Claim OwnershipMischief Improv
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Follow the start of an improv team in Chester, England. David Escobedo has been performing improv since 1995 and has directed/produced 100's of improv shows ranging from Long Form to Short Form, and from Street Performances to Happenings. This podcast will give you the Warm-Up's, Exercises and some of the challenges that arise from promoting, producing an improv team consisting of many people who have never heard of improv before! This documentation occurs as a requirement from his Master's Thesis from University of Chester and in conjunction with his internship at Storyhouse
61 Episodes
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I talk about how a lot of the reward is not what happens on stage. We focus so much on skills and shows that over the years the BEST thing about improv has been the people I've met. It's about the experiences. It's important for us to talk in the academic community. Those statistics and works is how many organizations validate improv in schools or in the workplace. They need to be able to quote stats. I also talk about my work on Buzzfeed Community! So excited. I like the work so far. Check it out. "No Gatekeepers" – I'm talking to you! If you think I am.
First day? Let's tackle the Harold. The first three warm-ups we did in the Harry Potter Improv Workshop were: Bellatrix LaStrange's Knife Deathly Hallows Dueling We also did Story, some general scene work ... then wasted no time and jumped right into the Harold.
A high tide raises all boats. The two Warm-Ups we did this time were: Legilimency Hogwarts Express Talked about the challenge of retaining and attracting people to the workshops. Also, about the philosophy about more improv shows and workshops helps improv everywhere. It increases awareness and provides more opportunities to learn the skill of improv.
My own theory on improv. The three Warm-Ups we did this time were: Horcrux Quidditch Monster Book of Monsters I solemnly swear I'm up to no good. Touched on the concept of "ironic detachment" during the warm-ups. Opened up on my own personal theory of improv a bit, and my start in improv. I believe that one way to attack an improv scene or set is by recognizing the patterns or behavior. The first pattern or behavior could be as complex as "a team of scientists defusing the bomb made of anti-matter during Christmas" or as simple as this one person repeats a beeping noise. Once that pattern has been established as the status quo, then a second pattern is introduced either as an alternate to the first or in contrast. Some companies may identify this as game. I think it's more about patterns – which is inclusive of character, environment or relationship. The first pattern should have a wealth of information or be explored for a while before any other patterns are introduced. It also relates to a sense of timing as to when patterns should shift.
There are different types of people in the world. The three Warm-Ups we did this time were: Polyjuice Potion Peripherals Edits I solemnly swear I'm up to no good. We went over the 5 major ways to edit scenes in a long form set and we also went over The Quest, The Slacker and The Movie format. I also discuss a person who attended who may have been on the spectrum, and how this challenges teaching an improv workshop/drop-in.
We went over the Armando, Living Room and Montage. The four Warm-Ups we did this time were: Transmutation Tag Sorting Hat Character Circle Hogsmead I solemnly swear I'm up to no good. In this rehearsal we learned about entering scene without having an idea and discovering the scene instead of inventing. Then for the rest of the rehearsal I introduced the improv performers to three long form formats: the Armando, the Living Room Format, and the Montage. I talked about some of my efforts for outreach and retention. Also, this episode is recorded on the same day I found out one of my improv friends died. It struck me profoundly. I talk about the unique bonds we create in the improv community. Finally, the episode ends with the improv thought … "water monster."
"Too cool for school" attitudes. The two Warm-Ups we did this time were: Deathly Hallows Sorting Hat I solemnly swear I'm up to no good. We ran through the Harold 3X's including five people who have never done improv before. I'll tell you how it went in the episode. Also, something we all deal with: people who feel like they are too cool for the class, and how it tends to be their insecurity more than anything. I get more mileage out of treating people like geniuses. Many times people succeed because they don't know they should be struggling. I also talk about some of my personal strategy in the first three seconds of a scene. Hope you enjoy this podcast!
Justify, don't normalize. The four Warm-Ups we did this time were: The House Cup Big Bogart Mirror of Erised Party Quircks I solemnly swear I'm up to no good. I talk about trying to win the game, but the goal is not to "win" the game the goal is "trying" to win the game. The drama is not in the "win" but the "trying" to win. Once you win the scene is over. I also touch on the philosophies of don't play a kid, a stranger, drunk or crazy. And why I say that. Always play an expert, this is not your first day on the job, and your character owns the space. That person is not crazy, they are actually the smartest person in the world. Don't normalize, justify your partner's choices.
"I like that I can go on stage and have no idea what I'm doing and every one figures it out, including me." The three Warm-Ups we did this time were: #Likeable Sorting Hat Fantastic Beast I solemnly swear I'm up to no good. Yes, and … this was the first time I ever mentioned the concept of "yes, and" in improv and it was 8 classes in. We did three different Harolds. The final set, with 12 people and they did excellent. I also talk about what has been paying off big! There are also big signs that this needs to evolve more into a team, not just a revolving door of improv. Also, in the after interview a member of the class said one of my most cherished quotes. "I like that I can go on stage and have no idea what I'm doing and every one figures it out, including me."
This was the online show (which you can see on our Facebook Page), and I feel as if they did such incredible work. Charms Shake It Off We worked on names in scenes, and how emotionally evocative names are a better offer than more polite names. At the top of scenes is the best time for evocative gifts. The ensemble work was incredible and I talk about interviewing two people after the show.
I've decided to start every season with the explanation/dissection of a format or move in improv. Formats are the Harold, Armando, Living Room, Camershrapnel, etc. Moves will be things like mapping, Canadian Cross, split scenes, monologues, etc. And I'll call these Episode 0 of the season. We start off with a dissection of The Harold!
Sometimes in scenes we aren't playing people. How do you train improv performers to support offers that aren't people? Snape Approves Sorting Hat Escape from Gringotts Clumping I went over warm-ups that encourage people to accept the reality, instead of judge the offer. The choice we make as a team are always so much more impressive than the unsupported choices of an individual. There is this African Proverb that says, "if you want to go fast, go alone. If you want to go far, go together." Escape from Gringotts (AKA: the Machine) really brought the team together. It was a great visual and way to support a move that wasn't based in spoken words. We also worked on organic openings and evolving from creation to creation.
We had some good experiences getting bad suggestions! I solemnly swear I'm up to no good. Here are the warm ups! Vera Verto Woodchucks Mirror Erised This rehearsal we went over some great improv mechanics! We worked on warping the reality of the scene with Split Scenes. And within those split scenes we would hand stuff back and forth to each other. We also worked on how to initiate it. Then we rehearsed and discussed the mechanics of "Wand Battles." How to keep the chaos and magic smooth. I also get pretty honest about how hard it is when players cancel on you. It's a challenge, and it happens.
Much like Episode 0 where I discussed and explained the Harold, I thought I would explain another long form format. I discussed the Pretty Flower, sometimes called the Family Guy Format. There is a flow-through scene which incorporates all the players. Then cut-to's or tagout runs branch off this, but we always come back to the main flow-through scene. Because of how shows and rehearsals landed there were no rehearsals between the last podcast and the current one. Hope you enjoy it! Please share, like and subscribe.
Kate Swift is my guest, co-host for this episode. Animagus Mandrake Roots House Elves We dissect the rehearsal and a bit of the show in Leeds. Kate is a brilliant student of improv, and has some observations that even people who have been doing this for years normally don't notice. We talk about how trust comes from support. We mention a moment of great support in the rehearsal where Kate supported me with "oh that's a great band!" This support creates trust, but it also shows that the initiation is not as important as the support. We also talk about support in being "living paintings" – a 6 person scene! Kate has great insight on reading your partner. So happy to have her in the Mischief Managed Improv team, and having her as a guest on this podcast! Please, rate and subscribe!
I sol- WE BOTH solemnly swear we're up to no good! I have another guest! Our warm-ups: Trust Circle Stretching Dog-Bark George Smith is my guest co-host for this episode. We deconstruct the last rehearsal and talk about some specific improv tactics. George and I touch on "justify and don't normalize" and how relationship is more important than plot – because it will help you out more when the energy seems to dip in a scene. During the last rehearsal we ran a full Short Form set in the style of "Whose Line Is It Anyways?" as well as a full Long Form Set. George was also part of the show in Leeds and gives us his insight about that show. He was very impressed with how other members took a suggestion from the audience that may be both polarizing and over played, "Trump." Other troupe members of the team interpreted as a mix of competition and "triumph." This all leads to an awesome moment where George opens up about his reason for finding improv and how improv can be transformative.
Le Rhonde is an improv format where the performers edit and enter scenes in a specific order. All their storylines are related to one another, but never cross over – unless your team decides to do so. The order creates a circle and you at some point come back to the first person. I also go over how Long Form Formats typically capitalize on a few elements that are found across most long forms. Also, how practicing both Short Form and Long Form can benefit your team! Lastly, I also go off on invention versus discover and the benefit of that in your improv sets.
Vanessa Anton guests on this episode, and we talk about her coaching the team for International Women's Day. Our regular cast had the pleasure of working with several guests from other teams. After an online conversation with Dr. Ron Harvey, I decided to add an improv scene to this episode. After which we discuss specific moves in the scene and some tips on how we enter scenes. Great episode!
A tough rehearsal, where I take credit for all the challenges. The team still rocked through it and trusted each other. All teams will have a tough rehearsal – a rehearsal where people just don't jell. Even through a tough rehearsal my team took big risks and trusted each other. I am beginning to train someone to teach improv. This allows me to define what virtues I think make a good teacher. I get into that, which explores the relationship between the improv teacher and their students. Enjoy! Please like, share and subscribe.
I have an excellent guest on this episode. Phaedra is on the Mischief Managed team and has been a part of it from the beginning. We explore her background and some of the excellent moves she has made in scenes. It's fascinating to hear what she does in her field (DNA) and how that is juxtaposed with her talent in performing improv. This will be one of the highlights to those of you who teach improv – hearing someone new to the field appreciate the skills improv highlights.
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