You are enough!

In both my corporate training work and improv teaching I've been exploring a theme: you are enough.

It's the concept that your experience, your wisdom, your approach, and your interpretation are all ENOUGH.

We spend so much time not being as confident as we could be because we're second guessing our worth and inner genius. The performers (and communicators) that I've noticed to be most comfortable in their own skin seem to know that they are enough.

So approach your moments with the confidence that if you listen you'll find the answer, if you're present you'll connect with everyone, and if you be yourself it will be the greatest gift for everyone else.



Because you are enough. Right now. You are enough.

Happy Improvising!

I recently had to remind myself that I'm enough while getting ready for our move to New York! 

Finding the "Button"

I'm writing today about happy endings.

The very last line or beat of a scene is called the "button". The button can be a funny line that sums up the whole story, or a pun that ties everything up in a funny way, or simply the final remark. When you get good at delivering a button, you can dramatically improve the lasting impression of your scene.

The button is hard to master - it's half in the delivery and half in the content. I've seen many terrible scenes (because they were not going anywhere or not clear) vindicate themselves because an improvisor quips in with a clever ending line that makes everyone feel better. The button saved the scene! I've also seen many great scenes seem to fizzle at the end because they couldn't find a neat way to wrap it up.

Thinking of a good button .....

So here's how to master the button: It's a mix of delivery and content.

The delivery: The button has a certain definitive sound. It usually ends on a downward inflection versus an upward inflection that would make it sound like a question and continue the scene. This aurally suggests to the audience that the scene is done. "And that's why I'll never eat cotton candy before going to a bike shop ever again!" Try reading that sentence with a downward inflection at the end. You can make it FEEL like the end of a story by going up on the word "ever" and down on the word "again". The delivery can indicate that it's the final line. Get used to feeling when a scene is coming to a close and experiment in the timing around delivering that button. There will be a window of opportunity when it's clear that the scene needs a good button to end on. Sometimes it can be sooner than you think.

The content: A good button sums up a scene. It can be what a character learned from the situation, what was experienced in the scene, or simply a positive note. This is the time to think back on the suggestion that inspired the scene, what happened to the characters, and what the audience liked about the scene. Ask yourself if there are any loose ends that you could tie up in that final line. Is a pun coming to mind? If none of these options are obvious, you can always end on a positive note "... and that was the best trip to the doctor I've had since she used to give me lollipops." Ending positive will always be a good note to end on, whereas a negative ending can be a drag if your joke doesn't land.

Jon Snow's button is often "winter is coming"

So, pay attention to endings! They often contribute to your overall reaction to a scene. Master buttons, and feel confident that you're going to tie everything up at the right time with the right words.

And, scene!

It's all in the delivery

Mastering delivery can lead to you be great in almost any improv scene. 

I study my funny friends on stage. Like Scott Patey, who was our special guest in Improv Against Humanity at the Vogue Theatre last night. I hosted, so I got to introduce and watch all of the inspired scenes. Scott can reliably delight an audience so I watch his trusted delivery methods. He has tried&true methods of delivering a line so that it produces laughter. Each of his characters is rich and three dimensional and they all know how to deliver a crisp line within the persona. So much of his unique comedic style comes from his delivery. 

That's Scott, delivering the middle finger as a corpse in a windmill full of corpses. Humanity! 

One of my improv teachers said to me "Being funny in improv isn't about saying funny things, it's about saying things funny." 

My advice to new improvisors is to pay attention to the times the audience laughs at your work - when you can feel them on the same page as you. Try and remember the way you delivered the line. That "innocent response", that "last word", that "horny answer".  These can become tools for your characters to use in future work. You'll get the feeling of good delivery, and you'll start getting good at delivery. 

Also, pay close attention to the way that the ending of a scene sounds. You'll often hear that the final sentence completes the scene and wraps up the entire story. So it feels as if you've just swallowed the last delicious morsel of an epic piece of chocolate cake. 

 

Hosting in the moment

In my last blog post I promised to write more about how to be in the moment as a host. Here it is!

Hosting is a tough tight rope act.

Why? Because at the same instant, you're thinking of what just happened, watching what is happening currently, planning what happens next, and announcing it.

Hosting Improv Against Humanity in my Seersucker Suit

Like the video game Tetris: you're carefully placing a piece and at the same time planning where to put the next piece that will fall, all in your big game plan of clearing the board.

You can be in the moment as a host when you trust enough in the future (your sense of timing and your plan) to let it go from your mind and enjoy the now, enjoy this moment with the audience.

The more you host, the more you can rely on trusting the moment when you're calling the shots as they happen and saying what you sense needs to be said. It takes practice to get in to this zone and to develop an awareness of the shape and flow of a show.

Sometimes hosts can get "in their head" or they "make it all about them" or  they "don't connect with the crowd" - which causes stuttering, sounding insincere or rehearsed, or talking at the crowd instead of with them ... I see this happening because these hosts have fallen out of the moment. They've forgotten their job of connecting with the audience,  they're analyzing what just happened, or they're planning for what happens next.

As you open and close the show and intro each of the components of the performance, you've got to be in the moment yourself to engage the audience. Great hosts connect to the audience in a charming way as they present the show. This means having a rough idea of what you're going to say - and then being open to inspiration based on what you're getting from the crowd and what the show needs.

To get in the moment as a host, allow yourself to stand still and take breath. Take it in. Smile. Then say one thing to the audience and pause to watch them react. Tell them what is about to happen. Ask them to support the show. Then, enjoy!

Happy Hosting!

D

One of the best posters for a show I've hosted - I got cartooned!

Why accept offers?

A wonderful performer friend (Conni Smudge) shared this on FaceBook, and it spoke to me about improv:

It hit me because I'm in the middle of a few Wayne Dyer books at the moment (all given to me by my mother), and because it relates to accepting offers.

In improv, I strive to be hyper aware of "offers" - information that the other improvisors are giving me about the environment, characters, relationships, and situations happening in the scene.

Scenes are brilliant when improvisors are listening to each other's offers and accepting them by immediately incorporating the other person's information to co-create a moment.

See your scene "as it is", rather than "as you think it should be" by listening to and accepting offers. Know what is being established, enjoy it, and then add on.

Accepting offers allows you the ability to co-create.
You earn the right to make a new offer that will build on the one you just accepted.

It's the reason why we say "YES, and..."

I'm not sure if I'm giving or receiving an offer here