3 Misunderstood Rules of Improv Explained

I am seeing this over and over again — improvisers handcuffing themself in scenes by the so-called rules of improv. The thing that is supposed to give them freedom is actually confining them.

I am not the first person to talk about this — Patti Styles and David Razowsky both address how improv rules can get in your way in their wonderful books — but since the improv rules can be confusing, it bears repeating what some of them are and what they really mean.

Let's look at three so-called rules that are getting in the improvisers way, what you can do about them.

1. RULE #1: Yes And...
   This “rule” is the most misunderstood one of them all. Please, please, please when you are in a scene and you have already discovered the who, what and where of the scene and your character has established a clear point of view, stop agreeing. Will Hines, a great teacher and improviser, and author of How To Be the World's Greatest Improviser, told me years ago, all you have to do is agree to the facts of the scene, which translates the who, what and where. Here's an example. Let’s say the scene is about a college-age kid coming home to their parents’ house for Thanksgiving. The college-age kid has established they are vegan. When they sit down for dinner, Dad offers the kid some turkey. This is where some improvisers feel they are obligated to say “Yes, and” and eat the turkey. But that choice will take all of the air out of the scene. It's like watching someone pop a balloon. You have already established a point of view, don't throw your character under the bus for a rule that makes no sense. Instead, say No. Your improv brain will say, "But I am denying.” No, you are not. You have a hundred ways you can play the scene by saying “No” if you make the choice from your character’s point of view and have a strong emotional response.
   
   Here is an example of how your character could respond: "Dad, I cannot believe you would offer me meat. I have been vegan since I was in high school, and you still haven't accepted me for who I am."
   
   This gives the dad an opportunity to be vulnerable. He could respond with something like, “Honey, this is the only way I know how to show my love for you."

• RULE #2: Don't ask questions
  If art is supposed to imitate life, don't we ask questions in life? Yes, we do. I get it. Sometimes I see improvisers asking rapid-fire questions in their scenes when they are first starting out. They do this out of fear, and any skilled teacher can address this. But once you've been improvising for a while, it’s ok to ask your scene partner a question. I often use questions as a way to set up other characters in the scene, and usually it’s a gift to my scene partner.
  
  The problem I usually see when improvisers ask questions and the other person thinks he or she needs to come up with a clever response, as if they are trying to deliver a punchline to a joke. They overthink it. Instead of thinking too hard, just answer the question quicky, especially if it's some sort of transactional question. 
  For example, if someone asks, “Would you like a glass of wine?” You can respond with, “Sure, do you have that good red I had the last time I was over?”
  
  That is how we talk in the real world. Why not do it on stage?
  
• RULE #3: Avoid conflict in a scene
  Improvisers think that in order to avoid conflict in a scene their character can't be angry, which is another crazy rule. All scenes, even agreement scenes, have conflict — I like to use the word tension — which is a necessary ingredient in comedy. Anger and frustration can be funny in a scene and does not need to be avoided. The trap improviser falls into when anger is involved in a scene as they start blaming each other. These scenes go nowhere because it becomes a power struggle between the characters, which is not fun to watch. Instead, when you are in scene and you’re playing an angry character, make them angrier. For me, heightening the anger is always funny. Or you can trying holding your anger in, which is equally enjoyable. And to stay out of the blaming trap, if someone accuses you of something in a scene, own that you did whatever it is they are accusing you of. This will stop the argument in it tracks and usually will help the characters go deeper into their relationship.
  
  Here’s an example of a scene involving two teenage girls.
  
  Girl One: I can’t believe you stole my dress!
  
  Girl Two: Ok, ok, I did. But Piper, you are so much prettier than I am. I thought if I wore your dress I would feel like you and get the same amount of attention.

What are some rules of improv that you think get misinterpreted? Let us know in the comments below!

Want to experience Jimmy Carrane's method of Slow Improv without leaving your house? Don't miss his online Slow Improv Workshop on Dec. 14!