Camp Improv Utopia, Scene Work, Teachers

I Studied with Rebecca Sohn at Camp Improv Utopia West, and I Loved It!

Got to study with Rebecca Sohn for the first time at Camp Improv Utopia West!

It was a real treat for me as I’ve been studying with Rich Sohn for the past year and a half on Zoom through the Pack Theater, and to be honest, I’ve been a fan of his since he and Rebecca first arrived in LA.

Rebecca’s workshop was amazing! She taught us to deescalate the pressure we as improvisers put on ourselves to have amazing scene starts, and to just go out there connect with our scene partner and have fun.

Here are some nuggets of Rebecca’s Wisdom:

The scene that is happening is the most important moment.

Just because someone steps out to support doesn’t mean they have an idea.

We have to be tricked into not getting into our heads.

The person who took the risk just wants someone to show up for them.

Free yourselves of what constitutes a good initiation.

A good initiation: someone starts talking

Remember: we’re the only ones who care about the form and suggestion (the audience doesn’t).

No pressure is permission to make any choice.

As improvisers, we are most powerful when we stick to the first choice.

Beginning a scene is like rowing a boat: you’re moving forward but always looking back to what’s happened before.

One more takeaway:

I loved that we had a workshop on this micro-skill. It’s little things like this that actually make a big difference in becoming a balanced improviser.

Also, I was humbled by Rebecca’s confession that this is something’s she’s still dealing with; therefore, this is something we’ll all deal with for the rest of our improv journeys. It’s good to know there’s always more to learn. Now go study with Rebecca, y’all! And go to Camp Improv Utopia!

#improv #rebeccasohn #ciu #campimprovutopia #performer #editor #improvteacher #coach

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What I Learned About Space Object Work & Its Relationship to Character Work from Rich Sohn’s Pack Level II Class

Go Study with Rich Sohn

I just love studying with Rich in his Pack Level 2 Improv Class — I feel like I learn something new every time I work with him, or I look at something I’ve taken granted – like space object work – with new and fresh eyes, a renewed energy and focus to charge my improv with new purpose and intention.

Enjoy these quotes, and I hope they bring as much insight and learning to you as they did to me.

“We put too much weight on ourselves when we’re doing object work that it has to be perfect and that the audience has to get it; if you believe it, they believe it, and it gives you a chance to play an emotion.”

“Good object work creates structure from which you can express your character.”

“The tendency with object work is to show us that you’re doing it, but does that mean you’re actually experiencing the thing or indicating?”

“Indicating – Really charading your object work so that the audience gets what you’re doing; it’s not about actually doing the thing.”

“Indicating is residue of fear or lack of commitment. Person is not consciously doing it. There’s an artificiality to it.”

“The goal is to have the environment you create be as real for you as you can and be as useful for you as you can.”

“You find a way to express your character through object work.”

“Add an emotion to your object work to give your character some intention.”

“The audience sees the intention and forgives any issues with the object work.”

“The audience doesn’t care about the accuracy of your mime work if you’re character is acting with intention.”

“The audience’s eyes are looking at your character, not your craft (whatever space object thing you’re doing).”

“When you hit something in a performance class that makes you uncomfortable, it’s something you should invest in harder – it’s a sign of what your pressure points are.” – Rich said this in reference to the space object work exercise we did in class

Hey y’all, all I gotta say is: Go study with Rich!

PS: Neal Dandade is pretty badass too.

#improv #richsohn #packtheater #annoyancetheater #spaceobjectwork #character

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The Improv Life: What I Learned About Editing from Rich Sohn

The Improv Life: What I Learned About Editing from Rich Sohn

I studied with Rich Sohn online this past year for his Pack Theater Level 2 improv class.

It’s a 4-week session, but you get a lot, and you get a close look at Rich’s improv philosophy, shaped by his years studying, performing, and teaching improv in Chicago, the mecca of our art form.

I liked the class so much I took it twice. And I want to take it a third time. I’m at a point in my journey where Rich’s philosophy and teaching style vibes with me well.

I learned a lot, but I learned about the importance of editing. Scene edits are the invisible fabric of a good show. A good scene depends on how well it’s edited. If you have enough good scenes stringed together, you got yourself a show you can hang your hat on at the end of it.

Pop quiz hot shot: you’re on the sidelines and your team is dying on stage, begging to be edited, but you don’t have an idea for a new scene – what do you do?

You get your teammates the hell out of there, and you trust yourself and your new teammate on stage to make a new scene and figure it out from there. Getting your teammates out of danger is more important than having some hot shot idea for an amazing scene.

A scene that goes on too long is risky. It affects the energy of the overall show. Teammates get insecure, feeling like their sinking in quicksand and being abandoned by their teammates, and the audience is weirded out by uncomfortable scenes that seemingly never end but feel like they should. Good editing solves all these problems and increases the likelihood of good scenes and good shows.

Basically, good editing saves the day.

Knowing how to edit is one of the most important skills an improviser could ever develop. This under appreciated ability can be one of the difference makers between an amazing, out-of-this-world show and a “Meh” show that leaves everyone feeling weird afterwards.

Thank you, Rich. Because of you, I know the importance and power of editing (and how to do it). I encourage all of you to go study with Rich Sohn ASAP.

Let’s talk tomorrow,

Fernando

#improv #edit #editor #cut #packtheater #teacher #class #team

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The Improv Life: What I’ve Been Thinking About After 4 Days of Performing – Thoughts on Bad Improv Shows, Being on the Backline, and Purpose

I got a lot on my mind that I want to share.

I’ve just done 4 shows in 4 days, and I’m awash in knowledge!

I was so lucky to play and learn from so many amazing people, and I got all these thoughts and insights that I need to share right now before I lose them to the tide of time.

Thoughts on Bad Improv Shows

*Was lucky enough to not have a bad show in this little run I just did!

1. You can’t predict a bad show; they kinda just happen, and you deal with it as it happens.

2. Good shows go by too fast, and bad shows take forever to end.

3. Not respecting your teammates and their choices is one of the root causes of bad shows.

3a. You don’t like a scene partner’s choice, so you try to course correct by adding a new idea to the scene. An idea you think will save the scene, thereby by saving the set.

3b. It’s disrespectful, condescending, and happens more than you think. I’m thinking of a specific person as I write this, and I’m wondering if there aware of their arrogant behavior. In their mind, they think they’re helping.

3c. And I’d be a hypocrite if I didn’t confess to doing this myself under the guise of “helping” when it was really a matter of taste.

3d. Agreement on taste is something improv groups don’t talk about enough. We call it style when we mean taste. Style is how you do something and taste is the product.

3e. People can have similar styles but different tastes.

3f. Sometimes you’ll find yourself in a situation where your taste is different from the majority, and you’ll have to leave (or someone will ask you to).

4. Bad shows can also come from insecurity.

4a. You’re insecure about your abilities, or don’t trust your teammates, so you project that insecurity and lack of trust onto your scene partners, and you poison the energy of the show in progress.

4b. I was on a team where every single member did this, including me. We were a bipolar team going back and forth from grand slams to big losses.

4a. The audience won’t always tell you if you had a bad show. Sometimes it’s your teammates in the vibe they give you after a show.

4b. But the audience will let you know you’re bombing. You’ll know. You’ll feel it in your posture and go into a silent panic asking yourself and your teammates through eye contact, “How are we going to get out of this.”

4c. Talking to a show audience after you bombed is soul crushing. Their lips say “Good show,” but their eyes say “You sucked.”

4d. It’s the eyes, man. The eyes say it all.

5. After a bad show, you just want to get the hell out of there.

5a. If it’s a good show, you go out to eat together.

5b. The more you do this, the higher your batting average gets with good shows vs bad shows.

5c. But it’s also on you to be conscientious about your style and growth, and how your choices (or lack of them) can lead to a bad show.

6. Bad shows are going to happen. Don’t let them get you down. And if you have a good show, celebrate it, but don’t let it prevent you from going out there and doing it again for fear of failing.

7. Every show is a sandcastle that will be washed away by the rolling tide of the ending day.

8. One last reason for bad shows: Chemistry: sometimes you don’t vibe with someone and that’s okay. Play with other people.

Being on the Backline

Just so many insights.

9. I’m always listening, listening, and listening, and then when I’m done listening, I listen some more.

10. I’m paying as much deep attention as I possibly can, always asking, “Am I needed here?,” “Can I add anything?,” and “Is the scene fine as is?”

10a. In your mind you’re thinking, “How can I help?” And that’s the million dollar question for me every time I’m on the backline.

11. One of the best lessons I’ve learned about being on the backline is to let scenes breathe. Give your teammates the space they need to find their scenes, develop their characters, and figure stuff out for themselves.

11a. The stronger your teammates are in their characters, the stronger they’ll be in their scenes.

10a. In your mind you’re thinking, “How can I help?” And that’s the million dollar question for me every time I’m on the backline.

11a. The stronger your teammates are in their characters, the stronger they’ll be in their scenes.

12. But if you have to edit because the scene is asking for it (your teammates are asking for it) then you have to edit.

12a. Tag someone out and start a new scene with the remaining person, sweep edit to wipe away the stage, take edit to start a scene with someone else without knowing where it’s going.

12b. Editing when helping your teammates get out of an awkward position is always a good choice.

13. I like being on the backline for a lot of reasons.

13a. If I’m playing with new people, I’m learning their style, thinking about how I can compliment it, add to it.

13b. But sometimes you just want to watch a hilarious person crush.

14. It’s also learning about restraint. You might have a really funny idea, but it would  interrupt whatever is happening or take away focus from your teammates as they develop something. Plus, you don’t want to take away stage time from them.

14a. I guess part of me being on the backline is wanting to help and protect my teammates.

14b. Rich Sohn’s voice just popped up in my head telling me that, “That kind of attitude is condescending towards your teammates because it presumes you don’t trust your teammates to take care of themselves.”

14c. He would then add, “Take care of yourself first and then worry about your teammate,” meaning know who your character is and take it from there (that’s how I interpreted it at least).

14d. Everyone should study improv with Rich Sohn at the Pack Theater. Dude knows what he is talking about.

15. But I still want to practice restraint.

15a. My ego and my humility are constantly arguing whether I want to join the scene because I want to add to it or because I want to become the center of attention. That’s a real question. Always.

Purpose

Insights on insights on insights.

16. Improv is a gateway to other types of comedy.

17. Start with improv, and then go try standup, sketch, clown, character, whatever – let it be your door to trying new things.

18. Trying new things is about exploring parts of yourself that need to be discovered. It could be something you find is not for you, or you may stumble upon a key to unlocking parts of yourself you didn’t know existed.

18a. It goes the same with people. The more people you open yourself up to, the more likely you are to find some compatible collaborators.

18b. Honestly, it’s always fun playing with someone new when your energies align.

18c. Doing improv with someone you vibe with accelerates friendship. Truth.

19. If you can, help out the next generation of improvisers. Share your knowledge and experience with them. Do shows with them, play with them, but I understand that this is not everyone’s bag, and that’s alright.

19a. Just don’t be a dick to new people.

19b. Your tenure at a theater, status in a community, or years of doing improv doesn’t give you the right to be disrespectful to people.

19c. I’m guilty of invoking all three at some point to be rude to people, and I feel sorry for that. I’m trying to be better every day.

19d. Still plenty of people who do this. You know who you are.

20. Look, just be nice to people and don’t be a dick.

21. This community has a long memory. You won’t forget the people who did you wrong. However, you’ll always remember who helped you out.

22. Be someone worth remembering for good reasons.

Take care, y’all.

#improv #shows #performer #theater #writer #actor #bts #cast #ensemble

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