named Lisa.
More information that you don't need. Sorry. Moving on.
Back to last night's class. (Sorry this article is all over the place, I'm already getting excited about H2G Presents Wait Till Your Father Gets Home tonight.) Last night's class was all about being characters. Each person was three totally different, distinct characters. It was super challenging, but SO MUCH FUN! It was awesome to see what everyone tried - there were sneaky, devious people, old crotchety people, self-important people, insecure people, geeks, nerds, sexpots, confused Oklahomans, snooty people, loud brash people and every other kind of person you can imagine.
I know if you come out to Elise's Tea Room for the show tonight, you'll see some of those devious, self-important, sexy, nerdy confused Oklahomans. And, seriously, who would want to miss that?
Last night's Held2gether Improv Comedy Level 2 class was, like, totally AWESOME, as Missy would say. It made everyone stretch and work new improv muscles, and the entire class rose to the occasion.
The best thing about H2G is that we are committed to making improv accessible to everyone, and as far as I can tell it's the regular people who see the real power of improv - the skills it teaches and the personal growth it offers. Actors are wonderful people as well, it's just that most actors simply see improv as another way to perform and/or a way to improve their acting. Totally valid, of course and if you happen to be an actor, we'd love to have you in class!
What I'm getting at is that, the L2 class is made up of normal folks just like you and me. Okay, like you. I'm not normal, as regular readers of this blog can attest. And yet, no matter how you slice it, when you do improv you are pretending to be people other than yourself. Which is, technically speaking, acting.
ACCKKK! She said the A-word. Don't freak out. I figured out a way to get around my fear of acting and learn to be okay with being characters. I just call it make believe, or playing pretend. You did that when you were little, right? Played house and you were the mom or the dad, or perhaps you were movie stars or you were in the Army or whatever. When I played pretend, my characters were always named Lisa.
More information that you don't need. Sorry. Moving on.
Back to last night's class. (Sorry this article is all over the place, I'm already getting excited about H2G Presents Wait Till Your Father Gets Home tonight.) Last night's class was all about being characters. Each person was three totally different, distinct characters. It was super challenging, but SO MUCH FUN! It was awesome to see what everyone tried - there were sneaky, devious people, old crotchety people, self-important people, insecure people, geeks, nerds, sexpots, confused Oklahomans, snooty people, loud brash people and every other kind of person you can imagine.
I know if you come out to Elise's Tea Room for the show tonight, you'll see some of those devious, self-important, sexy, nerdy confused Oklahomans. And, seriously, who would want to miss that?
Thursday, June 2, 2011
Wait Till Your Father Gets Home
By Sonnjea Blackwell
I wrote a holiday blog, then took two days off - sorry! I blame a) the sinus infection, b) the pile of work on my desk, c) the unicorns, or d) all of the above. Choose an answer that makes you happy and I'm happy to go with it. Thanks.
Anyway. Tomorrow night is Held2gether Presents: Wait Till Your Father Gets Home at Elise's Tea Room for First Fridays Long Beach. You don't want to miss this one, where a bunch of H2G students show off for the crowd. It's free! There are scones! And tea! And a strange man in a superhero costume usually drops by!
If grownups in capes isn't enough of a temptation for you, how about this: we're doing some new stuff, along with your favorites! And the cast - Antonio, Leon, Barney & Natalie, Lisa, Steven, Lorna - had an awesome rehearsal last night, where Antonio made me laugh so hard in a scene I had to sit down. Andy and I are playing, too. And, of course, as always the show is directed by Mr. Held2gether, Darren Held.
Stop by for proper tea and improper (but family-friendly) improv! Write some lines for Fishbowl, yell out some suggestions and come up and introduce yourself if you read this blog! We love our fans, you know!
I wrote a holiday blog, then took two days off - sorry! I blame a) the sinus infection, b) the pile of work on my desk, c) the unicorns, or d) all of the above. Choose an answer that makes you happy and I'm happy to go with it. Thanks.
Anyway. Tomorrow night is Held2gether Presents: Wait Till Your Father Gets Home at Elise's Tea Room for First Fridays Long Beach. You don't want to miss this one, where a bunch of H2G students show off for the crowd. It's free! There are scones! And tea! And a strange man in a superhero costume usually drops by!
If grownups in capes isn't enough of a temptation for you, how about this: we're doing some new stuff, along with your favorites! And the cast - Antonio, Leon, Barney & Natalie, Lisa, Steven, Lorna - had an awesome rehearsal last night, where Antonio made me laugh so hard in a scene I had to sit down. Andy and I are playing, too. And, of course, as always the show is directed by Mr. Held2gether, Darren Held.
Stop by for proper tea and improper (but family-friendly) improv! Write some lines for Fishbowl, yell out some suggestions and come up and introduce yourself if you read this blog! We love our fans, you know!
Subscribe to:
Posts (Atom)