PART 1
- Two improvisers take the stage.
- Instead of receiving a suggestion, every scene will start with the two improvisers having a conversation as their actual selves. The improvisers in this scene should focus on playing the scene in a grounded, realistic, and truthful way. The scene should have a casual or conversational tone.
- A third improviser will stop them if he or she feels that either improviser is “performing” or not acting realistically in any way. This third improviser should be asking him or herself, “Is this really what either of these people would say?” in order to find those moments that are not realistic or genuine.
- Once the “unreal” moment has been discussed, the improvisers should back up and play the moment again in a way that is more realistic.
- Stop and repeat this process if the scene again becomes unrealistic.
PART 2
- Now each pair of improvisers will be given a simple, specific, and relatable scenario or “setup” to start with (e.g., two parents watching their kids in a little league game, a second date at a familiar chain restaurant, etc.).
- Again, the improvisers should play close to themselves in these scenes. Their focus should once again be on playing themselves in a grounded, realistic, and truthful way.
- A third improviser should look to stop the scene any time either performer in the scene is not acting realistically. Once the “unreal” moment has been discussed, the improvisers should back up and play the moment again in a way that is more realistic.
- Stop and repeat this process if the scene again becomes unrealistic.
PART 3
- Now each pair should be given the suggestion of two character archetypes that will be different from their actual selves, but within the realm of possibility in real life (e.g., two astronauts, the Pope and a Cardinal, the President and the First Lady, etc.).
- The goal of both players in these scenes is to play these character archetypes in the same grounded, realistic, and truthful manner that they played themselves in
- The third improviser looking to stop the scene can judge the success of this part ofthe exercise by considering how closely thesk scenes resemble the tone and execution of those scenes in Part 1. Again, the third improviser should stop the scene any time either performer in the scene is not acting realistically.
- Once the “unreal” moment has been discussed, the improvisers should back up and play the moment again in a way that is more realistic.
- Stop and repeat this process if the scene again becomes unrealistic.
PART 4
- For the final section of this exercise, each pair should be given the suggestion of two character archetypes that are so fundamentally different from their actual selves that they could not ”be” them in real life. These character archetypes should require the improvisers to alter their voices and physicality (e.g., two elderly people, two Russian immigrants, two characters of opposite gender of the improvisers in the scene, etc.).
- Again, the goal of both players in these scenes is to play these characters in the same grounded, realistic, and truthful manner that they played themselves in Part 1.
- While the improvisers will need to adopt a character voice or different way of moving in these scenes, they should make these traits as realistic as they can.
- The third improviser can once again judge the success of this part of the exercise by looking for how closely these scenes resemble the tone and execution of those scenes in Part 1. This third improviser should now be asking, “Is this really what either of these types of people would say or do in real life?” in order to find those moments that are not realistic or genuine.
- Once the “unreal” moment has been discussed, the improvisers should back up and play the moment again in a way that is more realistic. Stop and repeat this process if the scene again becomes unrealistic.
ADDITIONAL TIPS
Start your scenes “in the middle.” That means initiating with a specific statement and assuming or labeling a relationship from the start. Starting your scenes “in the middle” is a good idea in general. Remember the lessons from the “TALK ABOUT SOMETHING ELSE” exercise. In real life, you usually don’t just talk about whatever it is that you are doing as you are doing it. You usually talk about lots of other things: work, your family, your friends, interests, etc. Use the scenes in this exercise as an opportunity to practice doing this. The third improviser watching these scenes should stop the scene if the improvisers get trapped into talking about what they are doing.