Here’s how it works: There’s the flow, and there’s the game.
A lot of problems in improv -- teaching, learning and doing -- comes when one person wants FLOW and the other person gives GAME, or vice-versa.
Flow and Game
The “flow” is when you’re building the world. Who-what-where. Tone. History. The yes-and.
The “game” is the comedic part. The unusual thing. The pattern. Heightening. The “if-this-then-what.”
“Game” is a term championed at the UCB Theatre. “Flow” isn’t a standard improv term that I know, but I hereby declare that it works.
Only Flow
Many students can either be in the “flow” OR “play the game” -- but they have trouble doing both.
When you’re in the flow, you can name your character’s job, and why they fell in love, and what they want from the grocery store. You’re reacting, not thinking too hard.
But you might not notice games. Someone labels you a “stickler for detail” and you just nod. But you don’t think to immediately straighten a painting hanging on the wall to play your game — because it’s not in the flow to do so.
You’re connected to the world, but not ready for the unusual. You’re lateral, not vertical.
You’re all flow and no game.
Only Game
When you’re playing game, you notice patterns with ease. Someone tells you you’re nervous, and you immediately wipe your brow. Then you declare you’re worried your boss doesn’t like you. You declare a personal mantra — “haste makes waste” — and bring it up every few sentences. You’re a pattern machine.
But you might not be able to build out the world. You can’t think of what music you like, or what your job is. Someone asks WHY you’re worried and you have no idea.
You’re connected to the unusual thing, but not to the world around it. You’re vertical, and not lateral.
You’re game with no flow.
A big part of getting good is being able to do both at once.
Flow: 60 Seconds of Silence
Here’s an exercise I do to get students in the flow.
Two people up. They take a spot on the stage, make a slight body language choice (a lean, hand on hip -- something small), and make eye contact. They get a suggestion.
Now wait 60 seconds. The scene has not begun. They just look at each other.
After 60 seconds, the teacher says “okay, start.” Let them go for 3-4 minutes.
Surprise: almost every single scene will be great. Both actors will be grounded, specific and honest.
What makes it easy? Because it’s all flow. No game. Even new improvisers can do it.
Please note: These scenes won’t always be funny, strictly speaking. They won’t BUILD to something. An audience of Actual People might get a little restless.
But the back-and-forth feels GOOD and EASY.
Game: Join Team Fool
Okay, now here’s one for GAME.
Six-eight people up on the backline. Give a suggestion. Two people step out and start a scene.
Whenever someone in the scene does something that one might call “foolish,” someone from the back line should enter and “join team fool.” Meaning they take the side of the fool. They either do the same foolish thing, or they at least agree with the “fool.”
Maybe it’s a scene where someone orders a lobster at a McDonalds. The cashier replies they don’t serve lobster.
Then someone comes in and orders a steak.
Then someone returns their Chicken McNuggets because they suspected the chickens were not organic or free-range.
Someone orders a decaf latte mocha-chino with soy milk and French roasted beans.
Maybe as this is happening one of the customers offers a philosophy. “Can’t hurt to ask.” Everyone starts repeating this as a defense of why they’re asking. “Can’t hurt to ask.” “Can’t hurt to ask.”
This is game. Or at least a pattern, which could grow into a game.
Please note: these scenes will not be grounded! Students would not easily be able to explain the motivations of all the characters who are showing up to provoke game moves. They will forget their environment, or how old they’re supposed to be. The acting gets worse.
But the comedy is clear.
Switching Modes
The trick is switching modes. Get better at being REAL while you play games, and get better at being ABSURD when you’re flowing.
When you are playing game, stay in the FLOW
Remember the where.
Remember WHO you are.
Give emotional WHYs.
Give ANY kind of WHYs.
When you are in the flow, look out for GAME
Embrace unusual things. They’re true.
Remember to confess.
Say yes to accusations.
Repeat patterns.
In all cases: say yes, mind reality, embrace the unusual.
Easy! :)
Plugs, Fresh
The Sober Show - This is a monthly show I do at the UCB Theatre with other sober improvisers. We improvise scenes inspired by stories of drunken behavior — both our stories and ones that the audience volunteers. THIS SHOW SELLS OUT so if you want to go buy tickets in advance. Sunday Mar 17th 7pm.
Plugs, Ongoing
Screw It, We’re Just Gonna Talk About Comics - Comic book podcast, hosted by my brother Kevin and I. We are examining Bendis/Bagley run of Ultimate Spider-Man.
Clubhouse Fridays - WGIS’ weekly improv show. Fridays 7pm at The Clubhouse. Free!
The World’s Greatest Improv School: The improv school I run with Jim Woods and Sarah Claspell. We’ve got classes online, in LA and even a few in NYC!
How to Be The Greatest Improviser On Earth - My improv book, available at Amazon. Kindle or print. It’s a hodge-podge of advice I wrote in 2016 about doing improv. If you’re broke and want a free PDF version just email me and I’ll send it over.
The eye contact exercise is clutch. I’ve done that many a time in different settings. It’s a very quick way to help bond a team together and really get everyone connecting.
So basically robots and ninjas?