First we did a couple of warmups to work on character. Weirdo is a way to dive into a physical approach to character without thinking about it too much. It’s a great to stretch our boundaries so that we can make stronger choices when it comes to doing scenes. Next we did a point of view exercise where we took on points of view that are not our own. This can be a great source of characters for improvisations. We can enter a scene with a strong point of view that is not our own, or we can give ourselves a strong point of view in a scene already in progress. 

Next we did another round of Character Wheels. We tried on characters with a strong point of view and tried to carry that point of view through numerous scenes. 

• Remember that if you are initiating a new scene with a character, you are there to set the table and to provoke the character. They get to decide how they are going to react to the provocation. Don’t decide it for them. 
• Also, remember to put the character on the roller coaster rather than put them in a scene talking about roller coasters. 
• Remember, it’s not just about taking these characters to the most obvious places that conflict with their point of view. Don’t be afraid to take them to places where you have no idea how they might react. 
• If you are the character with the unique point of view, remember you don’t have to filter every last line through your point of view, but when figure out how your character connects to the situation, go for it!

The rest of the class we did La Ronde, a different structure which has a similar challenge. We still want to take fun characters to inappropriate places, but there is the added challenge of bringing your own fun character along for the ride too. Ideally we want to see scenes where two fun characters are dealing with each other. That way we have two ways to build off of this scene, not just one.

Lastly, we had a couple of situations where people made initiations that were a bit too vague. You don’t have to lay out everything in the first line, but you do want to give enough to your scene partner so that they get the gist of what is going on. “Wanna go faster?” and “What did you bring me?” are both ok, but we want first lines that give a bit more so that our scene partner feels confident to respond. 

Think of a theme for one our shows. I’d like each of the four shows to be special events. We want people to feel like they have missed something special by not being there. This won’t affect our “improv form” or the content of the actual improvisations, instead think more about the trimmings of the show. Is there going to be music? Is there going to be something special happening before, in between and after the two teams? Can we decorate the space? Should we all wear hats? Should the two teams have a theme defining them (Pirates vs Ninjas)? What would be the subtitle of this show?

I want you to think about this and write down a simple pitch for your idea. We will pitch them all in a meeting after class next week and come up with some kind of voting to decide which ones we are going to use (at least for the first couple of weeks).

Thanks,

Kevin

Next week is Second City’s general auditions. Over 500 people will be auditioning in 4 days. I will run a great many of these auditions, along with my friend Matthew Hovde. It’s one of the scariest auditions in the world, and it got me thinking about people I’ve known, and what it really takes to make it in comedy in the United States through this particular journey… improvisation. I think I know a couple of things. I thought I’d share some thoughts about what to DO in this often confusing world… This is real, not joke…

1. It doesn’t matter which school of improvisation you go into first or at the same time or whatever. There are sound reasons for any order or any degree of simultaneity.        
2. Don’t be seduced by being on a team. It seems like it’s enough and you are going along just fine. It’s not really enough, and it’s not a mark of evolution, it just seems like it is.  
3. Character work isn’t bad, particularly if you want to do sketch comedy. Don’t listen to false affirmation that character work or broader acting has a lack of integrity, it is just different. And that’s just true. Character range is a skill set that is not attained by continuously denouncing character range. It’s not something you can magically turn on at, say, a Second City audition. Believe you me.       
4. Write. For absolutely no fucking reason, write.       
5. Make it o.k. with yourself that you admit that you would want to be on the mainstage or on a house team or in an Annoyance show or on television or SNL. It really is o.k. Just don’t be an asshole about it. You won’t be, anyway. It really is o.k.       
6. Do solo work. Find a way to feature yourself.      
7. One person shows are fucking boring. Find a reason they’re not. Do that.      
8. Don’t wait for stuff. It not only drains your power, but actually has you be perceived as less powerful. You will have plenty of time to wait with great stakes for absolutely nothing when you move to Los Angeles. DO things here. Get a group. Create videos, write even more.      
9. Here’s two boring things: Headshots. Resumes. And don’t lie. This has happened: “We put this guy (someone holds up headshot) in the ‘yes’ pile. Anybody remember him? No? O.K.” (headshot goes in ‘maybe’ or ‘no’ pile) Because his headshot didn’t look like him, and his photo ironically worked against him. Look like your headshot, that is what they are for. Look like your headshot. Don’t lie on your resume. Man, you will get caught and you will look like an asshole. And even if you don’t get caught, you are that kind of person.     
10. Talent is everything. Just kidding. How you are to work with is as important. Your character shows up everywhere. Whether you are at S.C. or Playground or Ale House or a class or Corcoran’s or I.O. or Skybox or Annoyance or in the middle of the ocean:
    
       a. everything counts.
       b. everyone hears about everything.
       c. everyone talks about everyone all the time.
    
    Your behavior could affect whether you work here or there for the bad or the good.
11. Take a break occasionally. From it all. For perspective, sanity, life. You and what you bring to the stage will benefit from your actual life experience. My own life has been a series of wonderful hobbies.    
12. Study acting. You won’t, but you ought to. You won’t because you think you are SO fucking funny, and don’t need it. But you do. You really do. I tell people that, and they say “yeah, yeah, but what do I need to DO to get an edge?” I say it. No one does it. It’s such an easy edge.