Four contractors sit around a table.  They have been hired to create a home together for a family with a new baby.  They’ve known each other for years, and they’ve even worked together on several occasions.  At the table they talk about the materials they’ll use for the house, the benefits of wood vs. Stone, and their preferred tools.

The next morning, one shows up at the construction site with a bucket of nails.  Another comes with a light fixture.  Another arrives with a “Welcome” mat.  The fourth shows up with some comfortable bedding.

Are they successful in building the home?  Probably not.

What does this have to do with improv?

I once asked four people on an improv team I was playing with how they defined “scene.”  The answers I got were: “A scene has a beginning, middle and end,” “It has a who, what, and where,” “It’s about the relationship,” and, “I guess I’ve never thought about it.”

This group had been performing together for about two years at this point — doing dozens and dozens of scenes every week — and yet when asked the most fundamental question about the work — essentially “what do you set out to create when you get on stage?”, they gave four different answers. (See also the famous Parable of the Elephant)

This group isn’t alone.  In fact, many improvisers of all experience levels do not have a clear definition of scene that works for them.

I had been improvising almost every week for seven years before it finally dawned on me to sit down and clearly define what a “Scene” actually was.  None of the people I had ever worked with over the years had brought it up, either. Either I was being left out, or many improvisers just assumed that everyone understood what a scene was and never really bothered to hash it out.

But as improvisers, we live and breathe scenes.  We watch, perform in, and analyze them. We talk about the details of scenes, the characters that inhabit them, and the choices that heightened, developed, or derailed them.

If we’re going to be spending so much time with scenes, shouldn’t we have a solid and consistent definition for “scene” as well? The four contractors had four different definitions for what “home” meant to them, and they had never talked about it.  They couldn’t possibly succeed because they weren’t in agreement about what they were trying to do. After all, if we don’t have a clear idea of what we’re attempting to create, how can we say anything meaningful about it, let alone expect to produce good ones week after week?

Defining “Scene” as a tool make your improv simpler and more powerful.

I’d like to present a definition of “scene” that has worked for me as a performer, teacher and director:  A scene is the exploration of one premise.

Let’s break it down.

One Premise (The hard part.)

The premise is the central theme, the essence of a scene. Because we’re improvising, we can’t decide what a scene is going to be about ahead of time.  We can only really say what a scene was about when it is over.

If we start with a mother trying to convince her son to swim for the first time, and end with an argument about what color the living room curtains should be, the scene has probably lost focus and likely won’t have satisfied the performers or the audience.

One key ingredient of good improvisation is simplicity. Staying focused on one premise allows you to spend less time trying to figure out what’s going on, and more time having fun. But wait! If you stick with just one premise the whole time, how can you really have fun with that?  Glad you asked.

Exploration (The fun part.)

Exploration implies discovery, fun, and a sense of mystery.  Exploration is all about details; this is where we get the who, what, when, where and how.

A scene in which someone gets fired from a job can be explored in an endless number of ways: two cowboys get fired from a ranch and decide to go live in the mountains, or an astronaut gets fired on a space shuttle and must endure an awkward ride back to Earth.  Those cowboys could also get fired in a space shuttle. Or maybe they’re thrilled to get fired. These are the details.

Exploration is where you, the improviser, play.  It is where you express your personality and say and do things that you enjoy.  In your improv career, you’ll likely do hundreds of scenes about someone getting fired.  Why have them all take place in an office?  (And why have them all begin with, “Johnson, I’ve called you in here today because your work lately has been sub-par…”)

Keeping Scenes Focused

Each move an improviser makes will either maintain a scene’s direction or change it.  The direction can be maintained by heightening or committing to what already exists.  It can be changed by shifting of conversation topics, abandoning physical or emotional choices, or introducing new elements into the scene.

The more a scenario changes, the harder it becomes for both the audience and the players to understand. Unfocused scenes are difficult to end in a satisfying way.

Focused scenes tend to unfold naturally and will often end in logical and satisfying (but still surprising) ways.  Focused scenes can usually be summarized in one simple statement about the desires of the characters and how they relate to one another.  This might be “I wanted you to go out with me but you shot me down,” or “I wanted to break up with you but we decided to give it another chance.”

When It’s Over, It’s Over

If the scene is about me wanting peace and quiet, that scene is over when I finally get it (or definitively do not get it).  It doesn’t matter if it lasted 30 seconds or 30 minutes.  Once the central issue of the scene is addressed in a conclusive way, the scene is over.

Many improvisers run into trouble by either failing to identify a central issue of their scene, or by addressing it too quickly (often through overly-literal Yes And-ing) and then continuing to play by manufacturing new activities or conflict – thus trying to fit many scenes into one.

Keep It Simple

The power of strong scenework is in its simplicity.  Focus and explore one theme thoroughly.  Make your scenes “an inch wide and a mile deep.”

Of course, we’re improvisers and this isn’t always possible. But it is something to strive for. If nothing else, having a common definition for “scene” (and other common improv vocabulary) will give your performance group a target – something to aim for as you continue to grow together.

FuseBox Theatre’s Daily Spark is bite-sized inspiration for improvisers and sketch comedians. Sometimes you just want to do something small to make your improv better. We’ve got you covered. While you’re at it, check out the first issue of the Daily Spark Digest right here.

Daily Sparks #21-30

1. Sensitivity Training. Challenge yourself to play a scene as a character (with integrity) that you wouldn’t respect or get along with in real life.
2. You Seem Angry. Try endowing your partner with emotions. They should then accept and amplify these emotions.
3. Stuck On You. Improvise a scene in which you are in constant physical contact with your partner. How does it change the context of your scene?
4. I Need My Space. Improvise a scene in which you stay as far away from your partner as possible. How does it change the context of your scene?
5. Truth In Comedy. Begin a scene with an emotionally charged line of dialogue that you have always wanted to say to someone in real life.
6. Instant Gratification. Improvise a scene in which you immediately execute any action (positive or negative) mentioned in the scene.
7. Two Face. Improvise a scene in which your actions are always directly opposed to what your character says.
8. Reach of Faith. Improvise a scene in which you reach out and grab an object before you know what you are grabbing.
9. Lazy Sunday. Improvise a scene in which you are lying down and refuse to get up. Force your partners to pick you up rather than get up yourself.
10. Quiet Hour. Improvise a scene in which you never raise your volume above a whisper, no matter what your partners do.

Get The Daily Spark on Twitter

If you want the updates as they happen, you’ll need to follow FuseBox Theatre on Twitter. You can even get those updates sent to your cell phone.

Maybe we’ll provide you with fresh inspiration right before you go out for your own show!

Another great thing about following us on Twitter is that you’ll get exclusive discounts, special offers, and news updates that we won’t post anywhere else. If you’re new to Twitter, don’t be afraid. It’s really easy and a lot of fun.

Get the Daily Spark right here in our sidebar…

If you aren’t into Twitter, you can always just visit FuseBoxTheatre.com and take a look in our sidebar under the heading “Twitter.” There you’ll see real-time updates from the FuseBox Theatre Twitter account.

…Or in the Daily Spark Digest

If you only want to check back occasionally, we’ll be posting the Daily Spark Digest right here on FuseBoxTheatre.com every ten days or so. We’ll collect the latest 10 Daily Spark and and post them together in one blog post. We’ll probably include some extra content, too!

The Daily Spark from FuseBox Theatre: Making you a better improviser one day at a time!

FuseBox Theatre’s Daily Spark is bite-sized inspiration for improvisers and sketch comedians.  Sometimes you just want to do something small to make your improv better.  We’ve got you covered. While you’re at it, check out the first issue of the Daily Spark Digest right here.

Daily Sparks #11-20

1. Barnyard Fun. Improvise a scene as an animal by focusing on an animal’s point of view. What would a cat care about?
2. Know It All. Improvise a scene in which you showcase detailed knowledge of a topic (your job, a hobby, etc).
3. Gender Bender. Improvise a scene in which you play someone of the opposite gender with sincerity and integrity.
4. DO. NOT. STOP. Improvise a scene while in constant motion. Allow your actions to influence your character.
5. Old Stonewall. Try hanging on to your point of view in a scene no matter what. If you feel like giving in, hold on tighter.
6. Giant Sombrero. Midway through a scene, remove a large article of (improv) clothing that had not been previously mentioned.
7. Nailed Down. Improvise a scene in which you refuse to get up off the floor. Be dragged around instead of getting up.
8. Clash of Context. Treat something benign in a scene (someone ate your lunch) as if it were horrible (they stole your wife).
9. Brought To You By… Improvise a scene in which you purposely include as much product placement as possible. Be specific!
10. Start In The Middle. Begin a scene with “And…”; then finish your sentence by stating a specific desire. Cut the fat!

Get The Daily Spark on Twitter

If you want the updates as they happen, you’ll need to follow FuseBox Theatre on Twitter. You can even get those updates sent to your cell phone.

Maybe we’ll provide you with fresh inspiration right before you go out for your own show!

Another great thing about following us on Twitter is that you’ll get exclusive discounts, special offers, and news updates that we won’t post anywhere else. If you’re new to Twitter, don’t be afraid. It’s really easy and a lot of fun.

Get the Daily Spark right here in our sidebar…

If you aren’t into Twitter, you can always just visit FuseBoxTheatre.com and take a look in our sidebar under the heading “Twitter.” There you’ll see real-time updates from the FuseBox Theatre Twitter account.

…Or in the Daily Spark Digest

If you only want to check back occasionally, we’ll be posting the Daily Spark Digest right here on FuseBoxTheatre.com every ten days or so. We’ll collect the latest 10 Daily Spark and and post them together in one blog post. We’ll probably include some extra content, too!

The Daily Spark from FuseBox Theatre: Making you a better improviser one day at a time!

Sometimes you just want a little inspiration. You want to do something small to make your improv better. You don’t always have time for a week-long intensive or a six or eight-week class. Maybe you are rehearsing tonight and you just want to try out a fresh perspective on things. We’ve got you covered.

Meet the Daily Spark

FuseBox Theatre’s Daily Spark exists for just that purpose. Each day, we will post one short suggestion about how to stretch, pull, or otherwise grow your improv. A lot of what we’ll post applies to sketch comedy or dramatic theatre, too. It’s bite-sized inspiration.

Daily Spark Digest Issue 1: Daily Sparks #1-10.

1. You Were Right. Improvise a scene in which your character has a change of heart. Transition naturally between extremes.
2. The Space Between Us. See how standing very close to or very far away from your partner changes the context of your scenes.
3. This Time With Feeling! Try repeating your first line in a scene three times. It will cement your character.
4. Devil’s Advocate. Improvise a scene as a character who strongly believes in something that you are against.
5. I’ve Always Wanted To Go There. Establish a scene in an environment that you’ve always wanted to play in and allow it to inspire you.
6. Keep It Real. The best comedy comes from ordinary behavior in extraordinary circumstances, not vice versa.
7. Let’s Get Physical. Starting a scene by committing to a physical action can help develop your character and perspective.
8. Show; Don’t Tell. Express your character’s emotions through his or her actions rather than simply describing them.
9. SHHH! Improvise an entire scene without speaking or attempting to communicate verbally in any way.
10. Be Still. Improvise an entire scene as an inanimate object. What is the perspective of a carrot? A shoe?

Get The Daily Spark on Twitter

If you want the updates as they happen, you’ll need to follow FuseBox Theatre on Twitter. You can even get those updates sent to your cell phone.

Maybe we’ll provide you with fresh inspiration right before you go out for your own show!

Another great thing about following us on Twitter is that you’ll get exclusive discounts, special offers, and news updates that we won’t post anywhere else. If you’re new to Twitter, don’t be afraid. It’s really easy and a lot of fun.

Get the Daily Spark right here in our sidebar…

If you aren’t into Twitter, you can always just visit FuseBoxTheatre.com and take a look in our sidebar under the heading “Twitter.” There you’ll see real-time updates from the FuseBox Theatre Twitter account.

…Or in the Daily Spark Digest

If you only want to check back occasionally, we’ll be posting the Daily Spark Digest right here on FuseBoxTheatre.com every ten days or so. We’ll collect the latest 10 Daily Spark and and post them together in one blog post. We’ll probably include some extra content, too!

The Daily Spark from FuseBox Theatre: Making you a better improviser one day at a time!

I like to keep my eye on Cognitive Daily. They publish interesting articles about how the human mind works and how it affects our behavior. Frequently their material has interesting implications for improvisation — after all, improvisation is simply people living out their lives on a stage.

Today’s story, how body movements can help with arithmetic, relates to one of the most serious problems epidemics in improvisation: “Talking Heads.”

The “Talking Heads” problem

We’ve all witnessed (and been a part of) it: two or more improvisers hop on stage with great energy, stand about two feet apart and… start talking. Three minutes later, they haven’t moved or changed emotions… but they’re still talking. They’ve talked about something that happened earlier, will happen later, or a person who isn’t there. Maybe they’ve described their circumstances or argued or made a plan that the audience will never see executed.

These scenes are not fun to be in, and they are not fun to watch. So why do we keep doing them? The answer may actually lie in how our brains process information.

Physical action helps with cognitive processing

The Cognitive Daily article describes a study in which test subjects were asked to count objects and do simple arithmetic. They found that subjects had an easier time performing these tasks when they nodded at, pointed to, or touched the objects they were assigned to count.

When they were not allowed to move physically while performing the tasks, they talked more and their accuracy was lower. They talked to themselves, using words as a substitute for the physical rhythm of pointing at or otherwise interacting with the objects in order to complete the simple counting task. But trying to keep everything in your head in this way is taxing, especially as the tasks become more difficult.

So what does this have to do with improv?

Creating an improvised scene is a significant mental challenge. It involves keeping track of many things at once and is certainly more difficult than counting blocks. The tricky thing about improv, though, is that there are no physical points of reference for the things you create; it’s all in your head.

“When you are physically active you are engaging the scene, not merely watching it.”

The study shows that when people can’t engage physically, they talk. For many, pantomime or space object work is difficult or seems unnatural, at least in the beginning. This is precisely why many beginning improvisers talk excessively on stage, over-explain, ask questions, and re-hash what has already happened. They are effectively “counting out loud” to verbally take stock of the scene from moment to moment.

For the same reasons, experienced improvisers do not do these things. Their experience at pattern recognition, reading scene partners, and accepting the realities created by others reduces the amount of brain power needed to improvise a scene. At this higher level of play, talking through the scene play-by-play isn’t necessary.

Space object work: learn to love it

Remember that kid in high school who seemed weird at first glance, but was really cool once you got to know them? They were eccentric, but they had a good heart and once they paid attention to their appearance they turned out to be pretty attractive? (Think Topanga from Boy Meets World circa 1999).

In improv, that kid is space object work. For many improvisers, a general discomfort with space object work, or the belief that if they are physically doing something they won’t be able to listen to their partner, prevents them from embracing physical play in improvised scenes.

While it’s true that space object work can be intimidating at first, this can be overcome in most cases by simply slowing down, making a genuine attempt to see and feel the object you are creating, and practicing.

The more significant concept supported by this article is that engaging in physical activity during your scenes will actually improve your ability to understand your scene in the moment and make your scenes easier to do.

This is because when you are physically active, you are engaging the scene, not merely watching it. Being physically engaged in the scene in this way facilitates your understanding of it.

Getting comfortable with space object work takes practice, but it is well worth the effort. If you don’t believe this, go watch Steve Kearin of 3 For All, Pete Hulne of the Beer Shark Mice, or even some members of the animal kingdom, and you’ll change your tune.

Get moving!

So if you have trouble with talking too much in scenes, or if you feel your play has stagnated because you aren’t as physically playful as you would like, I’d encourage you to just dive in, start moving, and give physical play a try. Start small and take it slow, but do it. Get started.

It’s going to feel weird at first, but that’s OK. In Boy Meets World, Topanga had to sit by herself at lunch in season one. Eventually, though, she and Cory got married. Invite space work over to your lunch table in your next improv scene. Once you get to know it, you’ll probably want to marry it too.

What do you think?

Do you often find yourself in talking heads scenes? Have you tried physical play or space object work? If you are an experienced improviser, how did you get past your urge to over-explain your scenes? Leave us a comment below and let us know!