Improv Theory
Improv Comedy for Rochester, NY
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for more detailed thoughts on
the idiot's art of improv, go to
Our Philosophy
We believe that the art of improv is filled with paradoxes and contradictions.
*If you feel stupid doing something, you're probably doing it right.
It has been our experience that whenever people "try" to be funny, they usually fail miserably. But when those same people stop "trying" and perform uncharacteristically, they often feel stupid about what they have done and that is when the audience is often laughing hardest.
*Improv is both very personal, as well as a very social art form.
We have a unique curriculum of improv comedy that helps you identify your unique abilities--both strengths and weaknesses. But the ultimate measure of how good you are, is not if you are funny or talented, but if other people want to play with you.
*Spontaneity takes practice.
Being spontaneous is just like any other ability. You can be talented, but you need discipline to be talented... consistently. We're the only improv troupe in Rochester, NY that holds 6 different improv comedy rehearsals a week--and we're going to be adding more. We find that learning to fail well is the only way to succeed.
The Four Elements
of an Improvisor:
Head, Heart, Body, Beard
When analyzing an improvisors and their artistic choices on stage, one must realize that most choices are made out of inspiration, fear or both. These choices, in my experience, tend to fall in one of 4 domains. Each improvisor is initially--consciously or not--drawn to improv as an art form because some ability within themselves resonates with one of these 4 domains. Perhaps they like the physicality of improv, then they resonate with being a "Body" improvisor. Perhaps they want to be funny, so they are drawn to being a "Beard" improvisor. Perhaps their intellect drives them, and they like stories and connections, so they are motivated by the art of storytelling to become a "Head" improvisor. And then maybe perhaps, they are actors who love to emote, and the pursue the exigency of being a "Heart" improvisor.In my experience, Body improvisors gravitate towards the physically demanding improv--Slide show, Forward/Reverse, Silent Scene, and other physical short form games. Head improvisors tend toward long-form--both thematic Harolds and narrative, genere-based improvised plays. Beard improvisors prefer gaggy short-form games. And Heart improvisors do well with open scenes and other formats where emotinoal scene work is needed.While we may know plenty of improvisors that excel in multiple areas, (or conversely, know plenty of them that have weakness is a few places) everyone tends to have a comfort zones with respect to the different types of improvisor. The really great improvisor excels in multiple areas, and has the wisdom to pull out the correct skill at the correct time.The Head Improvisor
These are the storytellers of the troupe. They see how all the pieces of a Harold connect. They know how to add to a story to get exciting tilts. When they heighten and raise the stakes, it is usually referential to something that occurred earlier in the performance.
The problem arises when their individual mind is not working with the group mind... and they insist on telling you why the group mind's version sucked.
The Heart Improvisor
They are the rare breed of actors who do improv. Their main skill is that they exude emotional authenticity. (They hate playing/saying "yes, and" because it is unnatural and not Method acting.) They want their scene work to be compelling; they don't care if the scene isn't comedic.
The problem with this type is that they don't care if the scene isn't comedic. They can pretentiously have a tendency to prefer cathartic scenes over gaggy improv. (Marshmellow serious scene? Forget about it.)
The Beard Improvisor
These are the punny, quick-witted ones of the troupe. Their silver tongues are connected to their ears (hence, the term "beard"), listening for the right time to drop the perfect groaner. In the wild, they are often mistaken for stand-up comedians, but upon close inspection, these improvisors prefer an extemporaneous joke rather than a pre-meditated. But make no mistake, it is still a joke.
The problem with these guys are they are scene-stoppers, improv terrorists if you like. They believe the only way to save a bad/unexciting improv scene is by blowing up what everyone worked so hard to build on stage. They drop the joke, the laughter (or groan) explodes the story, and while the pieces fall, they don't contribute any further to the betterment of the scene.
The Body Improvsior
These are the athletes and mimes of the troupes. They are great at using their bodies on stage. They're not afraid of doing the sommersault when needed, or the well-placed pirouette. They aren't thrown off by performing an action while talking about something else. They are meticulous with Right/Lefts when playing pass the sound in motion.
The problem arises when their physicality does not fit with what is going on. Or they flail around when only a flick is necessary. They have yet to take Hamlet's advice: "suit the action to the word, and the word to the action."
