All this information is wrong in the sense that no one set set of guidelines is right for any person.

However, the only way to get good in something as difficult as improv is to listen to a lot of people and
choose the ideas you like. If you don't like one of these guidelines, ignore it. Or try doing the opposite
- maybe you'll find something better.

ACCEPT INFORMATION: "YES AND"

When you get a piece of information from another actor, first, accept it as fact and second, add a little
bit more information to it. If somebody tells you that you're wearing a hula skirt, tell them that yes you
are, and you made it right here at Club Med. Keep doing this long enough, and you'll have a scene full
of fascinating facts, objects and relationships. Fail to do this and everyone will hate you, even your
mom and dad.

ADD HISTORY
The swiftest way to add reality and depth to a scene is to have the characters call up specifics from their
common history. A simple exchange such as:

--“Are you trying to get us arrested?”

--“Like the time we ran naked through the Yale-Princeton field hockey game?”

A few words properly placed can fill provide a metric ton of information. From the example above, the
audience and actors now can infer characters are college boys, they are troublemakers, they are upper-
class, they are educated, they are from New England, they drink to excess, they have police records,
they are old friends, and much more. With one sentence, the amount of information the improvisers can
now draw on has grown exponentially.

Some people suggest staying in the present tense at all times. This is lunacy. I agree, however, that you
should avoid talking to much about the future. Things is the future might happen, they might shape
your characters. Things in the past did happen, they did shape your characters.

ASK YOURSELF “IF THIS IS TRUE, THEN WHAT ELSE IS TRUE?”

Often in improvisation, things deviate from the normal, the usual. (This happens for a number of
reasons and it is usually not intention – improvisation is constrained communication so
misunderstandings are bound to occur. These misunderstandings, among other things, can lead to
departures from business as usual.

When in situations that are fantastic, there is a simple maxim to govern your action: “If this is true,
then what else is true?” It’s a question you can ask yourself at every second of the scene. Each time you
find the answer, you can play it out. Before you know it, you’ve built a solid scene around a core idea.

Example:

Suppose, a character picks up the phone and makes a call. Due to a misunderstanding over names, the
improviser on the other end doesn’t recognize the requested name and says it’s a wrong number. The
caller hangs up and says to the scene partner that there is something wrong with him and he only dials
wrong numbers lately. The other improvisersaccept this as true and then ask themselves what else
would be true if this guy can only dial wrong numbers.

They come up with new scenes and initiate them. Someone initiates a fire in the scene and tells him to
dial 911. The person on the other end says “411”. The guy tries to call his girlfriend and gets another
woman on the line, who recognizes him from previous wrong number and starts to flirt with him.

The real girlfriend suspects something is up, uses reverse lookup, and rings the doorbell of every
woman whose phone number is 1 different from hers and launches into a third degree. The hi-jinx
continue, each person just asking themselves “if this guy only dials wrong numbers, then what else is
true?” and then “ok, supposing that consequence of his dialing wrong numbers has happened, now
what would be true?”

BE VERY SPECIFIC
If you're going to say "nice car!", why not make it "nice, a 1979 Subaru Station Wagon!" If we know
the Subaru owner is a 21 year old woman, suddenly we can visualize her (well, maybe you can’t, but I
can: she has dried white and blue oil paint on her fingers and long brown hair). A more vivid image
opens up a rich, new world. Adjectives are the WD-40 of scenes, as they get the scene going faster.

BEGINNING SCENES
Basically, you want to cut to the interesting stuff as soon as possible. This is why we sometimes advise:
start the scene with two people on, or start the scene with two people with common history.

Why have a scene that goes:

--Hi.

--Hello.

--What's your name?

--Jim. And what's yours?

--Mike.

--What's new?

--I've got one month to live.

When you can have a scene that goes:

--Jim, I've got one month to live.

--Ouch. Margarita?

--My treat.

COMMENCE WITH CHARACTERIZING ACTIONS

Characterizing actions are those which define a character's occupation or role, such as a teacher erasing
a blackboard, a janitor cleaning up, or a child playing with toys, are excellent for starting scenes. They
say a lot about what is going on and thus help the scene get to the point faster. (Note that the scene need
(and often should) not be about drinking a beer or chopping lettuce just because that's what one of the
characters is doing.) Two people can start a scene engaged in an action together.
 By putting status into this two-person action, a lot of information can be communicated very quickly.
For example, consider a scene which starts with one character hitting tennis balls, and the other chasing
around after them. The audience knows what the status is and where the characters are before the scene
even starts.

DON’T DENY (beginners)

Denial is trashing what somebody else has set up or is trying to set up. There are many forms:

Mime Denial: Somebody spends five minutes setting the dining room table, another character walks
right through it. This will make the audience squirm and gasp and have an icky feeling.

Character Denial: Not letting the other person be what she wants to be.

--Hi, I'm your Dentist.

--No you're not. You're my gastroenterologist!

Location Denial: Contradicting setting information someone else established.

--Periscope down.

--What are you talking about? We're in a helicopter!

The denying actor is not reacting to the presented information. Denial makes audience and cast
uncomfortable. All denial can be rectified with Justification, but it's a real skill.

People advanced in improv can tell the difference between bad denial and comedic denial. In the latter,
denial can make sense within in the logic of the scene: i.e., if Don Quixote were the helicopter pilot, he
may say "periscope down" and need to be corrected by his straight-person assistant. However, it
requires a lot of respect (the opposite of denial) to get to the point where the audience understands that
the captain is a Don Quixote.
Furthermore, experienced actors may appear to deny each other when playing games of one-
upsmanship, but, upon closer inspection, they are accepting the information the other presents, then
adding to it and raising the stakes. For example:

--Now you shall die by my sword, certified to be the sharpest in the land Schiiing.

--Sharpest in the land! You mean you don't import your swords? Scha-schiiing.

The response accepts what was stated, and one-ups it by finding a way to beat it without denying it. A
denying response would be, "Well, your certificate lies. Shluuung". Accept and justify the information
that others provide. It makes the scenes flow easier, and is simply less aggressive than denying what
your fellow actors have created.
Two exercises can help people overcome the denying urge. One is playing the denial game (i. e.,
playing out scenes where every line denies the other character's previous line) to make one another
conscious of the bad habit. Another rehearsal exercise, just for beginners helps to point out each others
denials in scenes: simply respond to your fellow actor's denials with "there's no denying that!".

ENTER AND EXIT WITH PURPOSE (beginners)

Entering, exiting and staying put should have a reason, be justified. This is the purpose of playing the
game Entrances and Exits (go figure) in rehearsal. Don't just say "OK, bye" and walk out of a scene.
Give a reason. Unjustified exits tend to be a problem novices have.

GET BEHIND THE STORY

Try not to think about yourself in long-form. Instead, always ask yourself "how can I contribute to the
larger picture?" and "what is my function in this piece?". A structured long-form piece, like an episode
of the Simpsons, should have a main character.

GIVE YOURSELF A SUGGESTION WHEN YOU DON'T ASK FOR ONE

We all know scenes are better when you enter them with an attitude, activity, or emotion -- so just pick
one for yourself either randomly or in response to the other character, and you'll have a better scene.

GO AGAINST THE VOICE OF REASON

In our everyday lives, it often makes sense to follow the voice of reason. In real life, if your friend says
“I’m ugly”, you may tell them they aren’t, even if they are. Why? Perhaps because you feel it’s not
important, you want them to feel better, you want to preserve your friendship, and so on. On stage, a
different logic may apply.
Audiences come to the theater to escape the mundane logical world, they sometimes want to see the
barriers lifted. You may respond to “I’m ugly” with “you know, I’ve been meaning to say
something...”. You may rob a bank because someone tells you to. You may play sycophant to your
abuser. In short, you may do things onstage the real you wouldn’t do. Try going against the voice of
reason, it’s liberating. You don’t have to justify your actions much, sometimes “I don’t know why I’m
doing this, but ...” is sufficient.

GO LINE FOR LINE

You can almost guarantee a good improvisation if each player says one line at a time and then listens to
the other character's line and responds. The response should be based on the last thing the other
character said.

JOKES (beginners)
Never try to be funny or tell jokes on stage. Humor will arise naturally out of tight relationships and
solid, simple plots.

JUSTIFICATION
You must provide reasons for everything the audience sees that doesn't make sense. If you don't, it will
disconcert them. That is, if 3 characters each mime the refrigerator being in different places, then the
character who damns putting rollers on the thing will put the audience's mind at ease and allow them to
get into the story and characters. They will also get a laugh, but that doesn’t matter as much.

KEEP THE FOCUS HUMAN AND ONSTAGE (beginners)

Careful not to stare too long at objects that are offstage, on the floor or in your hand. What's interesting
is a human reaction to the object, not the object itself.

MAINTAIN YOUR CHARACTER'S POINT OF VIEW

If a character starts out adoring spider monkeys, but then decides she hates them 10 minutes later, it
may confuse the audience and your fellow actors. They'll be like huh? If you're consistent, then the
other actors will best know how to support your character.
MIME BETTER, MUCH BETTER
50% of what the audience thinks of you as an improviser hinges on the quality of your mime and
physicality. Don’t believe me, go out this week and watch the best improviser in your city. I’ll bet you
they do incredible object work. Sadly, few improvisers ever do anything to improve their mime and few
teachers have any worthwhile mime exercises. Use this fact to get ahead in life, kid.

PLAY THE OPPOSITE EMOTION

Something to try now and then in two person scenes. For example, if one person is frustrated, come on
at ease and relaxed. A basic comedic structure which is the basis of many comedic movies, plays, and
TV shows.

PROVIDE INFORMATION ABOUT THE OTHER PERSON

Scene going nowhere? Tell the other character something about him/her self. The simple comment
"Nice tuxedo", can launch into a back-room panic session between a groom and his best man. Getting
specific makes scenes go somewhere fast. Staying vague leads to scenes about two nondescript people
standing in the middle of nondescriptland talking about tacos. Just kidding, tacos are descript.

RAISE THE STAKES

Scenes that are going nowhere can be much improved by putting more at risk, that is, introducing some
large consequence for the characters.

Why have:

--Hey, if you buy me that piece of candy, I'll eat it.

When you can have:

--Hey, if you give that cop a wedgie, I'll let you kiss me.

TAKE CARE OF YOURSELF

This simply means going into every scene with an activity or emotion. This does several things i) it
gets the scene going faster ii) it provides information which your partner can use iii) and, perhaps most
importantly, it gives you something to do which makes the audience comfortable. What do I mean
"comfortable"? If the audience sees you standing there doing nothing, they think "oh no, he doesn't
know what to do. He's worried. He's confused". Then they feel bad.

The audience wants the actor to succeed. The moment you launch into an activity (baking bread,
counting money, sweeping the floor) or an emotion (hope, love, pride), the audience thinks "oh, I see.
They know what's going on. They have a plan" and then they relax and enjoy the show. Of course, you
don't really have a plan, and you don't really know what's going on. As Mick Napier said:
"improvisation is the art of being completely O.K. with not knowing what the f-- you're doing." In
more polite English, the best improvisers appear completely confident even when they have no idea
what's going on.

THE BEST ADVICE I CAN GIVE ANY IMPROV GROUP ***

See “Go line for line.” It’s really that simple, people.

TWO PERSON SCENES

When your long-form piece is getting out of control, returning to two person scenes and "going line for
line" will restore harmony in no time. (Yes, I know this is the third time I’m saying this, but it’s just
that true.) The number two can be held steady by having new entrances cause immediate exits of other
characters, but this shouldn't go too long. If the stage is crowded, then low-impact is the best policy for
the non-essential characters, as well as clustering, that is, forming a group (physically and
ideologically) behind a leader. Please don't abandon someone

on stage unless they want to be left alone there.

QUESTIONS THAT TAKE WITHOUT GIVING ARE BAD

Why ask a question on stage? Are you expecting your fellow-actor to have a ready answer? What if
she doesn't? Doesn't that put her on the spot? Don't most questions slow the scene unnecessarily? If
it's a yes-no question, are you prepared to react to both yes and no answers?If no, then aren't you in
trouble if the wrong answer comes back? If yes, then aren't you writing?

Any question can be turned into a statement. The nice thing about statements is that they provide
information you and your fellow actor

can immediately start building upon.

Why go through:

--What time is it?

--Uh, 3:30?

--Are you ready?

--Yeah, are you ready?

--What are we doing?

--I don't know. What's the capital of South Dakota?

--Uh, Fargo?

When you could have:

--It's 3:30

--We're right on schedule.

--Johnson should be handing the teller the note right now.

--It's 3:31. Ski masks on.

--Think I have time to run to the bathroom?

--Why don't I ever get paired with Johnson?

Questions which don't require answers are fine. Questions which provide more information then they
demand are fine, too, e.g. "Think I have time to run to the bathroom?" This question introduces
information, raises the stakes, and doesn't require the fellow actor to come up with a response.
Rhetorical questions are fine, e.g., "Why don't I ever get paired with Johnson?"

A drill to point out question-asking in rehearsal, is to respond to each other's questions with "that's a
good question ..." or adopt the Yiddish practice of answering with the exact same question:

--What do you want? [bad question, contributes nothing to scene]

--What do I want? [actor 2 points out that actor 1 is putting him on the spot instead of contributing]

--Look, I'll get you the money tomorrow [hurrah! actor 1 gets the message]

“WHAT MAKES TODAY SPECIAL?” IS A FINE QUESTION TO ASK YOURSELF

Think about a scene as "a day unlike any other day." When it seems like something big or outrageous
is going to happen (e.g. someone is about to confess their love, someone wants to rob a bank, wants to
swim naked in the river, don't just talk about it -- do it. In relationship scenes, think about saying the
thing you've been waiting to say for 5 years (e.g. I love you, I love your twin, I ate your hamster ...)

“WHO WHAT WHO WHERE?” ARE GREAT THINGS FOR PEOPLE STARTING SCENES
TO ASK THEMSELVES
A fine way to start a scene is to lay out who both people are, where they are, and what they are doing.
You may provide this information or do it for the other character. Just be sure to accept all information
the other character provides for you. Who? what? who? where? is nicely followed by raise the stakes --
sort of an opening gambit for improv scenes.

APPENDIX
Here are some vocabulary terms I've grown to know and love:

blackout - A very short scene, often just a few seconds.

Three of them make a runner.
characterizing action - an action which says to the other performers and the audience what sort of
occupation or social role the character has. These are often used to begin scenes, such as when teachers
erase blackboards, and what not.
denial - Trashing what somebody else has set up on stage, be it mime or fact
fourth wall - The wall that isn't there which, if existed, would go between the players and the audience.
Beginners need to be careful about turning one's back on the fourth wall!
gag scenes - Very short, funny scenes. People doing them should not feel obligated to further the plot
or present any vital information. These scenes are just plain fun and the people on lights should treat
them as such.
geography warm-up - is spelled as follows:

Trinidad and the big Mississippi

and the town of Honolulu

and the lake Titicaca.

The Popocatepetl is not in Canada

but rather in Mexico, Mexico, Mexico

Canada, Malaga, Rimini, Brindisi

Canada, Malaga, Rimini, Brindisi

Yes Tibet Tibet

2 3 4 (repeat)

Notes: Popocatepetl ((po po ca te' petl) nickname Popo) is a volcano in South central Mexico which
erupts all the time, even 11 days before I wrote this. It is not a seaport. Malaga is a seaport in Southern
Spain, home of strong, sweet Malaga wine. Rimini is a seaport in Northeast Italy, which is like Fort
Lauderdale for European youth. Brindisi (Brin’de zi), sometimes nicknamed and mispronounced
"sleazy Brin dee' zee," is a seaport in Southeast Italy where you catch the ferry to Greece. A girlfriend
and I once asked the tourist office if there were any movies in town. "Only for men," they said.

justification - providing an explanation for something the audience saw that didn't make sense
reflexive action - an action a character does repeatedly and unconsciously. Helps make the character
stand out from the crowd, as well as seem familiar like an old friend, or that special pair of moccasins.
One way to "take care of yourself" on stage.
rule of a thousand - continuing on after the rule of three until things become funny again. Some
people believe this works something like a sine wave, so there's always hope some thing may get funny
again even if it's starting to look really desperate.
rule of three - Three humorous events (scenes, jokes, etc.) on the same topic or with the same gist.
The third is always the hardest hitting.
runner - three blackouts on the same theme with the third one being the biggest laugh of all.
status - Whoever has influence or control over a situation has the higher status in the scene. Many
pre-defined stock relationships, such as, judge / plaintiff have status build right into them. Status can
easily invert and this can become the plot of entire stories, a la Trading Places.
yes and - two great words which encourage the person who says them to accept information and add to
it