Improv Resolution

Muscle confusion is all the rage in regards to exercise trends. Its purpose is to work as many different body parts as possible, so as to prevent plateauing with weight loss. Numerous studies have been performed that indicate repetitive exercise habits (ie. run forty-five minutes per day and do fifty push-ups) are often not as effective. Programs such as “P90X” are devoted to this principle.

You may now think I am some sort of physiological genius; I’m not. Let’s just say my waistline has seen better days. That doesn’t mean I don’t appreciate the value in this type of regimented training.

I am a nine-to-fiver by day and improviser by night. Making up stories with The Mop & Bucket Company is my cathartic release from a job that doesn’t change much. I’m constantly working the same mental muscle for my position by responding to appeals or complaints from my company’s clients. I’ve also developed (unfortunately) the same habit when performing.

We as improvisers will always have preferences. There is no hesitation when I see a desired scene partner on stage; I’ll jump at the chance to create another spontaneous relationship with them due to our familiarity and comfort level. I’d also prefer to crush a three-minute scene than bear the responsibility of carrying a sixty-minute long-form show.

In essence, this practice is hindering my growth as an improviser. Do we all marry the first person we ever dated? Hell no! Then why do we choose to perform with the first people who “got us” as improvisers? Or repeatedly take the lead in the same format?

The answer is simple. We - I, am scared. Scared that this new person is better than me, will bring me down with their subpar improvising, or that I’ll look dumb and uninformed playing a new game! The fact is that continuing this practice will not lead to further enlightenment, but improv plateauing. Even if a scene doesn’t work, we can embrace the failure as a learning experience.

Don’t work the same improv muscle because it is convenient and easy. Play with new scene partners and learn to adapt to their strengths and weaknesses. Offer to play a new game where the rules are difficult to grasp. Take classes with a new group or school.

I’m trying to accomplish the last thing I mentioned, as I have completed two courses at the Upright Citizens Brigade (UCB) Theater in New York City. Their focus is the Harold, a long-form game that I am just now familiarizing myself with. The classes have offered me an opportunity to break out of my comfort zone and perform scenes with both improv novices and seasoned veterans.

To say this experience is overwhelming would be an understatement. But, you don’t become successful without taking risks. Get out there and try something new.