I am grading my online course materials and preparing for my two theatre classes this afternoon and evening. The first was designed for first year students to study “improv comedy” and apply it to public education and self awareness. The second is to add performance tools to the language educator’s “toolbox”–applied and theoretical. Here is a link to one such improv game, “Yes, Let’s!”
I taught my language teachers about the concept of speaker-listener economy–a fundamental human trait is to want to do the least amount of labor for any given result. So we compress language to its most essential parts–“Do you want to go to the movies?” While the answer could be: “Yes, let’s go to the movies.” One common way to shorten the response might be “Yes, let’s [go; go to the movies]” or “Sure, this afternoon?”
So we play this game over and over and draw students attention to this concept while having fun imagining the craziest “invitations” one might give to another and to teach a fundamental improv rule: Yes, and. That is, improv actors learn to accept another actor’s suggestions in order to build a scene up rather than knock it down.
Q: Do you want to go to the movies?
Q: Do you want to go to the movies? (spoken in a heavily accented English)
A: What? (expressed in frustration, disdain)
Answering “no,” or “what?” above, is a punch to the gut. It stops the invitation in real life; it stops the scene on stage in an improv show. What about:
Q: Do you want to go to the movies (spoken with a heavy accent)?
A: Still tuning my ear to your music and I didn’t catch what you said–can you ask me again?
Q: I know it’s sometimes hard to understand me (pause, speaking slowly), ‘would you like to see a movie with me?’
Sometimes what is “economical” (the short way to say something) is not always the best choice!
Improvisation on stage may seem to be “just fun” but in real life we can make great use of these skills–seeing all human actors as connected to bubbles of influence that inform what they say, how they say it, to whom, for what purpose and to what end. What if we taught ourselves that we always had choices in each lived conversational moment? What if we could see all the bubbles informing what a speaker says and be better able to speak to that “side” of any given human actor?
This article I recently published is a way to “take a knee” in solidarity with the #BlackLivesMatter movement and with a call for greater human dignity and care. I am happy to see this article in print and hoping it gives me more courage to practice that which I write about with students in my courses and with real people in everyday living.
Take one. Take two. Take three. Every day is a rehearsal for learning how to perform as a more compassionate and considerate human being.