Beyond story creation games, improv is acting!

Improv is theater. It’s not just word games or being clever. It is spontaneous storytelling as well as an acting performance.

All the rules of stage acting apply in improv- maintaining audience sight lines, full stage presence, audience-focused vocal projection, don’t upstage fellow performers, don’t break character, etc.

But improv is different from a stage play in that you’re a group writing the script on the fly. It’s exhilarating and dangerous in a way a scripted play could never be- for audience and performers.

The more committed and connected your acting, the better the story will be.

Objective (wanting)

Good acting is fueled by a clear objective. Good story is fueled by high stakes and relatable wanting of the characters set against an obstacle.

A character committed to wanting something with meaningful/high human stakes drives a good scene.

Less talking more doing! When bringing ideas, avoid what is abstract, offstage or merely narration or exposition. Put active story offers on the stage to happen now.

Improv favors the bold. Wimpy choices limply pursued feel flat or meander. Low energy is boring! Strong choices power a story forward, galvanizing everyone’s involvement. Good improv is electric!

Relationship

Choose characters that mean something to each other. This gives compelling human stakes to the story. Random strangers- who cares? But siblings, lovers, boss/employee, director/P.A., super hero & villain, etc. These relationships offer dynamic connection and possibilities.

The more clearly you establish and commit to your character’s objective and any relationships, the more easily the story tells itself.

Don’t force or try to control! In improv, you don’t make a story happen- you let it happen!

A character should want something and be connected to what is playing out, bringing fuel- not dead weight.

Family member, co-worker, servant, lover, parent & child, king and servant, cop and criminal, siblings, etc. These are clear relationships that can define and fuel a connected story.

If a scene feels flat or disconnected, there probably is no relationship or clear, compelling objective or obstacle in play. The players may be ignoring each other or the offers already established.

Are the players listening to each other? Not listening will scatter or kill a story.

The stakes: How much does it matter?

If someone wants to drive their car to a pharmacy for nail polish, the stakes are low. If someone wants to drive to the pharmacy to purchase Tylenol for a elderly parent’s broken leg, the stakes are higher. If they’re going to rob the pharmacy because you were just fired and baby needs din din, the stakes are higher still.

Low stakes from weak wanting or dull objectives deflate a story’s energy. “I want to mow my lawn today.” “I want to eat a hamburger.” Me, me, me. No relationship and who cares?

“Let’s trap the closet monster!” “I vow to fall in love and marry before sundown!” “We have to escape Tiger Island.” “If I can just survive Uncle Jim at Thanksgiving dinner…” -These are high stakes that offer abundant possibilities.

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Human-centered story

Clear, specific, human-centered stakes are key to a good improv. What do the characters want from each other and why does it matter?

“The robot has broken loose!” “This town needs to save Christmas.” “If I don’t fly this airplane we’re gonna crash!” “We gotta convince the meanest banker in town to loan us a million dollars by Sunday or Momma loses her farm!”

Specific high stakes objectives with human impact frame and guide a good story. Avoid abstract wants that have little human or immediate consequence or only play out offstage.

Don’t just talk- do! Don’t just describe- show it! Put it front and center on the stage for all to see!

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Scene work

Some improv is wordless pantomime- making real what is invisibly implied in the story. Washing dishes, holding your dog at the vet, driving a car, eating dinner, fixing an airplane- the audience needs to see this “business.” This is both acting and storytelling.

Yes you’re on a barren stage, but your story is fully populated with invisible items, furniture, appliances, vehicles, animals, etc. The more clearly you define and use the space, setting and invisible props to paint your story the better!