I’m almost thinking of retaking 201 so I can just get a lot
of practice finding the game, but would
that be frustrating to take a class with people who don’t know concepts that
you’ve had time to work? Maybe it would boost my confidence. Hehe.
That being said, I went to do a make up class today and the
teacher was very supportive, which was nice and it reminded me that I am here
to be in a class, to make mistakes to work on my weaknesses and that’s what I’m
paying for. However, the natural result of the nature of the class is
constructive criticism. I think felt constructive because he said, “Nice work”
at the end and even if he says that to everyone, it’s nice to hear. We worked
on support. And it was surprisingly unintimidating to be with a bunch of people
I didn’t know. But I think it was the structure of the class and doing basic exercises.
That’s simple enough, right? No room for awkward, fake conversations.
We learned about support, particularly from the back line
such as: walk-ons, tag outs, cut to, sound effects, physical support. The tag
in was the one I had the most trouble with. Here’s the deal. I can recognize
the unusual thing and I can play with the idea of tagging in as a doctor/
therapist/ neighbor/ boss, but I have trouble building based on a specific
premise. I feel the need to expand the same idea. I need to start thinking of
why. Why is this person this way? Why are they unusual? What do I do in my
normal life? How would they be different? The only problem is that I have milliseconds
to answer all these questions in my head . I feel like I’m not thinking fast
enough, not making fast enough connections.
At the end, the instructor just had us do two people scenes.
Our first suggestion was nose ring. I said something about having a new
piercing and did my partner like it. Which he responded by saying, “no” very
flat out. It was funny, but I got stuck… we obviously got in an argument
because I started the scene with a question. UGH!!! Questions are so natural.
When you’re standing there lacking information, it’s human nature to ask a
question to gather information. I must instead choose to know the answer, more
rewiring of the brain. Our next
suggestion was Barbie and so I was initiating my friend into the Barbie club
inside a tent I had. The instructor interrupted and wanted us to cut to the
middle of the scene, so I cut to sitting in the tent (which is the same thing,
just a different position). Instead I could have started talking as Barbie to
another Barbie as if we have been playing for a while, but for some reason, I
have a block. It’s difficult for me to jump that far because we’re physically not
there yet in the scene. I have no reference for what happens next. I need to
start thinking forward, thinking of possibilities, making things active.
I did have a revelation. I see these performers and how
quickly they move and make connections and so I feel the need to be fast. I
think I expressed this in a side comment and the instructor stopped me. He
mentioned it’s not about being fast. If anything, I need to slow down because
so much information is coming out at once. Maybe that’s the key. Another goal I
have with this process is to slow down and listen. Particularly while I’m in
the beginning of a scene.
And all the people I’ve met so far at ucb have been friendly
and nice. Hey, from someone who works with actors, this is a luxury. The ucb
students are universally private and doing their own thing, but once the
initial connection is made, they are kind.
My friend and I met in 101 and really connected, so we created
a group of people from class to come to the comedy show that always took place
conviently after our 101 class ended, which always happens to be bangarang and
some other group. We continued to take 201 on the same day of the week, so our
bangarang tradition continues. I like my friend because he is very analytical
and business personality minded as I am, so when we talk about improv we are on
the same page. This is the revelation that we discussed most recently: we think
that there is an “improv” personality. I think there is because all my teachers
talk the same, they almost have the same lilt to their voice, particularly when
they are the strait man or the voice of reason. They think things all along the
same lines and now that I think about it, the performing improvers in the shows
throughout the week have this same personality/ language that they use to
communicate. It is very specific and hidden, yet it seems effortless. Essentially,
in learning to do improv, I’m learning a whole new language. Phew. That makes
me feel better. It’s definitely a process. I must learn to communicate in terms
of games and unusual things, but in a very basic, normal seeming way. Does that
even make sense? Anyway, I need to develop the parts of myself that fit this
universal “improv personality” so that when I am playing the strait man, I can
rely on the default I created. This way, I react to the things I’m supposed to
react to (whatever is deemed unusual), I don’t throw in too many unusual
things, and I can then think in terms of building a game. All other thoughts
and patterns are distractions, so when I am doing improv, I need to simplify.
Think less. “Yes and” …( agree with your scene partner & add information)….
If only I could trust I’d be funny. BECAUSE there are scenes where I “yes and”….
And still the scene is unsuccessful, so that’s the basic, but it’s far more
complicated than that.
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