Harold rehearsal #3

The Hero's Journey - Improv Formats

A fair amount of improv comedy is a narrative structure based on Joseph Campbell's structure for writers, 'Hero's Journey'.

Christopher Vogler adapted Campbell's approach and the mix of resources are readily available online. The structure that when questioning a writer in 2011 (est.) about it said the structure was so loose and hardly an impact for a writer. Personally, the Hero's Journey is a constricting and highly structured approach to improvising. In the structure there is the route through the story and the archetypal characters that are involved. The steps the 'hero' takes are as follows:

1. Heroes are introduced in the ORDINARY WORLD, where
2. they receive the CALL TO ADVENTURE
3. They are RELUCTANT at first or REFUSE THE CALL, but
4. are encouraged by a MENTOR to
5. CROSS THE FIRST THRESHOLD and enter the Special World.
6. They encounter TEST, ALLIES, and ENEMIES.
7. They approach the INMOST CAVE, crossing a second threshold
8. where they endure the ORDEAL.
9. The take possession of their REWARD and
10. are pursued on THE ROAD BACK to the Ordinary World.
11. They cross the third threshold, experience a RESURRECTION, and are transformed by the experience.
12. They RETURN WITH THE ELIXIR, a boon or treasure to benefit the Ordinary World.
(Merlin, 2005)

 (Also from Merlin, 2005)

Viv McWaters (McWaters, 2010) speaks about how the hero is to change through the story and how the events are trials of personal strength. The hero is unaware and holds inner struggle as he or she encounters new challenges. 

In the structure there are also archetypal characters that the hero meets and knows along the way. For example, generally on the refusal the call the hero meets the mentor that offers advice that will be re-incorporated later. There are many more, so here is a list with descriptors about them:

ARCHETYPES are recurring patterns of human behavior, symbolized by standard types of characters in movies and stories.

HEROES

Central figures in stories.  Everyone is the hero of his or her own myth.

SHADOWS

Villains and enemies, perhaps the enemy within.  The dark side of the Force, the repressed possibilities of the hero, his or her potential for evil.  Can be other kinds of repression, such as repressed grief, anger, frustration or creativity that is dangerous if it doesn’t have an outlet.

MENTORS

The hero’s guide or guiding principles.  Yoda, Merlin, a great coach or teacher.

HERALD

One who brings the Call to Adventure.  Could be a person or an event.

THRESHOLD GUARDIANS

The forces that stand in the way at important turning points, including jealous enemies, professional gatekeepers, or your own fears and doubts.

SHAPESHIFTERS

In stories, creatures like vampires or werewolves who change shape.  In life, the shapeshifter represents change.  The way other people (or our perceptions of them) keep changing.  The opposite sex, the way people can be two-faced.

TRICKSTERS

Clowns and mischief-makers, Bugs Bunny and Daffy Duck, Richard Pryor and Eddie Murphy.  Our own mischievous subconscious, urging us to change.

ALLIES

Characters who help the hero through the change.  Sidekicks, buddies, girlfriends who advise the hero through the transitions of life.

(Thewritersjourney.com, 2015)

 In summary, the hero has the normal world where the character is unaware of their flaws. These flaws are addressed in the story. The character is therefore changed for the better upon their return to the ordinary realm. In the ordinary world, the hero has his friends or normal people that can be useful in an improv version of performing this structure. It is important that the hero has clear spoken and displayed wants and desires too, as all the information will be used. 

The hero gets a call to action that is in direct reference to what we have seen so far. This addresses the wants and flaws. E.g. Deidre wants to finally meet Tom Hanks but is so timid and shy naturally that she couldn't speak to him anyway. A memo arrives that says she is to escort the journalist on their way to the Baftas to interview people from Hanks new film. 

The refusal of the call is next where the hero knows that they can't be successful in the action required. However, the Mentor character offers three bits of advice and encourages and enables the hero to accomplish it. In the improv set, the mentor's advice shall be used completely in a surprising way for all. This means not foreshadowing the use of it too much, as that steals the fun from the audience and the performers. 

During these scenes, the glimpse of the Shadows are useful. We see what the hero shall come up against later. In improv this will help, as we get to know the characters that shall collide majorly and having details about them will help build the battle moments easier. 

At the gates to the new world, the extraordinary world, we have the Gatekeepers. A challenge here for the hero is how to get through. E.g. Deidre has to get into the V.I.P section and hasn't got her pass. She has to seek confidence to achieve it or something happens that cheats the moment; she cannot be confident yet!

The hero is to then meet other archetypes and have trials and failures. These could be a mix of any in improv. We could have Shapeshifters, Tricksters, there could be allies. This is all in build up to the Shadows. The hero has to be building towards that moment. E.g Deidre could meet Jack Spencer (a trickster) that guides her into a large room of journalists from other companies (the shapeshifters). Deidre seeks to gain information whilst her ally and accompaniment (her journalist) is busy making notes. Spencer takes her to Adam Trillons. In the dialogue between them, Deidre thinks something maybe wrong and almost and noteably wishes to ask. Deidre obviously doesn't and with Adam she has to try to not be misguided. So on and so forth, Adam gets the better of her as he pretends to be nice and helpful. 

The hero grows and learns new skills, in improv it could be a moment to re-incorporate a piece of advice from the Mentor. E.g. perhaps with Deidre the Mentor mystically said about when one door closes another opens. It would be fun to have Deidre remember that and she looks for a door back in (Adam gets them out the building); they go back in as the rubbish is being chucked in the bin in the alley. This can be the first success.

The Shadow is met. The hero has to use more advice, build on the flaws that have been mentioned and overcome it partially. It would be important to see the hero succeed a little and then succeed a lot. The big success leads the hero back to the ordinary world, after the chase or Road Back. E.g. Deidre has to get through Tom Hanks P.A. (the Shadow). Deidre uses all the advice she has gotten and grows in confidence to rightly challenge the personal assistant. 

On the return to the ordinary world, the hero knows the changes and accepts the new role. The road back could be the exploration of these changes. E.g. Deidre notices that she did all the work and her ally, the journalist, just doodled mostly. Deidre decides to write the article and have the journalist drive back. 

 Trouble hits, obviously, as the hero has a Final Challenge where they over come their flaws and have a Resurrection. 

In returning to the ordinary world, the hero is new in their old environment. Their Return With the Elixir is what they have changed; their gain from the experience affects their old world in someway and it is see how that happens. E.g. Deidre hands in the article and the Editor thanks the journalist and Deidre says it was her that managed it. She gets awarded. 

This can also lead to a cliffhanger by having the other character(s) set-up another character's flaws and such. E.g. the journalist is easily set-up to go on an adventure to overcome laziness or whatever it truly was that stopped their writing. 

All in all, the hero wins.   

McWaters, V. (2010). Facilitator's Journey Summary. 1st ed. [ebook] Torquay, Australia: VivMcWaters.com.au. Available at: http://vivmcwaters.com.au/wp-content/uploads/2010/11/Facilitators-Journey-Summary.pdf [Accessed 18 Feb. 2015].
Merlin, S. (2005). The Heroes Journey and Improv - Merlin Works - Austin Improv Classes. [online] Merlin-works.com. Available at: http://www.merlin-works.com/2005/12/01/the-heroes-journey-and-improv/ [Accessed 18 Feb. 2015].
Thewritersjourney.com, (2015). hero's journey. [online] Available at: http://www.thewritersjourney.com/hero%27s_journey.htm [Accessed 18 Feb. 2015].

1000 Scenes #30: Nathan Keates

1,000 Scenes #30 Nathan Keates www.e-mprov.com www.nathanimprov.com www.morganphillips.com http://1000scenes.tumblr.com/

List of: Long-form formats [add your structures]

There are many long form formats. There are many created each week that get lost or forgotten after classes that focuses on creating forms. Here are some that are listed online:

harold

la ronde

evente

krompf

henry

rupert

sybil

movie

lotus

roadtrip

monoscene

macroscene

twoprov

funeral service

jts brown

slacker

armando

Life Game
 Deconstruction

Goon River

Handicapped Fairy Tale

The Bat

Typewriter

balladeer

cloud atlas

cut

dvd special

genres

54321

french braid

montage

pop-up storybook

musical

triple play

tell tales

script tease

documentary

living room

mosaic

Tracers

True Hollywood Story

Detours

oracle

sleep over

steve v. brain

Convergence

I shall add your formats if the the structure is listed too. 

Harold - Improv Formats

So there is a lot of information out in the world about this format. The history is readily available. Del Close began seeking the form in San Fransisco with The Committee in the 70s. On returning to Chicago, Close met Charna Halpern and they combined some improv games in the format to initiate the exploration further into a working format, Harold.

The Reckoning (http://iowatercooler.com/)

The format is more than a structure. It is where an ensemble responds to a suggestion through dissection and collaboratively forming an art piece that is funny. The performance is based on a structure, but could go beyond it. It is the fundamental point of improv to follow the show, not what is presupposed or is said should happen. As Close said on his deathbed that Harold is long-form, as it is just creating one piece from a suggestion or maybe nothing.

Harold seeks the tone, themes and connections of scenes, relationships and characters to merge; forming the resulting comedic art. 

The structure starts with the opening, which could be whatever you chose. Many openings are composed already: organic; pattern game; invocation; scene painting; monologues and more. The organic opening enables the ensemble to combine their inspiration through physical representation of the idea, seconding and adding together through verbal clarification and building the specific individual creation. E.g. The Reckoning once initiated a hospital, a specific man with specific qualities to the exact bed and surroundings and statements  that added with the same tone and qualities. Clarity can come from repetition, e.g. "Weakness is only the for the wimps." In each moment found, this may be underlining it. All opening do this, but in different ways. 

The first beat has three scenes, but that is just a classic example. None of the scenes link, as it becomes problematic to the goal. The iO style has grown and changed over the years, like Close and Halpern desired. A factor that they have focused on is relationship. The truth in the relationship will create comedy; thus the book "Truth in Comedy". The inspiration for these scenes comes from the opening. A few ways to look at the details are thematic, commentary or word or phrases; this is as with the format Deconstruction.

The group game is a game that involves all players, all of the ensemble. One approach to this is presentational games that do not engage any scenic, conversational qualities. Using any aspect of the opening or suggestion that has not been offered in the scenes so far, the group shall present their game.

Based on the themes and tone of the group game, the second beat happens. These could well be three scenes, returning to the scenes of the first beat. There are multiple ways to return to the scenes: analogous (same game of the scene, or parts); character dash (keep one character); location (same place); tangent (some idea from the first scene); story is a NO! (in the iO approach). It is possible to notice broad themes from other scenes to bring into others, but not to clearly link scenes. This is due to ruining the third beat if links happen in this section.

A group game happens again. This happens alike the first one. 

The third beat is where the threads come together. It could be one scene or three; this beat seeks to close wherever it needs to. It brings the characters together, the themes together and the tone from the group game that has followed the path laid before it.

So this is a broad look at the format, it is based on the institution that began the format. If there is anything you have from iO that is relevant that you've found, then feel free to comment. If it seems like a correction, it may be added to the blog with attribution.

4Track - Improv Formats

The origins of the format come directly from Christian Capozzoli. Capozzoli is a Literature and Education Masters man, from Harvard University. He  teaches at Magnet Theater and Annoyance Theater. He is currently pushing improv into New York high schools, which we like.

(http://christiancapozzoli.com/)

4Track is a "form uses the “Aerodynamics of Yes” to create an explosive piece with bold characters, rich commentary, and high stakes" (ibid.). The 'Aerodynamics of Yes' is the book that this guy wrote. In discussion with the UCB Long Form Conversations podcast, Capozzoli dissects the form as a bursts of energy and waves. 

The team begins from taking a suggestion to a matching physicality game; they heighten the physicality; following the action and energy, the peak has the edit. They enter a relationship-based two person scene from the themes of the game. This repeats to have four rounds of matching and two person scenes. After this point, the performance has an "...avalanche of callbacks" (ibid.) where the scenes reincorporate characters of the past scene. In completion of the form, they have a fast-paced tag run of scenes.

If you have seen the form, done the form or taught the form and know differently; feel free to offer corrections. I'll change it and acknowledge you.

Let's Get Serious, Guys! with Dylan Rohde and Nick Armstrong 7/29/14