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Hey all-

Not sure how or why you got to this web-site, but I’m glad you’re here. Likely it’s from ComedyCity, or the Green Room, or Cardboard Theatre, or you know me personally. Me…. Mike Eserkaln. Anyway, the times they are a troubling, but you knew that. My business relies on groups of people to show up in person… You know, the thing that we’ve all been told not to do. So, it’s going to be a difficult time for many of us financially. If you like the things I do, or just like me… or heck, you hate me but still want to support art, please drop me a dime or a couple bucks.

Love and Thanks.

Mike

 

Improv 250: Long Stories Are Just A Series of Short Stories

It can be daunting complete something large. (long form improv, a novel, heck even a short improv)

Like the saying goes: How do you eat an elephant? One small bite at a time.

With larger projects consider each small moment a small story in and of itself.

The basic plot of any story I can think of is this: There is some sort of discontentment, let’s work on fixing that. That’s the story. It also covers pretty much any action people do moment to moment.

“He was discontented and tired, so he drank a cup of coffee.”  

Is the same as:

“He felt discontented with his life as a moisture farmer on a distant desert planet so he took off with an old mystic, a couple robots, a space smuggler, and a giant walking carpet beast to save the princess.”

… Pretty much the same story, right? The one about the coffee is pretty good. Could probably add some more details, but the point remains.

Telling big stories is the same as telling small stories. Epics are constructed the same way as going to get coffee. Discontented character wants something, and does things to get it. You can get all Hero’s Journey about it if you want, but I feel like complicating things does just that, complicates things. Complicates until you’ve given yourself enough false justification to not create a story at all.

In improv, don’t think about the whole scene, just tell the story of each moment within the moment.

*Thanks for reading. Please check out my new book The Continuing Adventures of Byron & Bing: Sunset Gold.  You can get it on Amazon, although, honestly I see more profit if you contact me directly: mike.eserkaln@gmail.com

 

Illustrations for Novel

Here’s a couple of illustrations for my upcoming novel “The Continuing Adventures of Byron & Bing : Sunset Gold”

Artist are people I found through Instagram, or friends of friends.  I’ll post more as they come in.  Book is due to be published April 20th.

Jennfier Kirkham – England

Olaf Horstmann – Germany

Jake Barnes – America

Parvina Olive – Russia

More to come!

 

250 Improv: Making Faces Game

There’s an improv game where you make goofy faces at someone when they’re not looking. They’re doing the same thing to you.

This game has roots in comedia dll’arte. The way I originally learned it was with three performer sitting in a row. The outside players would attempt to make faces, the middle player had a balloon slapstick and would smack them if they were caught making faces.

It’s good practice for quick reactions and for keeping your performance playful and fun.

I like to do this in public. It’s a bit more challenging than on stage as your potential audience might be anywhere around you. You can play it either by avoiding being seen by the person you’re making faces at, or by anyone who might potentially see you. The second way is a little more difficult.

I advise that you keep the faces goofy and silly. Although, I have found it amusing to make a burning anger kind of face. Like the person owes you money.

Why do this in public? Couple reasons. First, just to keep life interesting and fun. It’s really harmless fun, especially if the face isn’t aggressive (don’t want to freak out someone who catches you).  Also, it’s good practice to get caught looking or acting foolish. The more times you get low-level embarrassed on your own terms the easier it is to act a fool.

Many people are worried about looking “foolish” so, lean into it. Be the fool. Own it. Have fun.

 

250 Improv: Clipboard Chad

Chad has been performing and learning improv for a little over a year now. He is an “older” improvisor in that most improvisors start in their 20’s or earlier, and he’s in his 40’s. It’s never too late to start learning improv, but it’s more difficult the older you are. You’ve learned to say “no” to things, to be more in control, to be more pessimistic. Life wears you down, or builds up shields.

Chad used to be a Police Officer. He’s the kind of guy you want to be a cop. He’s level headed, firm but fair, and smart.

This is a habit he noticed in his own performance. Being “Clipboard Chad.” Entering a scene as an inspector, or a cop, or a guy with a clipboard checking off a list.

This character can be useful in that they’ll deliver exposition, or create conflict. But, often, they aren’t connecting with their fellow performers on any emotional or really listening level. Sometimes they’ll even have an almost literal barrier between them (ie. a clipboard).

Chad’s not the only one to have done this simple protective crutch. I’ve seen almost every improviser I’ve met be this character. Myself included.

Why? It’s a security thing. It’s a way of keeping yourself safe. Walled off, but safe. And a way of keeping things in control. You have a list. You have a mission and you can direct the scene however you want it to go. So, you’re safe, but you’re also not collaborating.

 

250 Improv: Teaching Empathy

The definition of empathy is the ability to understand and share the feelings of others. We do this naturally day to day, but often it’s difficult to act natural while performing on stage. So, it’s good to practice.

Often when there’s a problem with an improv scene it’s that the performers aren’t connecting with each other and are “stuck in their head”. Here’s an exercise to help connect. As a group write down a number of phrases that evoke emotional responses. (“You got a new puppy.” “Someone much younger than you is flirting with you.” “You have to fire your friend.” etc.)  Write them on individual pieces of paper.

Performers sit facing each other. I found it good for them to connect as people before the actual exercise. Make eye contact, talk about their day or something of interest.

One player will read the card and feel the emotion. Showing the emotion silently. This isn’t a “guessing game” where you’re trying to mime out or overact the emotion. Just show it as honestly as you can.

The other player says, as specifically as possible, what the emotion looks like to them.

After a couple rounds try as a scene. One player neutral the other has the emotional prompt. Neutral player states how the other player looks to them as specific as possible. Whatever the player says is the reality of the scene. If it’s different than the emotional prompt, the prompt is dropped and what is said is the reality.

 

250 Improv: Detachable Ego

Years ago I attended an improv festival in Milwaukee. Backstage there was a sign, “Check your ego at the door.” It seemed like pretty good advice at the time. Improv is shared creation and making the other performer look good. Having a group of performers knocking heads over who’s the best doesn’t get anyone anywhere. Ultimately it leads to a bunch of shouting on stage with the loudest person being the “funniest”

But, it always struck me as odd that the advice was to avoid ego altogether. At any moment the full focus of a scene may be on you, and a hearty ego is going to help you make the most of that moment before you pass it to the next performer.

An adjustable ego might be a better way of putting it, but “Detachable Ego” has a certain ring to it.

In my experience a large majority of improvisors are white men in their 20’s. If ever there was a group that needs to be aware that their ego isn’t the only important thing on stage, it’s that demographic. Hence the sign.

Being an improvisor long enough to age out of that demographic, I find it interesting to observe from both sides. I don’t actually know if it’s training, learning, stage experience, or from getting older and having less to prove, but, I do know that I’m still involved in many funny scenes, I just don’t shout over my fellow performers as much anymore. I’d say that’s progress.

 

250 Improv: From Xylophone to X-Ray Technician

Here’s a fun little exercise for people who are resistant to “performing”. (Credit goes to Carrie Masse for noticing this.)  Have people pair up. Have one explain what a xylophone is to the other. Then have the second one explain what a trombone is.

Most people will mime out the action of playing the instrument. The easiest way to get the idea across.

Congratulations. You’ve just made a room full of people “perform” in front of someone else.

They did it without thinking, without planning, or practice. Most people don’t play trombone or xylophone, but we can put ourselves in the place and mind of someone who can.

Improv and acting are just that. Putting your mind in a place and person you are not. You know, pretending.

This ability, or really the knowledge of this ability, opens up infinite performance possibilities.

For example, to be an X-ray technician mime holding an x-ray in front of your eyes, squint and make this noise, “hmmm-mmhmm.”  Boom. X-ray technician, no training needed. A simple movement can define your character. After that, just act like a human. No one’s going to judge you on your advanced x-ray skills. (although, if you have that knowledge, by all means use it.) AND, even if you do this in front of a room of x-ray technicians you’re still good. If you do something right, they’ll love you. If you do something totally wrong, they’ll love themselves knowing their job is way more difficult. They’ll feel special.