About neurodiversity in comedy and improv communities.
Many of us got into improv because we like words. We love witty banter, sometimes a clever little monologue in the middle of a scene, and the fun of building a story through conversation. But sometimes, that strength can also…
That voice in our heads, the inner critic, can be pretty relentless during improv scenes and sets. It might be telling you your idea was bad, or you’re not being funny enough. Maybe that you just ruined the scene or…
In a recent episode, 7 Scene Hacks to Help When You Make a Mistake, we talked about the idea that the path to getting good at improv to rack up ten thousand “failures” instead of trying to avoid these “mistakes”.…
You’ve probably done an improv exercise that trains you to remember details in a scene. For example, redo a scene you did and try to recall every sentence. Or associate words in a list and everyone tries to regenerate the…
There is a different way of thinking about getting better at improv. Failure is one of the best ways to learn new skills (this is scientific research, not just me talking). Duration, or number of hours doing a thing, is…
“I do not need to learn to communicate with men on my improv team because I am not a man.” That seems wrong, right? We know that to be a successful team member, we have to communicate with everyone. And…
One of the most common fears for any performer is that moment in a scene when your mind becomes a white, empty room. Your scene partner says a line, you open your mouth to respond, and there is absolutely nothing…
Learning any new skill, especially a vulnerable and complex one like improv, can sometimes hurt. We’ve all felt that sting of frustration and the dread of hitting a plateau. Sometimes we even feel that demoralizing sense that we’re actually getting…
Sabrina Banes and Jen deHaan discuss how our inner monologue can help our improv performances.
This article is about making eye contact with your scene partners, and other ways that improvisers and actors can facilitate connections on stage if meeting a direct gaze is not available to you. Traditional modes of connection are sometimes not…