(Sarah and Keith - Anything Can Happen 2022)

This week I realized another link between improv and the kind of writing I like to do. Joan Didion used to say that she would write to find out what she was thinking. In improv, we focus on the other to find out how we are feeling. The stories emerge and change on their own.

David reminded us to make sure we come in next time with a poem or song that makes us feel strong emotions. We also need to revisit the 5 people from our past that make us feel strong emotions.

We closed our eyes to listen and said 'change' every time we heard a sound. Things change. We don't have to do anything but notice.

In Meisner, trying to 'get it right' will take us out of the moment. Instead of efforting to 'get it right', do this:

- review emotion words occasionally to remind yourself of the variety out there

- throw out your best guess, and then let it go if it is right or wrong.

We warmed up with Kitty Wants a Corner and Soundball. Then we lined up the chairs and two chairs on the stage set up for repetition.

Watching the exercise can be as informative as doing it. Are you able to catch the changes? Are you able to listen closely?

You do not need to make anything change, it changes.

Notice that with an audience watching we have the strong urge to 'be nice'. We have a deep belief that we have to be polite. There is an instinct to smooth everything over, like frosting.

Also notice that with an audience watching we WANT to be liked and noticed and affirmed. We want to be right. We have to let all of this go. This is like life - we are walking around always wondering on some level, "Am I okay, am I safe?" This exercise lets us drop that by focusing on the other.

I experimented with closing my eyes for one of the pairs to see if I could HEAR the change, like in the opening listening exercise.

Until there is an acknowledgment from our partner of the moment, we do not move on from the moment. If they don't take it in, say that. "You're not taking that in." We don't have to repeat something if that's going to let them off the hook.

Listen not to what is being said, but HOW it is being said.

"You cannot be a lady or a gentleman and be an actor."

The more you don't want to say a thing, usually the more you NEED to say it.

Everyone on the stage, Freeze Tag. Try to always establish Who, What & Where.

Two chairs on the stage, two person scenes. We are putting everything into practice here.

Final thoughts of the day:

- Every scene has a promise. The audience wants to see that promise fulfilled.

- If you want to be a brilliant improviser, follow the scene where it is going.

The next session of Improv from the Heart starts in June.

Sarah Elovich - Writer, Actor, Writing Coach (Re-Write Yourself)
Alameda, CA

Sarah’s IFH Journal - Day 8

Sarah’s IFH Journal - Day 4

Sarah’s IFH Journal - Day 3

Sarah’s IFH Journal - Day 2

Sarah’s IFH Journal - Day 1

Improv from the Heart