One partner makes a emotional imperative statement and their partner enthusiastically accepts that perspective. Warm up with acceptance of who they are.
practice supporting offers immediately
justification and being specific
- can write statements on paper slips
Form lay-up lines on either side of the stage.
Game 1: Yes, Yes, I am
The player on stage left endows the player on stage right with a strong emotional perspective (“You think Ringo is the best Beatle”).
The player from stage right accepts the perspective (“Yes, I do’) and commits through several lines of dialogue (“He voices Thomas the Tank Engine” / “I own every Thomas trinket there is”).
• “Yes” is funny – there’s a surprise unique to improvisation in watching a player accept a perspective thrust upon him/her. The “Yes” of acceptance stands to be funnier than anything else even the cleverest person might have responded with.
• Specificity heightens the funny of acceptance – “Have you ever eaten a train, piece by piece, after you derailed it with your penis?” “Yes – for charity.”*
When we negotiate the bizarre, we (and the audience) get bogged down trying to make sense. When we accept the bizarre, we (and the audience) explore and heighten fun worlds where the bizarre is “real.” [* thank you Mr. Show]
• Commit even (especially) if you don’t know: There’s always a way to agree. “You’re a sycophant.” Don’t know what that word means? “Yessir, I only describe myself in adjectives that being with ‘s’.”
Game 2: Yes, Yes, we do!
The player on stage left runs on with an emotional imperative (“We have to find the remote!”).
The player from stage right enthusiastically accepts the perspective (“Oh, God, quick; Last Man Standing is coming on!”) and commits through several lines of dialogue (“He voices Thomas the Tank Engine” / “I own every Thomas trinket there is”).
Improv as Improv does best curriculum