What is dramatic improv?
What we do and why we do it: A message from our Artistic Director
Immediacy, Bravery, Vulnerability
I’ve been improvising for 30 years of my life. What surprises me now is not the thousandth time I’ve hear a specific joke told, a funny voice done, or a silly walk reinvented- seldom do I see the acting drift away from that- I’m surprised when people are real. It gives me joy when realistic characters react to other realistic characters with actual emotions, vulnerability, and honesty. I’d prefer to step away from the comedic tradition and explore something else.
When I teach or direct, I want my actors to act. To take the time to actually be vulnerable to one another, to be honest in the moment, and to play with real relationship stakes.
“I’d prefer to step away from tradition and explore something else…”
Dramatic improv, done right, has the opportunity to explore truly unique moments and connect with an audience on a personal level, beyond just a great, fantastic laugh.
Now, I don’t do dramatic improv because no one ever laughs. This is a frequent misunderstanding. When people hear the term “dramatic improv”, they often expect something with absolutely no humorous moments, and that simply is untrue. However, I would say that the laughs that come within dramatic improv are often richer, more fulfilling laughs, for both audience and actor.
When an audience has been quietly paying attention to your scene for 10 minutes and something strikes them as funny, it’s usually because the previous 10 minutes have built up stakes, emotion, and circumstances that make that one moment so damned funny. It’s a laugh that is well earned.
I would challenge improv actors to actually consider themselves to be actors. Consider yourself to be a playwright. Craft your words. Take the time to be emotionally vulnerable to your scene partner. Don’t chase after the laugh. Don’t chase the tears, either. Be honest. Talk like real people. Go where the story takes you.
Improv is acting. Improv is writing. Improv is theatre.