I have written many times how doing improv theater can improve the quality of your life. It can give you group support, connection, place to be silly and spontaneous. There is also a psychological benefit to it all and I am not only talking about using improv as therapy for people with social anxiety. I feel that implementing what you do on stage in your everyday life can often have a positive influence your mental well-being.
Decrease the suffering
One of the main ideas of improv is supporting your partner. The easiest way to do it, is with "yes, and" - accept your partners idea and add something of your own. Your ideas might be good, but the same can be true about your partner. The aim is to let go of your expectations and ideas to create something together and hope for the best. You have to be flexible and ready to let go.
I have seen many scenes that start with an actor miming something on stage and the next person coming up and defining what he/she is miming. I have been on both sides. The thing is that the definition given to the mime work is not always the same that the person doing it had in mind and then the magic happens - you have to let go of your own ideas and collaborate to find the best reality for the scene.
I think that using this attitude in your daily life can have a big difference.
All of Buddhism starts with the observation that life is suffering. The meaning of this is that we increase suffering when we expect things to go a certain way and hold on too tightly to our plans. We are often holding onto our plans for a perfect life or perfect outcome. When we accept that our path is unique and that many things on our path will be unplanned, we reduce our suffering and increase our happiness.
One of the main ideas of improv is supporting your partner. The easiest way to do it, is with "yes, and" - accept your partners idea and add something of your own. Your ideas might be good, but the same can be true about your partner. The aim is to let go of your expectations and ideas to create something together and hope for the best. You have to be flexible and ready to let go.
I have seen many scenes that start with an actor miming something on stage and the next person coming up and defining what he/she is miming. I have been on both sides. The thing is that the definition given to the mime work is not always the same that the person doing it had in mind and then the magic happens - you have to let go of your own ideas and collaborate to find the best reality for the scene.
I think that using this attitude in your daily life can have a big difference.
All of Buddhism starts with the observation that life is suffering. The meaning of this is that we increase suffering when we expect things to go a certain way and hold on too tightly to our plans. We are often holding onto our plans for a perfect life or perfect outcome. When we accept that our path is unique and that many things on our path will be unplanned, we reduce our suffering and increase our happiness.
Focus on what is important
I find Kurt Vonnegut's 8 Basics of Creative Writing really useful, both while writing and while on stage. One of them states: "Every character should want something, even if it is only a glass of water." That is a good tip to keep in mind while playing a character.
When you see a longform improv show, it might seem too real to be created on the spot. A friend of mine, who has seen several of our shows did not believe that it was all made up on the spot, until he attended a few improv workshops and understood some of the techniques we used.
The thing is that as an actor you cannot notice or remember everything that happens on the stage - it is just impossible. However when you are doing a longform play that has one main narrative, it is good if you can at least act as if you do know what is going on. How can you do it? The best way, in my opinion, is to focus on the character. When a scene, that your character is not part of, is taking place, look at it from your characters point of view - what is important for your character, what details can you use, how would he react to this information, etc. Do not try to remember everything, only the information relevant to your character and his needs.
The thing is that as an actor you cannot notice or remember everything that happens on the stage - it is just impossible. However when you are doing a longform play that has one main narrative, it is good if you can at least act as if you do know what is going on. How can you do it? The best way, in my opinion, is to focus on the character. When a scene, that your character is not part of, is taking place, look at it from your characters point of view - what is important for your character, what details can you use, how would he react to this information, etc. Do not try to remember everything, only the information relevant to your character and his needs.
The same attitude can and should be used in real life. You do not have to do everything - focus on what is really important to you. What do you want out of life? What is most important to you? (If you are not sure on how to answer these questions, chapter 12 of the free book 7 Cups for the Searching Soul might be helpful.)
Growth comes with hard times
Another good advice from Vonnegut's creative writing tips is "Be a sadist. No matter how sweet and innocent your leading characters, make awful things happen to them—in order that the reader may see what they are made of." What I would like to add, is that audience loves seeing this development on stage.
The easiest way to do it on stage, is with side support. Is there something that is not properly defined, that might add a lot more reality to it? Go on and define it. What about the characters on stage, how could you support them? If there is a character who is really irritated when he is interrupted, maybe give him interruptions, so he could play it out. If a character is uncomfortable around statues, then why not make sure that there are a lot of statues around him.
Sometimes adding only one small detail can have a major effect. I recently saw a scene where a boy who was scared of sexy, strong and intimidating women was on a date with a girl. The actor playing the girl knew it and used really strong and powerful body language (sitting like a man etc). This however was not enough and the real twist came when side-support defined that the girl was also wearing a miniskirt. One small detail made all the difference.
So, if the character is scared of something - make sure it happens to him, so he could deal with it and grow while doing it.
Growth comes with hard times
Another good advice from Vonnegut's creative writing tips is "Be a sadist. No matter how sweet and innocent your leading characters, make awful things happen to them—in order that the reader may see what they are made of." What I would like to add, is that audience loves seeing this development on stage.
The easiest way to do it on stage, is with side support. Is there something that is not properly defined, that might add a lot more reality to it? Go on and define it. What about the characters on stage, how could you support them? If there is a character who is really irritated when he is interrupted, maybe give him interruptions, so he could play it out. If a character is uncomfortable around statues, then why not make sure that there are a lot of statues around him.
Sometimes adding only one small detail can have a major effect. I recently saw a scene where a boy who was scared of sexy, strong and intimidating women was on a date with a girl. The actor playing the girl knew it and used really strong and powerful body language (sitting like a man etc). This however was not enough and the real twist came when side-support defined that the girl was also wearing a miniskirt. One small detail made all the difference.
So, if the character is scared of something - make sure it happens to him, so he could deal with it and grow while doing it.
Problems have disguised value. They are actually very helpful and should be treasured. We struggle to see problems as valuable because we are too busy trying to avoid or ignore them. However you cannot ignore them forever - they will re-appear again and again until you resolve them. Hard times are good, because they force us to grow, change and turn into better people.
Appreciate the journey
It is true both in life and on stage: at some point the lights will go off and the show is over. We all know it. There is a beginning and there is an end. All we can really do is try to give our best. There will be ups and downs. Beautiful moments that fill your heart with joy and warmth and difficult times that bring you down. We are not perfect. We are not rational. We are not robots. We are human and we do all the silly things that humans do, but that is enough. It must be enough.
You cannot win in life or in improv, but you can always appreciate the journey with all that it brings.
Appreciate the journey
It is true both in life and on stage: at some point the lights will go off and the show is over. We all know it. There is a beginning and there is an end. All we can really do is try to give our best. There will be ups and downs. Beautiful moments that fill your heart with joy and warmth and difficult times that bring you down. We are not perfect. We are not rational. We are not robots. We are human and we do all the silly things that humans do, but that is enough. It must be enough.
You cannot win in life or in improv, but you can always appreciate the journey with all that it brings.
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