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I, You, We A good shortcut to knowing, caring, and saying is to make the scene about the people in the scene. A common error for newer improvisers is when two characters spend the whole scene talking about a third character who isn’t there. The spouse, the boss, the crazy friend. It feels natural, but a scene can’t really get started until the people in it talk to each other about each other. In real life, we rarely talk to each other about each other. We’re scared to do it, or it feels rude. But for our improv scenes, we have to get comfortable speaking directly. A good exercise to practice this is to do two-person scenes in which each person must start their lines with “I,” “you,” or “we.” Do this until you feel the scene has found a game. Making a scene about the characters we can see generally makes the scene more powerful.
How to Be the Greatest Improviser on Earth
Will Hines
Becker argues that the only way to transcend these existential fears is to live a life that feels heroic. He argues that “if everyone honestly admitted his urge to be a hero it would be a devastating release of truth.”
The Pathless Path
Paul Millerd
“It is useful to society that our urges are tempered by shame and condemnation and the threat of punishment,” he said. “It is a useful fiction to blame a thing called willpower and pretend the individual is somehow capable of overcoming urges with this magical and invisible force. Without that fiction, there could be no blame, no indignation, and no universal agreement that some things should be punished. And without those very real limiting forces, our urges would be less contained and more disruptive than they are. The delusion of willpower is a practical fiction.”
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