THIS IS A SERIES BY DAVID ESCOBEDO THAT OFFERS A SIMPLIFIED PERSPECTIVE ON THREE BASIC OR SMALL ELEMENTS OF IMPROV. THERE ARE SURELY WAYS TO DECONSTRUCT AND FIND EXCEPTIONS. IT WOULD BE HARD TO FIND ANYTHING IN IMPROV THAT OPERATES UNIVERSALLY. THESE ARE OFFERED AS ONE PERSPECTIVE THAT MAY HELP SOME PEOPLE, AND ARE JUST TIPS OF THE ICEBERG WHEN IT COMES TO THE CONCEPTS.
If you are interrupting your scene partner, you are truly not listening to them.
Anything sustained at one level through out the scene becomes white noise. Even if you are being loud and moving wildly, if that’s all you do, it become boring after a while. You may risk being annoying and discouraging a returning audience.
Learn moments to “rest the game” to add levels and also emphasize the game.
HANDS AND FACE ARE MOST DYNANMIC PARTS
Keep your face and hands out to the audience. The face and hands are the most articulate points of the body. They convey so much information about the story, your reaction and your character.
TTFN. Tah-Tah For Now,