The fundamental. Improv in a word (well, two words run together). Just build the scene by adding concrete detail to whatever else has gone on in the scene. Whatever happens, it's right and you support it, flow along with it, add to it.
In improv, it doesn't matter what the question is, the answer is always "yes"--and add more detail.
For example, in a scene you might be asked, "Do you sell fenceposts?"
A tempting response might be, "No--we don't sell anything". That might get a laugh, but it offers no new directions for the scene to go in and gives your partner nothing to work with.
So just say "Yes"--and keep going by adding more concrete detail.
"Yessiree, I've got a cow-fencepost here that even a 4,000-pound cow was unable to tip over."
Now something is happening. That could trigger just about anything in your scene partner's imagination.
"Oh, good! I've only got two 2000-pound cows, but they like to team up. Now let's see, I've got them enclosed in half an acre...how many fenceposts am I going to need?"
Now, in just two lines, we've gone from nothing to the beginnings of a plot.
Some easy, powerful yes-and techniques:
| • | To quickly build up a reality, see Location Exercise. |
| • | To Advance the Scene, see Continuing the Game. |
"Janice, make my dinner! Wash my Clothes!"
"NO! Phillip, THINGS ARE GOING TO CHANGE RIGHT NOW!!! I've invited a few friends over to teach you how to treat a woman. This is Griselda from the Russian Shot Put team and Bertha who just got out of prison."
The word here ws "no", but the wife is building on the reality of the controlling husband--by fighting back. The characters can have a conflict--that's what can really drive a scene--but the players must always agree.
If you run into an 'either-or question', a simple technique is to take both options.
"Would you like to be buried in Siberia or Antarctica?"
"Both. I'd like my top half buried in Siberia, because my top half symbolizes the Northern Hemisphere. And I'd like my bottom half buried in Antarctica, because my bottom half is cold. Now saw me in half!"
On other other hand, but to make a more dramatic scene, you can ignore the either-or choice and yes-and the implied relationship. Why is this person being asked about where he will be buried? If he begs and pleads for his life we get to see the other person's reaction and the relationship evolves.
Note that it's usually hard on your scene partner to force him or her into an either-or question. It constrains things, and yes-and works by opening up possibilities. See Don't_Ask_Questions.
See also: Context, Improv Skills, Tips And Techniques.
Version 12 2007-May-28 15:30 UTC
Last edit by Ben Kovitz
