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Certitude Versus Waffling

Improv Principle #10: Focus on your partner.

It’s Not About You!

A Concentration Paradox

In cooking or in natural sciences, when we increase the temperature of a substance, moisture evaporates, and the resulting solution is said to be reduced. Onstage, when we concentrate our energy on our scene partner, extraneous distractions evaporate, and our attention is reduced to laser-like focus on the other person. The paradox here is that this attention to detail triggers a flood of interest and creative energy around the other person. It’s not as though we fall in love with the scene partner, since we might not really have much in common with them at all, offstage. The noticeable change is that when we concentrate, really concentrate on the essence of that person, who they are, how they are moving, what they are saying, new ideas are unleashed.

The concept of certitude in improv is an extension of the idea to silence that Inner Editor (see Chapter Three), to believe in yourself, and build on your strengths, so you are able to give to your scene partners the attention they deserve.

The best way to accomplish this is to change our normal, inward focus on self, to someone else. (Obviously, this goal is unlikely if our physical needs at the time, like thirst or pain, need to be addressed.) As healthcare professionals, we know that taking care of self so we can care for others is important, but so often we must skip meals or breaks. (That fact actually stymies our ability to focus 100 percent, so please take care before class!)

In improv, we concentrate on being in the moment and share the stage with whoever happens to be present. Often, we don’t have the luxury of choosing who our partner onstage will be. (Isn’t that just like life?) Nevertheless, when we give our full attention to what the other person says or does, we pick up on cues and can respond immediately with authenticity.

Waffling in Improv and Life

However, the opposite is also true. In improv (or in real life), if you are unfocused, unsure if you have freedom to speak, or are anxious for any reason, you might opt to do nothing. You may feign action or do only as much as necessary to make it appear you are contributing, even when you’re not. In improv, we call this waffling. When we waffle in a scene, it goes nowhere. When we waffle in life, we may miss an opportunity… or get fired.

After all, if it’s real or onstage, it’s now or never: Act now or forever miss the moment.

True, you may not have what you want, but if you open your mind to the possibilities of what the universe has to offer, you may get what you need, despite what Mick Jagger sings in the background.

Here’s an example from improv and then we’ll look at a healthcare situation.

Person A:

I heard bears hibernate in caves during the winter. Oh! There’s a cave.

Person B:

Do you think there’s a bear in there?

Person A:

I dunno, but I’m afraid of bears. You go see.

Person B:

Why me? You go first.

Person A:

ME? I went first last time we went on a hike.

Person B:

You call that a hike? It was Black Friday at the mall.

Person A:

Go on, I’ll cover for you.

Person B:

Cover what? My dead body?

As you can see, there’s some clever dialogue, but the audience is already getting bored. Why? No action (Principle #6). In improv circles, whenever we see the action stalling, the coach may say, “Go into the cave!”

Here’s a better example using several improv principles: Focus on your partner, be adventurous, and you have what you need.

Person A:

I hear bears hibernate in caves during the winter. Oh! There’s a cave.

Person B:

(Grabs A’s face): Do you think there’s a bear in there?

Person A:

(Breaking loose): I dunno. Let’s find out!

Person B:

Well, my horoscope said: ‘Today, you will face a challenge.’

Person A:

Lucky for us, I have this telescopic repeating rifle in my parka, just in case.

Person B:

Okay, here we go!

Person A:

Everything will be fine!

Person B:

What could possibly go wrong? (They go into the cave).

Person A:

Oh, look, a cute lil’ bear sleeping!

Person B:

Looks just like a puppy, all furry and soft. (petting it) Hello, lil’ bear...

Person A:

Uh-oh, don’t look now, but there’s it’s momma and she’s ...

Person B:

…waking up?

Person A:

And she doesn’t look happy!

Person B:

RUN!

In corporate life, it may look something like this:

Person A:

Did you check your email? We have a new policy.

Person B:

What now?

Person A:

You have to check email within 24 hours or you get dinged.

Person B:

I’ve been gone three days. How would I know?

Person A:

I dunno. You probably got dinged.

Person B:

That makes no sense. Has anybody talked to management?

Person A:

What for? Same ol’ same ol’...

Person B:

You’re right ...

What would happen if we changed it up?

Person A:

Did you check your email? We have a new policy.

Person B:

What now?

Person A:

You have to check email within 24 hours or you get dinged.

Person B:

I’ve been gone three days. How would I know?

Person A:

I dunno. You probably got dinged.

Person B:

That makes no sense. Has anybody talked to management?

Person A:

What for? Same ol’ same ol’...

Person B:

We have to speak up so the policy will be changed!

Person A:

Go right ahead.

Person B:

Ok, watch my patients. I’m going in there right now.

Ask yourself: when you waffle, can you change the status quo?

Nothing Comes From Nothing: Carve a New Path

A stall or a complaint only serves as a spotlight to solve a problem if we act as a positive deviant that is, we create better ideas to solve a problem.

This presupposes a collective communal intelligence, which is also the bedrock of the political improv practiced by Augusto Boal. In this format, the audience has permission to stop, interrupt the scene, assume a character, and change the action.31

In such cases, Boal prepped the audience with exercises prior to the play to maintain order and understand the basic principles of civil discourse and improv. This can be a very powerful type of group game, since the whole audience feels welcome to add to the dialogue.

The solutions found in some of these civil improv performances have been cited as the basis for change in local communities.

With the following exercises, we will practice focusing on our partner(s) and taking action.

Group Exercises

Exercise 8a—One Word at a Time Introductions

These exercises will allow participants to focus on their partner and practice flexibility and spontaneity.

Ask for two volunteers to demonstrate the game onstage. Ask them to lock arms and speak as one person, each adding one word at a time. They must focus out and speak at a normal speed. (No looking at each other.) Facilitator asks a few questions to demonstrate.

Example:

Facilitator:

Hi, who are you?

Person A:

Hi,

Person B:

my

Person A:

name

Person B:

is

Person A:

Emily

Person B:

Smith.

Directions:

1. Find a partner who is approximately the same height as you.

2. As demonstrated, you will speak as one person, each saying one word at a time to make a sentence.

3. Lock arms and find another pair to introduce yourself (as one person) and have a short conversation.

4. Keep moving around the room and introduce yourself to several groups and have short conversations.

Exercise 8b—Round Two—One Voice

Ask for two more volunteers to demonstrate the variation of this game onstage. Ask them to lock arms and speak as one person, simultaneously, with One Voice, and answer questions.

Example:

Facilitator:

Hi, who are you?

Both:

Hi, my name is…. (etc.)

Directions:

1. Choose a new partner.

2. Lock arms and have an introductory conversation with other pairs.

3. This time, you will speak, simultaneously, as one person. You must not allow one person to drive the conversation.

4. You will keep eyes focused out (not at each other) and speak at a normal pace as you move around the room.

Debrief:

What was the most difficult for you? One-at-a-time sentences or One Voice?

What made it easier?

Exercise 8c—One Voice Expert

Put three chairs close together onstage, plus one to the side. Ask for three volunteers to take one of the three row seats. (Facilitator will act as commentator in the fourth seat.)

Ask for a suggestion of an unusual hobby. (This could be a combination of two suggestions, e.g., a verb and noun, as in carving + banana = banana carving.)

The purpose of this exercise is to become the Expert on _____ (the hobby).

The TV interview is a show where an expert author is interviewed about their new book and take audience questions.

Directions:

1. The expert must sit close together and face front at all times; players must not look at each other. Instruct the players to focus on each other and breathe deeply, in unison, three times, before they begin the exercise.

2. The expert must speak with one voice. Players must NOT allow one person to drive the conversation.

3. The interviewer opens the show and welcomes the guest, who is an expert in the suggested profession.

4. The interviewer asks the following questions: Expert’s name, how long they have been studying, how they got started, and so on.

5. Allow audience participation. Ask for QA and allow the expert to answer a few questions.

6. Thank the expert and give a very generous (imaginary) prize as a thanks for coming on the show!

Exercise 8d—It’s Tuesday

Improviser and Theatresports founder Keith Johnstone calls this exercise It’s Tuesday.32

The goal is to quelch waffling and force action, by employing active listening. It can be done with two or three players.

Ask for three volunteers to play this scene. Say it will require focus and good listening skills.

Ask audience for suggestions of three distinct emotions.

Ask for a suggestion of a place where these people might be.

Ask for a suggestion of a relationship (brother–sister, girlfriends, co-workers, etc.)

Ask for a suggestion of a profession for each of the players.

Directions:

1. Explain players will practice overaccepting and building on the story thread using exaggerated emotions that increase as the scene progresses.

2. Whatever is said, they must:

a. accept it;

b. justify the partner’s words;

c. overreact, using the assigned emotion;

d. move the action forward.

3. No waffling allowed!

(Hint: Most emotions can be categorized as glad, mad, sad, fearful, surprised, or disgusted. If the suggested emotion is “frustrated,” coach the players that they can become more frustrated until they get angry or disgusted, whichever emotion has not been used.)

Give yourself permission to experiment! An opposite reaction can create great comedy.

Debrief:

How did it feel to choose boldly?

What happened in the scene that surprised or delighted you?

What will you remember about this scene that might be useful in your life?

Share with your team and journal your reflections.

 

Notes

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