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It’s an eerie feeling, scrolling through Facebook and seeing blank avatars where profile pics used to be.

This year a number of prominent improvisers were fired, resigned, or banned for sexual harassment or assault. They were teammates, teachers, Artistic Directors. People we looked up to. And it happened not just in one city, but at theatres across North America.

Their silhouettes are a ghostly reminder we need to do better. To listen, believe, and take action when action is necessary. To not be “friends” with everyone.

But they’re also a reminder that change is happening.

This is a chance to rebuild our community. Give women and diversity more representation. And let people who’ve been relegated to the sidelines step forward, take focus, and be heard.

In improv anything’s possible. Let’s make it happen, for real.

Can I get a relationship? Yes. Can I get a room in the house? Yes. (Other than bathroom?) Sure. Can I get a number between 1 and 10? (As long as you don’t mind someone yelling out 11, yes, you can.) Can I get an occupation? Other than proctologist? Pause. Okay, I’ll take gynecologist, but they won’t be at work in my scene, that’s fine.

Can I get an era in history? Can I get a new invention, a director, a colour in Canada, a color in the United States, a strange dress code, a rule of thumb, a day of the week, your favorite film director, an expression, your favorite spelling of favourite, flavor, flavour, neighbour or neighbor, a word you don’t know the meaning of, the name of a real or imagined arch nemesis, a time you got stitches, an object you made for somebody, a reason to be happy, to be sad, to be angry, to lose your job, to vow vengeance on a bird or a reason to give up on Tinder?

Ask me for any of those things, but please, improvisers, I’m begging you… stop asking me and our audiences for a “non-geographical location.”

The terms “non-geographic” and “location” cancel each other out. It doesn’t make sense.

Plus, I have yet to have seen any instance of this ask being employed where any audience member (who is not an improviser and thus immune to nonsense by now) doesn’t pause and have to think hard about what you just asked. Which kills the energy in the house. Which kills the momentum of the show. Which leads to you, the improviser, having to then follow up with “Yeah, you know, like a room in the house, or… a… country… ” Psst, hey, you: all those things are geographical if they happen on a planet, an alternate dimension or the head of a pin.

You can’t blame the audience. The “ask” requires them to go “Huh? What?” and then they give you an actual geographic location no matter what they give you. Even “deep space” or “inside a thought” can’t really be proven to be non-geographical, because the scene has to happen somewhere, even if the “where” they give you is “nowhere.” It has a location, a point where either one entity/nonentity or being has a moment and/or experience for the audience to witness.

The only right answer to “Can I get a non-geographic location?” that I can come up with is “A non-geographic location!” Or maybe “Nowhere!” or “Nothing!” which are actually still states of being or places, in which case the only right thing to do then is to bring the lights down for three minutes and nobody goes up and you just let the audience think about that till the lights snap back up, blinding everybody.

Like a sound that needs a medium to travel in, the scene you do for the audience must take place somewhere for it to be a scene. In that case, your “nowhere” has to be “somewhere” for there to be anybody in it. Unless there’s nobody in it. Which really leads me to my real point, I guess.

Please be in your scenes.

To sum up, once upon a time there was an improviser named Marcel who was getting really annoyed at hearing lazy, incoherent asks from his fellow improvisers that they had been taught by lazy, incoherent coaches who weren’t really thinking Marcel would ever make it “a thing.”

Thank you.

The end.

Photo © Tim Leyes

Marcel St. Pierre is an improvisor, actor, producer, and author of the Amazon #1 best-seller, Vengeful Hank & Other Shortweird Stories

Photo © Corbin Smith

Ever since I was a kid, I’ve been a compulsive note taker. Whenever I’m excited by new ideas, trying to figure something out, or struggling with a big choice, I put it all on paper. I scribble down thoughts in a notebook so I can get them out of my head and reflect more easily. It’s a huge part of my life, so naturally I’ve done the same with my improv. After classes, shows, or whenever I feel like refreshing my improv brain, I’ll pull out a piece of paper and give myself a prompt. Here are five ways I use journaling for improv most often:

  1. Use stream of consciousness writing to jumpstart your creativity and to practice improv when you’re alone.

For five minutes, don’t stop writing. No matter what. Even if you have to write “I have no idea what to write,” keep going. This exercise will prime your subconscious mind to keep making choices and embrace the process of not knowing. You can give yourself a suggestion to start the writing, or you can try writing with a goal in mind like playing a POV, connecting to an emotion, or solving a made up problem.

  1. Before a show or practice, dump out your thoughts onto paper so you can focus on the improv.

Brains are weird. They love to obsess over the smallest things, even when thinking isn’t helpful. As improvisers, our goal is to “get out of our heads,” and one way to do that is to write down everything your brain is thinking about so that you can come back to it later. It’s a weird quirk of psychology, but it actually helps us relax leave our baggage at the door.

  1. When you’re feeling off about your work or want to connect better with your scene partners, use gratitude journaling.

You’re great, and your scene partners are great, but sometimes we can forget that. If we forget how brave and inventive we can be as improvisers, we will hold ourselves back and let fear dominate our scenes. If we forget how valuable the gifts our scene partners give us are, we lose touch with our ensemble and stop listening to each other. One remedy for both of these problems is to write down the brilliant little moments on stage that we appreciate. Taking a moment to express gratitude for ourselves and our team is vitally important.

  1. To get out of your head and into this moment, practice mindfulness journaling.

Take a few deep breaths, settle into your seat, and begin to notice the sensations around you. Write down what you see, hear, feel, and any thoughts that you notice coming into consciousness. This kind of approach isn’t for everyone, but for some mindfulness is a great way to practice the present-state awareness needed for good improv.

  1. Lastly, try keeping a weekly record of your thoughts about improv.

If you’re passionate enough about improv to have read this far, then you’re probably in this for the long haul. You want to get better, and see yourself growing and changing as a performer. One way to do that is to write down a few notes every week about where you’re at and how you feel you improvised this week. This is really important so that when you feel stuck, you can analyze what got you here and whether that feeling is actually justified.

I found journaling prompts to be such a useful tool that I complied 40 of my favourites into a guidebook for improvisers— a book called The Yes And Journal. After reviewing my 20+ old improv notebooks, I wanted to share the most useful exercises and ideas I discovered along the way. You can find out more about the book and read the first section for free at lifeisntscripted.com/book

Matthew Beard has been performing, teaching, and writing about improv for five years. He has performed and trained in Ottawa, Toronto, Guelph, and Niagara. Matt is the founder of the improv blog lifeisntscripted.com.

Ryan Millar is a Canadian-born improviser, writer, and comedian living in Amsterdam. With almost 20 years’ experience teaching, training, and entertaining, he’s now put all that knowledge and experience in book form. 

Photo © Ryan Millar

P&C: How is Take It Easy different from other improv books out there?

RM: I think mostly just because it’s written from my point of view. It’s a personal book, with lots of anecdotes and reflections based on my experience performing and teaching all around Europe and North America. And I tried to write it as I teach, so it maintains that perspective throughout.

Also, Take It Easy isn’t an improv manual. Although I love teaching improv fundamentals to absolute beginners, I had no desire to write a book of improv basics for newbies, or even a book of “rules.”

This was partially because I wanted to speak to the core demographic of improvisers – people who are improvisers already, and love it, but are looking to elevate their game. Why else are they reading a book about it?

The other reason I didn’t write a book for beginners is because that area is so well covered by other texts. There was no need for me to retread an area that’s already so well-served.

P&C: How does your approach apply to different styles of improvisation?

RM: When I say, “Take It Easy isn’t a new way of doing improv, it’s a mindset that can inform your performance and approach to improvisation,” I mean the book is designed to help the individual performer, no matter where they’re at, or what aspect of improv attracts them most.

I guess I was looking to tackle something that I found universal: there’s a core of good improv habits and practice that will make you a better player, whether you’re doing shortform, longform detailed genre shows, fast-and-loose jams, or something else entirely. These core elements were the thing I wanted to focus on.

P&C: Who are your improv heroes, and what’s the most important lesson you learned from them?

Oh man, there are so many people who’ve influenced me in my improv journey. I’ll just mention a couple.

Keith Johnstone taught me a weekend workshop when I’d only been improvising for a few months. And the words “Make sure your partner is having a good time” really resonated with me then, and still do.

Alistair Cook was and is an improv pioneer and good friend. He really pushed both the artistic and organisational bounds of improv in Vancouver when I was coming up. He taught me to always value the work onstage, and build a good atmosphere offstage.

When I first moved to Amsterdam in 2003 (to do a student exchange year), I got a part-time job doing corporate shows with Boom Chicago. I had spent the early part of my improv career being patient, exploratory and nuanced. Now there was no time for that! Scenes had to be fast and funny, no exceptions. I don’t play that way all the time, but doing speed reps in their sharp performative house style has been a big influence on how I continued to develop and play (even if it is quite contrary to the ideas in Take It Easy).

P&C: Take It Easy is for teachers, as well as students. What are some of the things you’ve learned through training others?

RM: Being a great improviser doesn’t necessarily mean you’ll be a great teacher, and you don’t necessarily need to be an incredible performer to be a great teacher.

But what I’ve really noticed from teaching – which is why I started writing this book in the first place – is that a lot of students and performers were really trying hard. It makes sense: they love improv and want to get better, so they put in a lot of hours and effort. But that very impulse to work hard was getting in the way of their success.

Just before finalizing the book I found this great Bruce Lee quote: “The less effort, the faster and more powerful you will be.” When I read that I was like “Yes! This is what the book is about!”

Of course, the truth is more complex than that, but the essence of the quote – that only by trying less (by “taking it easy,” if you will), can you truly excel. That paradox becomes especially interesting when trying to teach.

Some things I learned through training others:

  • Take nothing for granted. Things that a more experienced improviser may think are obvious or facile can still blow a newbie’s mind.
  • Never stop taking workshops. There’s always more to learn.
  • Improv can be transformative. Enjoy helping people find those Aha! Moments.
  • Commitment is everything. If you don’t put yourself into the work, you won’t get much out of it.

P&C: Improv is such a group-oriented art form, but it’s also fun to do on your own, even if you never perform solo. You’ve included solo games and exercises in Take It Easy. Could you give us an example?

RM: I have a series of exercises in the book, that I think partially come out of the Canadian Improv Games handbook. One I really like, that is actually a series of connected excercises, is What it is.

In What it is, the participants roam the room pointing at objects (not people), confidently (and loudly) proclaiming what they are: “chair,” “water bottle,” “notebook,” “backpack,” “door,” etc.

The goal is to move quickly, observe lots, and be confident in your words.

I use this in other workshops I teach (such as Public Speaking), but I developed a later round of What it is, called What it is, specifically, which I think really gets at the heart of how to Take It Easy. In this version, you point at things and, rather than just shouting out what they are, you actually describe them, and find inspiration in what you see.

So it might go something like this:

“A theatre seat with a ripped corner, a three-quarters empty water bottle with a peeling label, a pair of New Balance sneakers that have spent a lot of time in the mud…” and so on.

Another related version is called What it is like, and can even involve more interpretation, speculation, simile and other forms of freedom to depart from what is actually seen.

So this round could go something like:

“A theatre seat that has a corner ripped out from the great CATS riot of 1987, a water bottle containing about 80 ml of the precious liquid so prized in this post-apocalyptic world, New Balance sneakers worn by a dedicated ultra marathon runner, before their knee injury…” and so on.

What happens in both What it is specifically and What it is like is that people realise checking stuff off a list isn’t nearly as rewarding as paying attention to what’s there in front of them, and then pushing their imagination to be fired off objects that might seem mundane. Using what you have to create a rich detailed world is classic Take It Easy.

I frequently play some combination of these when warming up for a solo set.

P&C: You blew past your Indiegogo goal for the first print run. Congrats! Will there be more soon?

RM: Thank you! The response to the crowdfunding campaign absolutely blew me away! I’d been planning crowdfunding for this book for a long time (years, even). I spent some of that time doing a lot of preparation and reading, and that certainly seemed to pay off.

Also, a lot of my support came from people who aren’t improvisers. Friends and family and even extended network and strangers, all of whom I presume are both supportive and will be interested in reading what I wrote, even if they’re not improvisers. I think there will be enough in this book to keep them reading. I sure hope so.

I’m not sure about doing more crowdfunding campaigns, but I’ve got a few more ideas for books (and some of those are further along than the idea stage).

So once I get this book printed and sent out to the backers, and listed on Amazon (and learn all the lessons about independent publishing that I’m currently learning), I think there will be more books.

So, short answer: Yes!

For more info, check out www.takeiteasy.tips.

Photo © The Assembly

Winter is coming, and so is one of the hottest shows this season. The Harold Experience features some of Canada’s favourite improvisers, January 3-14 at the Next Stage Festival.

The Harold Experience gives long-form fans and non-improv audiences alike a chance to enjoy The Harold performed by pros. Comedy A-listers Rob Baker, Ashley Botting, Adam Cawley, Matt Folliott, Ken Hall, Becky Johnson, and Paloma Nunez weave together real-life stories and made-up madness for a show as unique as it is hilarious. Directed by Rob Norman, it’s unscripted theatre at its best.

This is the first festival piece for Toronto’s newest long-form company, The Assembly. Less than a year old, The Assembly is already home to 14 long-form teams, four monthly shows, and a thriving education program. (If they maintain this pace, they might just have their own festival next year.)

Whether you’re a Harold enthusiast, a fan of great storytelling, or just want to see Toronto’s funniest people make shit up (brilliantly) on the spot, The Harold Experience is sure to sell like hotcakes.

Show Details:

The Harold Experience premieres January 3, 2018 at the Next Stage Festival

Factory Theatre Studio (125 Bathurst Street) – Tickets $15

For show times and tickets visit fringetoronto.com or call the box office at 416-966-1062

All work and no play can make anyone a little stir crazy.

So follow the fun to our new design, available in clocks, tees, floor pillows, mugs, and more. It’s the perfect gift for your favourite performer, writer, or Dad who needs to get out more.

Order now and get 25% off everything in our store. Offer ends midnight, November 20.

Hoo-ee! What a year. The kind of year that makes you long for amnesia while chugging rum & no egg nog. After everything that’s gone down, you might just wanna give yourself a little something, because you deserve it. Here’s a round-up of our fave improv-related goodies for friends and fans.

Improv Tees, Pillows, Mugs & More

Give, and ye shall receive 25% off everything in our store before midnight November 20.

Improv Classes

The greatest gifts are experiences, and you know how life-changing improv can be. Why not introduce someone to the cult – uhhh, community – with a gift certificate for your favourite school or instructor? Browse our link roll (left) for suggestions.

Photo © People & Chairs

Don’t Think Twice

Mike Birbiglia’s film is a must-see for improvisers and the friends who put up with them. Don’t Think Twice is available on BluRay and DVD.

TJ and Dave On Demand

Almost eight hours of footage of the greatest improvisers on Earth, now on Vimeo On Demand. We never get tired of watching these guys. Click here or below for this master class in the art of improvisation.

All The Best Books

Don’t get bitter, get better, with one of these fun and informative tomes:

How to Be the Greatest Improviser on Earth by Will Hines

Behind the Scenes: Improvising Long Formand Improvise. Scene from the Inside Out by Mick Napier (with forewords by Stephen Colbert and Bob Odenkirk, no less)

Improvising Better: A Guide for the Working Improviser by Liz Allen and Jimmy Carrane

Improvisation at the Speed of Life: The TJ and Dave Book by TJ Jagodowski & David Pasquesi with Pam Victor

Upright Citizens Brigade Comedy Improvisation Manual by Matt Besser, Ian Roberts and Matt Walsh

Improvising Now by Rob Norman

Long Form Improvisation and American Comedy: The Harold by Matt Fotis

The Artist’s Way by Julia Cameron

Give Yourself

Giving doesn’t have to take a lot of money. Your time and effort can be just as meaningful, if not more so. Why not buy some festive cards and write an invitation to friends to help you create one of these in the new year?

• Start the podcast you’ve always wanted to hear but haven’t found, like Fairy Tales For Unwanted ChildrenThe Constant Struggle, or The Backline.

• Write a book with everything you’ve learned, like Ryan Millar’s Take It Easy or Katy Schutte’s The Improviser’s Way.

• Produce your own show for people who are underserved in the community. Whether it features women of colour (like Yas Kween), LGBTQ performers (like Queerprov), or anxious people (like Laugh In The Face of Fear), you have something valuable the community needs: your unique point of view.

Bring it in 2018!

Happy holidays from both of us.

I spent a good chunk of time in San Francisco. One night I had a choice whether to see a circus show at one venue or an improv show at another. I called the improv venue to find out more information. Convo went something like this:

Me: Hi. I’m curious about your show tonight. What kind of improv is it?

Box Office: The funny kind.

Me: Hahaha right on. I mean what style is it?

Box Office: It’s the funny kind.

Me: Cool. But is it like… short form or long form?

Box Office: It’s the funny kind.

Me: Yeah, OK. I get that part, but are they going to do, like a Harold? Or is it more like theatresportsy games?

Box Office: The funny kind.

Me: Yes. OK. Sorry. I’m just trying to figure out whether or not you’re gonna make me sit through an organic opening. Because if that’s the case-

Box Office: Have you ever seen the TV show “Whose Line Is It Anyway?”

Me: Yes.

Box Office: It’s like that.

Me: Oh. I see. So, it’s a bunch of short form games.

Box Office: Ya. The funny kind.

Me: Gotcha. Amazing. Thank you.

Box Office: No problem.

I hang up and purchase tickets to the circus show.

Photo © Mark Andrada

Mark Andrada is a Canadian Comedy Award winning performer/writer/director. He has also worked as a puppeteer for The Canadian Opera Company, and as a clown for Canadian Stage, Zero Gravity Circus, and (with a terrific amount of unsuccess and irony) at a comedy club called Clownz in Quezon City in the Philippines. Mark has performed sketch and improv comedy as a member of The Second City, and The Annoyance Theatre in Chicago.

Fuck the thought that improv must be funny for it to be interesting. Fuck the idea that improv must be interesting to be funny. Fuck the idea that funny is only done one way. Fuck the idea that funny is the only thing improv has to offer. Fuck the idea of “Yes, and.” Fuck the idea that there are rules you must follow or you aren’t “correctly” improvising. Fuck the idea that what you’ve been taught is the way that things have to be. Fuck the idea that I, Dave Razowsky, know the “right way to improvise.” Fuck your idea that ANY school is the ONLY school. Fuck the idea that my challenging you is one bridge too far. Fuck your idea that there’s a line that can’t be crossed. Fuck your idea that you can’t say “no.” Fuck your idea that you can’t talk about someone who’s not here. Fuck your idea that you have to get the who, what and where out at the top of the scene or you’re gonna fuck your scene up. Fuck the “Game of the Scene.” Open your mind up to the concept that improv is fluid, that improv is what works for you, that improv reflects your desire to be you. Open your mind up to the concept that improv is a reflection of how you live your life. Open your mind up to the idea that repetition is not redundancy. Open your mind up to the concept that improv is a reflection of how you live your life. Open your mind up to the idea that our experiences allow us to see improv in a way that we use to express ourselves, and that our experiences and those with whom we’ve worked is of utmost value, and though you may think that my “dropping names” is meant to impress you, what I’m actually expressing is a celebration of those fucking awesome artists who’ve taught me so much that they’re responsible for me travelling across the globe to share their awesomeness with you. Fuck your judgement and impatience and narrow-mindedness. (Should you take offense to that last sentence, please know that I’m offering you an opportunity to see your limitations. I’ve experienced that. I’ve rebelled against accepting that. I’ve tried to support that. Ultimately through frustration and the banging of my head against a wall, I learned to surrender to the truth. I learned to celebrate that change is the only constant.) Fuck your complacency. Get up. Stand up. Stand up for your rights. Share your light. Share your ideas/thoughts/fears/joys/fantasies/ beauty/warmth/love/mistakes. God damn it, stop sharing your fear with the world. Just fucking stop. You have a choice. Know that.