The Best Advice I’ve Received as An Improviser

Throughout my time as an improviser, I made a point to watch others perform, especially those whom I admired or found hilarious. Watching shows & improv teams is equally important as being booked on them. Likewise, signing up for workshops and classes taught by instructors who offer something unique and interesting beyond the typical, leveled improv classes. And of course, whenever I had an opportunity to glean advice or pick the brain of people I respected, I would pounce. 

The reality is that as a performer, actor, improviser, or comedian, you will receive a boatload of advice, whether solicited or not, and it’s up to you to parse what resonates. I still revisit some of the best tips and advice I received in the years I’ve been active, and while I might simply be another person offering that unsolicited advice, I’m deciding to share the best of what I’ve received. Take it or leave it!

Your Character Knows Exactly What's Going On & Has All the Information

This is huge. I’m not someone who’s a member of Gen Z and I’ve never read Lord of the Rings and I’ve only once set foot inside a Coldstone Creamery (there aren’t many where I live). But that hasn’t stopped my scene partners from making references to musicians, hobbits, and menu items. Rather than ask follow-up questions, my character in the scene "knew" what was being told to him and responded with information of his own. Even if in reality that information is wildly incorrect and incohesive, when delivered with confidence, it’ll likely advance the scene and even be funnier than if my character responded sincerely. 

The idea is that whatever made-up universe these characters exist in, they know everything about it, even if in reality (off stage), the players don’t. The confident delivery of information is what makes a scene chug on, so the next time you hear something your scene partner says and you have no idea what they're talking about, keep in mind that your character does, and reply accordingly. Even the wrong answers are the right answers in improvised scenes!

It’s Just a Conversation

Maybe I shouldn't lump this in with advice, considering it was never directly said to me, nor is it necessarily advice, by definition. It’s more of a reminder. And the person I heard saying it was someone about to go on stage. She was pacing around the lobby area before a show, working through her nerves, and essentially repeating this over and over. I, as a brand new improviser, really took note of it. 

For starters, it sounded like something every improviser should keep in their pocket before getting out on stage, which is that the more natural and organic a scene begins, transpires, and ends, the better off the scene will be. Conversations are about as natural and organic as anything. Whether we’re making small talk with a co-worker or having an in-depth debriefing with a friend at brunch, we’re simply talking. We’re not wondering who’s watching us, we’re not trying to be funny, and we’re not going out of our way to veer the conversation away from anything other than what it is (in improv we do, admittedly, veer, but for the purpose of this section, let’s focus on the wisdom of the words). 

Additionally, no matter what emotional component your characters bring into a scene, at the very end of the day, it’s just a conversation. Two clowns sitting in first class on JetBlue? They’re just talking to each other. A dysfunctional family trapped in an elevator? Just talking to each other. The President of the United States traveling back in time to meet with Mark Twain? It’s just a conversation. No matter what. 

Fuck It, Love It

I mentioned in another post that this is the foundational philosophy of the BCC. It’s pretty vital advice, especially for those who veer more into the absurdity of scenes. The idea is that when you have nothing to say in a scene, then say anything at all, BUT–embrace what you’ve said and continue through the scene with that love of what you said. The only real caveat to this is that your scene partner(s) must also be on board with whatever your character says, and this can sometimes be a challenge. 

The best way to institute this advice into your improv performances is to be with those you trust and who may have a full understanding of the power behind it. Saying yes to the most over-the-top and bizarre ideas is a testament to trust on stage, and similarly, delivering those ideas knowing you’ll be supported often leads to successful scenes. For example, if a scene begins with, “We better get going or else we’ll be late,” and you manage to respond with “Ok, but I am an alien”, then guess what? This scene is now about how your friend, an alien, is going to make you late to whatever it is you’re going to. Will it be funny? Only one way to find out. But will you love what your character says and does in the scene? Fuck it, yeah, why not?

Get Out of Your Head and Into Your Body

This is for all the object workers and physical performers out there. And, in many cases, for those simply looking to improve in those areas. When I began classes at a theater in Austin, Texas, one of my instructors would punctuate our warmups with this little reminder/bit of advice. As someone who is incredibly self-conscious of his body, I found it to be super helpful when addressing that self-consciousness. 

I subscribe to the belief that improv (and performing in general) is an ability to tap into your inner child and give yourself permission to play. When we’re in kindergarten, we rarely think of our movements, who might be watching them, or how they fit into the grand scheme of our existence in the moment. So why not apply that to your characters in scenes?

All of the “noise” and volume of our thoughts can be collected and transferred into some sort of movement in our bodies and this can be leveraged to initiate or enter into scenes. In many of the classes and workshops I’ve attended that instituted character work, one of the crucial instructions was to “lead with a body part” or to “put your character into some sort of physical manifestation”. A confident person might walk with their chest puffed out. An aristocratic rich person might engage in a conversation with their chin jutted out. A senior citizen might plant their hand on their lower back and stammer around. These are all fine examples of getting into your body and out of your head because you’ve diminished any semblance of overthinking, and you’ve leaned into a physical self who is ready to play. 

Receive What You are Given & Give Something Back "with a Little Extra on Top"

Personally, this might be the most valuable advice I’ve ever been given as an improviser and it was said to me by a more senior performer in a community I was a part of. The gist of this relates to heightening, which, personally, is my favorite aspect of doing improv or sketch (or anything in comedy, really).

Suppose you’re in a scene with one other person and they say some of the most batshit dialogue you’re simply not prepared for. Well, like it or not, this is what’s being said and now your character is being relied upon to say yes to it. This is the “receive” portion of this advice. You’re taking this information and instead of batting it away, you will respond to it, but in a way that advances the conversation. And that is the “giving back” portion. Eventually, stakes will emerge and you’ll have yourself a scene. It’s genuinely that simple and it works, I’d say, about 95% of the time. It’s the “Yes, And” of improv and the “being present in the moment” and all that fun stuff that makes a successful scene. Listen, accept, respond, add! 

Not All Improv Advice is Valuable

I won’t pretend to be some sort of guru who knows everything there is to know about improv and comedy. Truth is, I’m just a guy who loves doing it and tries to do it as often as possible. A lot of the advice I’ve listed above is what works for me, but it might not click for you and that’s fine. Throughout my time performing I’ve been given plenty of horrific advice that I had to filter and ignore. I’ve also been given advice that sounded good at the time, but when implemented, seemed not to be a good fit. Ultimately, it is up to you, as a performer, to find what works for you, but to also allow yourself to make mistakes, take risks, and get better as a performer over time. 

If you’re interested in coaching, advisory, or just wanna shoot the shit about comedy and improv, send me a message! I’m also available for corporate and team-building workshops! Contact me today!