Actor’s Notes

starting improv 1B at second city and apparently i brought a whole checklist into my head 🎭ever know exactly what you're supposed to do in a scene and still get stuck thinking about all of it? same. this week i'm talking about giving your scene partner a name, building a relationship in three lines, and remembering to actually look at the person in front of you.plus the advice i needed from tall tom: have fun. and a little question i'm taking outside the classroom too: if this is true, then what else?new episodes every week as i go through all 22 weeks of improv at second city chicago. let me know in the comments what helps you get out of your head 👇0:00 Welcome back to Actors Notes1:29 Starting Improv 1B2:24 Networking just means talk to people4:13 Coming back to the foundations5:09 Showing up takes courage7:03 The three line scene8:25 Give your scene partner a name11:34 Trust what you say is enough12:31 Remember to have fun14:27 Get out of your head15:25 Look at your scene partner17:12 Why questions take instead of give18:22 When your partner keeps asking questions19:37 Choosing Improv for Actors22:00 What I still need to work on23:39 If this is true, then what else?25:49 I'll see you in the next onefind me everywhere 👉 https://beacons.ai/giovanniaxibal

last day of improv 1A at second city and i was running on 3 hours of sleep after a 5 hour drive 🎭ever hold back in a scene because you're waiting for someone to save you? same. in this one i get into freeze tag (not the one from recess), why you should tag your scene partner out early instead of letting them blank, the pillars game, and the three questions i ask in every improv scene AND every script: who are you, where are you, what do you want.plus a little homework at the end: practice active listening today. with your friends, your family, the cashier, even the guy at the gym you're trying to avoid.new episodes every week as i go through all 22 weeks of improv at second city chicago. let me know in the comments which lesson you're taking with you 👇0:00 Welcome back to Actors Notes1:06 Networking just means talk to people1:34 How Second City's improv levels work3:00 Improv 1A vs 1B3:28 Why I barely took notes this week4:29 Driving 5 hours for a 3 hour class5:57 Community and belly laughs7:21 Freeze tag (not the one from recess)8:49 Why you should tag early10:08 The pillars game13:32 Who, where, and what do you want14:29 Miming and specificity14:58 Relationship, relationship, relationship15:28 Goals vs preconceived ideas16:54 Something I haven't said beforefind me everywhere 👉 https://beacons.ai/giovanniaxibal

week 3 at the second city and we upgraded "yes, and" to "hell yes, and" 🎭ever catch yourself firing questions at your scene partner? or blank so hard you forget your own name? same. in this one i get into why asking questions is basically stealing from your partner, the coming home game that taught me specificity without saying a single word, why every scene should start in the middle, and the move i use when my mind goes completely blank.plus a little homework at the end: stay self aware today. we're all living truthfully under our own imaginary circumstances.new episodes every week as i go through all 22 weeks of improv at second city chicago. let me know in the comments which lesson you're taking with you 👇0:00 Welcome back to Actors Notes1:24 What we covered in week 32:48 Three line scenes and "hell yes, and"5:30 Fully accepting the gift6:27 Listen with your eyes, not just your ears6:55 The Coming Home game8:17 Why specificity makes a scene interesting9:43 Why you never ask questions in improv11:44 Start your scene in the middle13:30 Tina Fey and the Chicago improv scene14:19 What to do when you blank15:46 Sometimes a little is enough16:41 Improv is being truthful under imaginary circumstances17:33 Justify it19:25 Learn the rules so you can break them19:54 Something I haven't said beforefind me everywhere 👉 https://beacons.ai/giovanniaxibal

week 2 at the second city and honestly this one hit different 🎭you ever freeze up in a scene and default to bossing your partner around? same. in this episode i get into why so many improvisers fall back on anger or teaching, why you should "kill your babies" (thanks Del Close), and why one simple, specific line is usually all your scene partner needs.plus a little homework at the end: practice active listening today. with your friend, your mom, the cashier, anyone.new episodes every week as i go through all 22 weeks of improv at second city chicago. let me know in the comments which lesson you're taking with you 👇0:00 Welcome back to Actors Notes1:27 Know who you're improvising with3:18 Why improvisers default to anger or teaching5:16 Mime in improv, never in self tapes8:36 Accepting gifts and "yes and"10:43 Baby steps and the redeemable quality12:44 Creating an inside joke with the audience14:40 Celebrate your mistakes16:03 Always assume, never guess17:59 Learn the rules so you can break them19:18 Trust what you say is enough22:11 Kill your babies24:39 You're the expert in your scene26:15 Be in the process, not correct27:41 Your homework: practice active listeningfind me everywhere 👉 https://beacons.ai/giovanniaxibal

The fastest way to become a better actor, improviser, and scene partner might be to stop trying to be perfect. Giovanni reflects on his first week at Second City Chicago and the improv lessons that changed how he thinks about confidence, specificity, and taking up space on stage.From the “yes, and” rule to the trap of “polite improviser syndrome,” this episode turns beginner-class insights into practical guidance for anyone who wants to perform, communicate, or create with more confidence. Giovanni also shares what it was like learning from instructor Tom Rhodes, working with classmates from different places, and discovering how the right room can shift your mindset.You’ll hear about:Why “no but,” “yes but,” and “yes and” are more than warm-up gamesHow specificity makes a scene more interestingWhat it means to lead and follow in an improv sceneWhy your relationship to your scene partner and surroundings mattersHow “polite improviser syndrome” can hold performers backWhy trusting your first idea can be better than overthinking itGiovanni also reflects on the realities of acting life from rejection and unusual call times to the pressure to find the “right” path and offers a reminder that there often isn’t just one. For actors, improvisers, and other creatives, the takeaway is simple: treat yourself like a genius, and give other people the chance to do the same.