When I teach Improv, my focus is always on the WHO choices. Maybe it’s because I’m an actor at heart, or maybe it’s just that I believe great storytelling is rooted in great characters. And great comedy? That’s always got heart.
But too often, improvisors get hung up on STUFF. Endless banter, monologues about meaningless details… It’s just STUFF that doesn’t build story, doesn’t reveal character, doesn’t push forward the WHO, WHERE, and WHAT of the scene.
When I let these scenes go on, I see other students’ eyes glaze over. Sometimes it’s 2-3 minutes later when we finally get a WHO choice, after the player has exhausted all their STUFF to talk about.
Great improv should START with that choice.
Great improv is great storytelling, rich with characters, setting, and plot – the WHO, WHERE, and WHAT.
STARTING TODAY, start every scene with a strong WHO choice. Have an emotional imperative. Have a job. Have a relationship. Give your character an age. Give them a costume (what are you wearing?). Give them props (what are you holding?). Engage in physical choices. Give your character status, low or high. Give them a reason (what is your WHY?).
Make a few simple choices about WHO you are, and then play those choices as if you’re in an actual play or movie.
WHEN IS STUFF OK?
The only time talking about STUFF works is when it reveals WHO choices. Showing us the STUFF your CHARACTER likes to talk about, complain about, adore, etc.
Or, even more cleverly, talk about stuff and use subtext to reveal motives. Perhaps you’re playing a nervous suitor, talking about STUFF because you’re actually in love but afraid to say it. Maybe you’re talking about STUFF to disguise dubious motives. Your words are STUFF, but your inflections, subtext, and physical work reveal character.
We don’t want to spend a ton of time on exposition. But in 2-3 lines of dialogue at the top of a scene, replace chapter one in a great novel. You and the audience should have a clear-cut idea of WHO and WHERE you are. Then, play that scene.
In time, instinct will take over. But for now, make the big, bold WHO, WHERE, and WHAT choices, AND THEN simply listen to how your scene partner responds, AND THEN you respond.
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