Rules of Improv Improv is an art. However, it is also a craft. A craft is something that is learned through practice, repetition, trial, error and intention. Much like any other art, skill in improv is acquired over time. The more time spent improv-ing the greater the improvement (pun intended). All creative and cooperative endeavors work better within a set structure and set of rules. As with any art form, you can break all of the rules and still have quality; however, those able to break the rules successfully are those who first learn and understand the rules. Generally speaking, successfully breaking the rules only happens when all players have established great trust of each other., also, which comes from learning and repeatedly applying the rules. The rules below were written primarily for creating successful improvised scenes, but the spirit of them apply to all the games as well. So, below are the basic rules of improv that I promote in my workshops… By the way, I and most of my fellow improv players have found that applying these rules to daily life makes relationships of all kinds work better and life more enjoyable in general. 1. Support Your Fellow Player/s is the most important rule. When everyone can be assured of complete support, each player is able to work fearlessly and reach for the highest goals, enriching the experience for all. Some how-to’s for supporting your fellow players: a) Respond with “Yes’-and... ! rather than 'no, but--' ” “No” creates tension, argument and confusion, which is not entertaining and leads nowhere. For a concept to take off or story to be built, whether it is short form or long form, the players have to agree to the basic situation and set-up. The who, what, and where have to be developed for an idea or scene to work. By saying yes, we accept the reality created by our partners and begin the collaborative process from the start. The collaborative process or group mind helps make us giants, animals, villains, saints and more importantly put us in situations that we would normally avoid. b) After the “‘and,” add new information. An improvised scene can’t move forward or advance unless we add new information. That is why new information is added after the “Yes” of “Yes ‘and!” Example: “Yes, I washed big dawg and I fed him your steak too! Rather than: “Yes, I washed big dawg. ...(SILENCE)” Example: “Yes, I accept being your assistant Heir Doctor and will gladly get the princess’s body from the morgue for you tonight.” Rather than: “Yes, I accept being your assistant Heir Doctor. (SILENCE)” Note: Saying “Yes’and” does not mean there will not be conflict or that we would accept something our character would not accept. c) Avoid Blocking. (another aspect of saying 'no'). The opposite of saying “yes’and” is blocking or denial. Denial destroys or stops the addition of new information or worse negates what has already been established. Blocking is a way of minimizing the impact of new information. It is also a method for the performer to play it safe. The performer maintains control and avoids vulnerability by blocking. But in improv we say the opposite of what we would say in real life, “go there.”, rather than don’t go there. Blocking at its simplest levels involves saying “no,” or avoiding a subject. At a more advanced level, blocking is something that keeps the action from moving forward or the players from changing. d) Avoid Questions. Another form of blocking (in its more subtle form) is asking questions. Questions force our partners to fill in the information or do the work. It is a way of avoiding committing to a choice or a detail. It is playing it safe. However, on more advanced levels, questions can be used to add information or tell your partner the direction to go in. Example: “I know you’ve been seeing Jenny for four years.” Rather than: “Are you going to tell me about her?” Example: “I can see how excited you are about going to Pirates Isle in the ghost ship-- me too!” Rather than: “How do you feel about going to Pirates Isle in that ship?” e) Avoid trying to ‘steal the scene’. It is a big temptation to try to be the STAR of the scene. Ironically, when you try to be a star in the scene, it usually takes the energy out of the game or scene rather than making it more enjoyable, and reduces your fellow players to spectators who can add nothing to what you are doing. It is something to note that what is most often said about the biggest stars in Hollywood is how ‘generous’ and ‘helpful to their fellow actors’ that they are. 2) Trust yourself! Your create is as good as anyone’s. Your contribution is absolutely needed! Your fellow players can’t do it without you, and the improv won’t work without your full energy and committment. This is an especially important rule for those who experience stage fright or ‘freeze’ or struggle to create. 3) Focus on the Here and Now--and your fellow player!. Another useful rule is to keep the focus on the here and now. Taking the attention (and pressure) off of yourself to ‘make the game/scene work’ will free you up and facilitate real creativity. Another way of saying this is ‘The whole is always greater than the sum of its parts’, or, ‘united we rule, individually, we fall’. An improv/ scene is about the people in the scene–and it is co-created!. The change, the struggle, the win or loss will happen to the characters on the stage. Focus on what is going on right this at this moment. How:Here are details to focus on which will help establish and enlarge the improv: Why is your partner moving away from you? Why did she use a questioning tone? What did the slight smile mean? How do you, as your character, feel about what she is doing? 4) Demonstrate, or use actions rather than just words to create a reality. Remember, it isn’t just about the words; it is about what is happening. The words are tools used to accomplish or to pursue a goal (objective or need). 5) Establish the Location! Good scenes take place somewhere and at sometime. They do not take place on an empty stage. A location can easily be established in one or two lines without breaking the scene. Examples of opening lines that establish a location: Example One: “My God, Bob you’ve put the tiger in with the bison again. The zoo manager will be so pissed at us.“ Example Two: “Cast off the main line already Sheila, we’re going to win the race, the 1970 Lake Boona race, not like the 67, 68 and 69 races! With the new rudder we should have smooth sailing. Example Three: “Hmm, so you’re riding one of them auto-mobiles. Damn, well it is the 1890’s. You New York City people, Markus, have all the modern things. Next you’ll say you have electricity. I knew coming to New York would be exciting, my dear brother.” Each of the opening lines above provides an idea of a location. By working with your partner, the specifics of the location are further worked out. Of course, it is even better when you can establish location without words or with minimal use of dialogue. 6) Be Specific- Provide Details! Details are the lifeblood of moving a scene forward. Each detail provides clues to what is important. Details help provide beat objectives and flesh out characters. Example One: “You’re the best brain surgeon in all of West Valley, Mark. That’s why I chose you to operate on mom.” Rather than: “You’re the best doctor in this town, which is why I chose you.” Example Two: “You mean like when you stole Dad’s purple heart, you know the one he received in World War I for charging the German Foxhole with just a pistol! Rather than: Like when you stole the medal he won in the war. 7) Change, Transform, Change! Improv is about character change/growth. The characters in a scene must experience some type of change/transformation for the scene to be interesting. Characters need to go on journeys, be altered by revelations, experience the ramifications of their choices and be moved by emotional moments. We go to the theater to see the unusual days characters have, not the everyday moments of stasis and stagnation. 8) Work at the top of your intelligence. Humor or topical scenes that focus on the slapstick, the crass or lowest expressions of humanity such as pratfalls/clumsiness/physical disability, sexual deviancy, sarcasm, drug use or alcoholism are ‘easy outs’ and get a reaction from an audience due to creating titillation or discomfort, and are seldom interesting or funny unless you are introducing new or more meaningful information/views about them. It is usually better by far to focus on characters and relationships. 9) For achieving the best in humor, COMMIT and take choices to the nth degree or focus on actions/objects. A good long improv is balanced. Shakespeare knew that too much pathos was wearing on the audience; hence, he had minor characters in humorous scenes such as the drunken porter in MacBeth. To create humor in improv, commit to choices to the nth degree or focus on actions and objects. Another way to create humor without doing so at the expense of the scene is to take every offer literally. 10) Have fun! Improv and relationships of all kinds work best when there is naturalness and laughter, so don’t take yourself, the game or your fellow players too seriously. It is a common misperception that suffering is necessary to the greatest creativity. That simply isn’t so. A sense of fun, play, comradery and zest for living is what makes improv and life, a rich experience. Even with serious scenes, love, fun and enjoyment of our fellows is far more compelling to full participation than over-seriousness or misery, so be sure to stay light and ready to make the most of every game. Even flubs, apparent failures and faux pas can be made into successes with a little help from our friends. There are more ‘rules’, but they are generally variations of the above. And if you really want to improv successfully-absorb the rules until they are part of your natural actions, commit to everything you’re doing, immerse yourself in moment to moment objectives, listen to what your partner says (and doesn’t say), look for the why in everything said and done by those in the scene, choose, use and play, and be changed with every beat… | 
