This is a new exercise we’ve invented to add instant depth to otherwise 2-dimensional and clich\u00e9d characters.<\/p>\n
I actually love using clich\u00e9s in improv. I think using a clich\u00e9d or stock character can give you instant character posture, movement, attitude, voice, face, gait, genre, point of view, attitude, philosophy, accent and more. They are also very good at getting beginners to go bigger, open up, and extend the range of possible characters that they can improvise. They also knock people into a more playful spirit that stops improvisers thinking or worrying too much.<\/p>\n
The criticism against clich\u00e9d or stock characters is that they are 2-dimensional with no depth, but I don’t think it has to be like this.<\/p>\n
The clich\u00e9 or stock character is just the initial inspiration for physicality, from which never ending depths of character, emotion, behaviour and objectives can be layered on top.<\/p>\n
And the greatest tool to give instant depth to otherwise clich\u00e9d and 2D characters? You! That’s right, whatever stock or clich\u00e9 character you are doing, there’s still a massive ‘YOU’ underneath it and that opens a never ending world of inspiration.<\/p>\n
In the book Truth in Comedy they refer to wearing your character as a straw boater, meaning it sits lightly on top of you but the main thing is that there is a big honest you underneath.<\/p>\n
Honest. When we’re honest in improvisation we have never ending inspiration of background to the character, and never ending possibilities in how we respond to each offer. Too much fear and honesty breaks down, as we think too hard in measuring our response for the best offer rather than just responding straight away.<\/p>\n
Here are some exercises to practice so you can see what I mean:\u00a0<\/b><\/p>\n
Exercise 1: Solo Character<\/b><\/p>\n For example when I first lead this I ended being give Dracula that started like this: Which after a couple of seconds ramped into this:<\/p>\n “Mwa ha ha ha ha ha you see the thing is actually, that I got engaged the other day but the thing is I’m not allowed to actually tell anyone yet because my parents aren’t back from holiday, but I just have to tell someone because otherwise its stuck in my head and that just doesn’t feel right.”<\/p>\n This was honest about me there and then, and it added a new angle and a vulnerability to Dracula. And also a lot of story and scene potential – Dracula’s engagement and relationship with his middle class parents hasn’t been done before I don’t think.<\/p>\n You’re not just playing a<\/u> dracula\/hunchback\/goblin, you’re playing your<\/u> dracula\/hunchback\/goblin and what makes that one special is putting you into it.<\/p>\n This exercise also lead to goblins talking about their relationship history, a hunchback complaining about dentistry fees after a cap had fallen off his tooth, and an Old Lady pondering whether she should do an Open University Physics degree or not because she was “not sure if life is about avoiding madness and regret, or accepting that you’re going to have madness and regrets and living with them anyway”.<\/i> All of them were very fun to watch, and very exhilarating for the group to play. \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 <\/b><\/p>\n Exercise 2: Pairs<\/b><\/p>\n For example two pirates jump on stage and after cries of ‘shiver me timbers’ and ‘walk the plank’ one said “I’m really getting tired working all these long hours”. The other responded honestly with huge amounts of empathy, and it prompted a really cool scene about pirate working hours culture.<\/p>\n This also has the benefit of getting people to be honest with their responses, and honest with their initiations.<\/p>\n Sometimes ‘improv freeze’ happens when people feel like they have to make everything up. But actually you just have to be yourself in the present moment. The character will release a different side of yourself you might not know about or try to hide away usually, but it’s still you.<\/p>\n You’re not making stuff up, you’re responding to the situation – just like real life.<\/p>\n Blog by Steve Roe, Director of Hoopla Impro<\/i> New Character Exercise This is a new exercise we’ve invented to add instant depth to otherwise 2-dimensional and clich\u00e9d characters. I actually love using clich\u00e9s in improv. I think using a clich\u00e9d or stock character can give you instant character posture, movement, attitude, voice, face, gait, genre, point of view, attitude, philosophy, accent and more.[…] <\/p>\n\n
\n“Mwa ha ha ha ha ha, the night is out and I have risen, mwa ha ha ha ha”<\/p>\n\n
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