I think a lot of it is that people were told they had to "master" the Harold in order to be considered worthy of a house team spot. It might be hard for people to believe that they would have learned as much doing nothing but monoscenes or movies or even doing multiple forms to build their skills. Thank you for questioning this.
The key to Harold is the players not in a scene need the skill to know when to end the scene in front of them on a high point and not let it start the downward spiral. The best moment is on a big reaction by the audience,
Controversial take: no team should go into a set with a predetermined form. Let the set tell you what form it wants to be. Forms should be taught in classes and practiced in practices to expand our mental vocabulary of what is possible structurally in improv, but putting a form upon a set before it's even begun just constricts it 🙃
Thank you for daring to question The Harold! I love the idea of a coherent long from -- but the Harold is cumbersome, outdated, and needs to be revised!
I think there's something psychologically deep about the Harold. It's joke structure - set up (first scene), punchline (second scene), tag (third scene). IIRC, its original purpose was to be used to generate writing ideas. As a writer, I find this basic form incredibly useful. As much as I say I hate them, I need limitations. Keeps me thinking.
I doubt it. I don’t know Will. As I said, I was in the Second City Mainstage cast when Dell was hired by Bernie Sahlins to direct a show. He asked us if we were willing to experiment with an idea he had called Harold. We would use only one suggestion from the audience to improvise during the set. I still remember that suggestion, “why can’t I get a date?“
Your next post better be title “Is Long Form Actually Better Than Short Form”?
There is no “better than” argument. They are merely two forms of improvisation.
yeah i love short form, i was just playing into the stereotype 😬
Not better or worse. Just different.
I think a lot of it is that people were told they had to "master" the Harold in order to be considered worthy of a house team spot. It might be hard for people to believe that they would have learned as much doing nothing but monoscenes or movies or even doing multiple forms to build their skills. Thank you for questioning this.
The key to Harold is the players not in a scene need the skill to know when to end the scene in front of them on a high point and not let it start the downward spiral. The best moment is on a big reaction by the audience,
Oh, no. First he attacks The Harold. Now Will comes for "Yes, and..."
Controversial take: no team should go into a set with a predetermined form. Let the set tell you what form it wants to be. Forms should be taught in classes and practiced in practices to expand our mental vocabulary of what is possible structurally in improv, but putting a form upon a set before it's even begun just constricts it 🙃
Thank you! The almighty Harold is Indefensible. Time to revise it!
Thank you for daring to question The Harold! I love the idea of a coherent long from -- but the Harold is cumbersome, outdated, and needs to be revised!
This essay really lit up my thinker! You've laid out a buffet of interesting, toothsome thoughts to chew on.
Your hero status continues to increase in my world (I'll never not be terrified of the Harold).
I think there's something psychologically deep about the Harold. It's joke structure - set up (first scene), punchline (second scene), tag (third scene). IIRC, its original purpose was to be used to generate writing ideas. As a writer, I find this basic form incredibly useful. As much as I say I hate them, I need limitations. Keeps me thinking.
Is this one of the people you were talking about at the beginning of this article, Will?
no
That’s good.
I doubt it. I don’t know Will. As I said, I was in the Second City Mainstage cast when Dell was hired by Bernie Sahlins to direct a show. He asked us if we were willing to experiment with an idea he had called Harold. We would use only one suggestion from the audience to improvise during the set. I still remember that suggestion, “why can’t I get a date?“