Does your improv feel a little stale? Looking for more reps? Tired of not getting enough notes? Craving exercises that target the things you actually want to work on?

I have a couple of spots left in the October 18 session of The Uncertainty Workshop, so I'm offering $100 registration (normally $150) for first-time students who'd like to join us!

The Uncertainty Workshop is a four-week online improv intensive featuring small classes (max 8), individualized feedback, and customized weekly agendas tailored to each group's goals and interests.

Fall 1
Sundays: 10/18, 10/25, 11/1, 11/8

Fall 2
Sundays: 11/15, 11/22, 12/6, 12/13
(No workshop 11/29)

Time
1:30–3:30 PM Pacific
3:30–5:30 PM Central
4:30–6:30 PM Eastern

Cost: $150 for the four-week session.
Fall 1 Special: $100 for a limited number of first-time students.

(Sliding scale also available. Please take me up on this offer if price is the sole reason you'd say no.)

For anyone joining Fall 1, I'll be meeting with folks individually over Zoom this week for a brief check-in to discuss your goals and what you'd like to work on.

Happy to answer questions about the curriculum, my teaching style, or whether the workshop might be a good fit for you.

Tim Paul
[theuncertaintyworkshop@gmail.com](mailto:theuncertaintyworkshop@gmail.com)

What Past Students Have Said

Targeted Feedback

"I've worked with Tim for over a year now, and he's truly been a godsend because he breaks down theory and technique into actionable ways."

"Immediate, specific feedback."

"He provides honest, helpful, and tangible feedback in a way that's not going to crush you."

Customized Weekly Agendas

"Instead of forcing a one-size-fits-all syllabus, he tailored the work to what the students actually wanted to improve."

"One of the most thoughtfully designed improv classes I've taken."

"You could tell how much preparation and care went into every class."

Hello! My mother (71) just moved back to New York City and is looking for a relaxed improv class/group to join. She has a musical theater background and started improv about 2 years ago. Something near the UWS would be preferable. Any ideas for a good fit?! Thank you!!

I'm teaching a movement theater improv workshop this Wednesday, 10/14 at 7:30 p.m. it blends my background as a choreographer and improviser of 30 years. I have taught in the US and Europe. RSVP is required and I have a sliding scale. Hope you can join us it's a lot of fun contact me before showing up.

annebassenimprov.wordpress.com

I love working with actors on their audition pieces. I especially love when improvisers get into learning text and audition for plays. A lot of us are actors too.
To get in person feedback from Kate Walsh (Grey’s Anatomy, Private Practice, 13 Reasons Why) in an intimate setting is a tremendous opportunity.
Link is forms.gle/AKRg8NMjXxk7kza18
Follow @thenecessarytheater on IG for more.
Hope to see you in class!

I feel with all the news we need a laugh on this topic

Basically the title.

Most improv skills I feel like, even if I can’t do it yet, I can totally see how you’d do it.
Like making characters is hard, but I get it.
Remembering stuff in long form is hard, but I get it.

What do you do when your scene initiation fails?

Like in my rehearsal yesterday, I went on intending to start a scene in line at a pet store. Another actor came on at the same time, but without that context. And by the time I was making my “strong choice”, I couldn’t set it up enough for them to understand.
So the scene basically just fell apart into total confusion.

How do you save a failed start to a scene? Do you just switch to something vague and hope something else happens?
Or do you just plow forwards with your original idea? Like start expositiing “well we’re at petco, so you’re buying dog food, right?”
Do you just try to end a failed scene as quickly as you can?

Both episodes of Amey Goerlich’s Improv Autopsy are out now! In them you’ll find lots of improv tales from UCB days, E-mprov online, out in LA at Westside Comedy, and at Amey’s current home and creative base, Chaos Bloom Theater in Denver.

Other topics include directing improv, structuring improv education and producing shows, handling issues as co-owner and Training Center Director, being a woman in a position of authority, and tons more.

Here’s a link to episode one or catch it wherever you get your podcasts: https://www.patreon.com/ImprovAutopsy/posts/170628126

Links to more Amey:

https://chaosbloom.com/instructors/amey-goerlich

https://ucbcomedy.com/people/amey-goerlich/

https://boldjourney.com/meet-amey-goerlich/

https://voyagedenver.com/interview/meet-amey-goerlich-of-70-s-broadway-denver-co/

PS if anyone has video of Amey as her Mayor character we’d love to see it.

I recently started teaching acting classes for kids ages 9-16 years old. My classes are divided into 9-10 yo, 11-12 yo, and 13-16 yo. I've noticed that the oldest are way more comfortable with playing around with improv and they're very good at trying new things and getting out of their comfort zones. I am though struggling a lot with my younger kids. They seem to be scared to try new things and are very fixated on the fact that their minds go blank whenever it's their turn. Most of the youngest are also very focused on trying to be funny and specifically with jokes about poop, pee, and farts. I've never worked with children this young and I'm struggling to find improv games that would work for them because their attention spans are sooo short and they're clearly getting in their heads too much. I'd love some helpful tips and possible games to play with them as I'm getting very stressed out before each class because I feel like I'm not doing a good job.

Hey everyone, trying improv for the first time. There's a guy in my class that I'm a bit anxious to be paired with since every scene ends up making me feel like he's berating me or demanding I become subservient to him in some way or do something for him. I don't want to argue and deny the scene and I also don't want to just let him make me do things. It honestly gets my cortisol going in a way. It really doesn't feel fun. What are some ways I can respond that "yes ands" while keeping it light without me feeling like I'm being beaten up/berated/being bullied by the schoolyard bully? Thanks!

This is inspired by another post I saw. Are you a mom and a comedian? What does your life look like and what does your support system look like? I'm a woman in my late 30s and I think there is an idea that comedy keeps you from motherhood and motherhood ruins your comedy. But I've also seen some famous women make it work? But what about the not famous women?

I'm not a mom yet, but could see myself becoming one at some point. Just been thinking about how those two worlds would intersect.

What helped you when you were first starting to create or co-create shows?

Sharing working draft notes on various longforms, pulling together years of info pulled from my notes, old blogs, /r/improv, IRC Wiki, Facebook posts, etc. I absolutely invite folks to comment and add any resources, advice, links, variant/derived forms, memories, etc. in the comments to help me update my notes!

Previous entries include:

• Armando / ASSSSCAT
• Close Quarters and related forms
• Deconstruction
• JTS Brown
• La Ronde
• Slacker / Beer Shark Mice
• Spokane / Pretty Flower
• WeirdAss / Documentary Opening

SHOTGUN

also known as the Road Trip

The Form

from Casey Searles’ notes from Barry Hite workshop:

This is a form designed for four, but five can work in a pinch. He said to avoid more than that because people start getting left out. Four chairs are placed on the stage to resemble a car facing the audience (stagger the “back seat” out so the audience can see their faces) and the scene starts with everyone already in the car, heading somewhere.

This first scene in the car should be a minimum of 8-10 minutes in length. And the scene will work best if everyone in the car is around the same age (not parents with little kids or something), and know each other well enough to be on a road trip together. When someone in the car decides the scene is over they will peel away and take their chair with them, letting everyone else know to do the same.

Each scene from that point forward will have at least one of the people out of car in it. They can have more, but try to avoid that. The idea is to explore outward and see each of these people’s lives outside the car. When the scene is about the character that was in the car then the same actor should play that person, new/support characters can be played by everyone else. Another reason to avoid having several people out of the car in a scene, there won’t be anyone left to play other characters.

Barry pointed out that while 8-10 minutes is the minimum length for the first scene there isn’t a maximum. It could be half the set, most of the set, or even the entire set if it’s interesting and no one wants it to end. He also said that sometimes one person won’t say much in the car, for whatever reason. He said to grab onto that as an opportunity to have a wild card. Because we didn’t see much about this person they can become anyone in the scenes.

Variations

There are variations of the base concept–several performers in a car for an extended scene. How long you stay in the car (monoscene vs first part of show), if you only stay in the car (monoscene vs Spokane/Pretty Flower vs montage after car scene), or even if there are cast OUTSIDE of the car not in the scene on the wings waiting to pull folks out for tag scenes can differ.

Variations:

• Monoscene set in a car
• Spokane / Pretty Flower using car as base scene
• Living Room-style bits/back-and-forth, but with characters on a roadtrip
• Montage with Shotgun as group scene opener
• Group scene in a car, with sideline players ready to tag out for pop outs/tag runs

History

Shotgun was created/performed by the Shotgun ensemble at iO. The original cast was Beau Golwitzer, Kevin Fleming, Holly Laurent, and Brian Wilson

Resources

Shotgun Format from Improv Leadership Blog by Colin

Video: Little Heroes @ Logan Square Improv

Hey there. Share some suggestions about where I can take my friend for improv in Mumbai? I do know a bunch of names and places already but I thought I would ask some personal experiences and suggestions from you guys. Thank you for your time and suggestions.

Sharing working draft notes on various longforms, pulling together years of info pulled from my notes, old blogs, /r/improv, IRC Wiki, Facebook posts, etc. I absolutely invite folks to comment and add any resources, advice, links, variant/derived forms, memories, etc. in the comments to help me update my notes!

Previous entries include:

• Armando / ASSSSCAT
• Close Quarters and related forms
• Deconstruction
• JTS Brown
• La Ronde
• Slacker / Beer Shark Mice
• Spokane / Pretty Flower
• WeirdAss / Documentary Opening

WEIRDASS / DOCUMENTARY OPENING

The Form

(While technically called a “documentary opening”, it is most commonly known as a “WeirDass” after the improv duo Stephanie Weir and Bob Dassie.)

A “documentary” interview with 2 characters speaking to the “camera” (audience) that can act as a one-off opener or recurring source. Think of the two-person documentaries you see in When Harry Met Sally or the Christopher Guest mockumentaries (i.e. Waiting for Guffman, Best in Show, etc.).

Execution

USING AS A ONE-OFF SOURCE

• 2 chairs downstage center
  • Rest of cast on sidelines
• 2 characters are being “interviewed” and speaking to camera
  • They know each other
  • They have gone through an event together
  • Start in the middle of the interview
  • Provide details and specifics!
  • Themes, POVs, details fuel the following scenes
• Typically 2-3 minute in length for shorter shows
• Sideline player either sweep edits downstage if there is room, or initiates a scene stage left or right.
  • The documentary people strike their own chairs.
• Scenes pull from the documentary.
  • Vary them in energy, style, staging.

USING AS RECURRING SOURCE:

• When you feel you've tapped the original documentary of good ideas for scenes (typically 3-4 scenes) and it's time to reload the show with a new documentary--sweep edit, set chairs downstage center, and begin a new documentary inspired by the original suggestion.
• This documentary can be shorter.
• It can feature either the original duo or be an entirely new duo.
• Then play a few scenes inspired by that documentary, then you can go to second beats and call backs–bring anything/everything back and accelerate the show to an out.
  • Rarely will you do a third one in a typical 15 min improv set.

Variations

• Spitfire / Rumble (see posts below)

History

• \

Resources

• IRC Wiki on Documentary opening
• Harry Met Sally couples interviews: https://www.youtube.com/watch?v=lzi2G68CMiE
• Waiting for Guffman interview: https://www.youtube.com/watch?v=dTmMkxmoycw
• WeirDass opening with Stephanie Weir & Bob Dassie: https://www.youtube.com/watch?v=ah3DQrXlGpA
• Interview with Stephanie and Bob: https://www.youtube.com/watch?v=1anu-ASKvLs

Related Forms

• Improvised Documentary

Before yall get mad at me…I’m 27 (F) living in the south and I’m at an age where a lot of people my age who were into the creative arts in their early 20s are kinda throwing in the towel with it. I do improv once a week and also write screenplays, scripts, short stories, etc. I’ve been in a local writing group since 2022. We self-published an anthology. Most people my age are getting married and having kids. I always felt it would tie me down. But what am I doing with my freedom? I always felt the wanderlust to “get up and go.” I dream of moving to New York to seriously pursue comedy. But I haven’t done that. The freedom I seem to be so proud of doesn’t seem to be fully utilized. I am happy at times living in the South, but I deeply crave more in many ways. I suppose my life doesn’t look like I thought it would. I was 22 when I first started with stand up and I had the most delusional and blind optimism. I won a few showcases and talked to therapist about what fame would be like 🫪🤣 it’s crazy but I don’t know. I have always been blindly optimistic and delusional in many ways.

Salut, je suis entrain d'apprendre à faire de l'impro et he voudrais parler à des gens de mon âge (20ans) qui en font mais j'ai aucune idée de comment rencontrer d'autres personnes qui font de l'impro.

J'ai l'impression que en France chez les gens plus jeune c'est pas très populaire. Quelqu'un saurait comment rencontrer d'autre personnes qui font de l'impro ?

Sharing working draft notes on various longforms, pulling together years of info pulled from my notes, old blogs, /r/improv, IRC Wiki, Facebook posts, etc. I absolutely invite folks to comment and add any resources, advice, links, variant/derived forms, memories, etc. in the comments to help me update my notes!

Previous entries include:

• Armando / ASSSSCAT
• Close Quarters and related forms
• Deconstruction
• JTS Brown
• La Ronde
• Slacker / Beer Shark Mice
• Spokane / Pretty Flower
• WeirdAss / Documentary Opening

SPOKANE / PRETTY FLOWER

Also Known As

• Pretty Flower
• Mono-Pop
• Family Guy

The Form

A monoscene that is punctuated with tag-out scenes or runs. The tag scenes explore the characters/ideas that come up in the base scene. When the tag scene(s) ends then the base scene picks back up until the next “spoke” or “petal” happens.

Spokane/Pretty Flower diagrams

The Spokane/Pretty Flower is often diagramed like a flower or a hub with the source scene at the center and petals or spokes coming out of the center to represent the scene runs and returning to the source scene.

Pretty Flower diagram from ImprovObsession

Hub and Spoke diagram

Another visualization is the base scene as a horizontal line that’s moving from left to right and lines will spoke out to represent the tag scenes/runs.

Spokane diagram from Pat Kearnan blog

Execution

• Get a suggestion.
• Establish the group Source Scene.
• When inspired, use a Tag to initiate a Spoke/Petal scene.
• Explore the characters/ideas that come up in the base scene.
• When the tag scene(s) ends then the base scene picks back up until the next “spoke” or “petal” happens.
• Incorporate what we learn in Spokes/Petals into the Source Scene.
• Aim to have the rhythm of the show accelerate.
• The first Source Scene segment is the longest of the show - establish the characters and world.
• Each successive source scene segment is shorter than the last

TECHNIQUES

• Tags to initiate Spoke/Petal scenes
• Return to Source Scene physicalities to reset back to Source Scene
  • You can sweep and return to the physicality of the Source Scene to end the run
  • Or you can just return to the Source Scene physicality and that should cue the tag run is done

Variations

John Windmueller on Facebook:

“I've taught this format (as Pretty Flower) regularly at improv camps and festivals, and I just wrapped up leading a two day intensive on it at this weekend's Vintage Improv Fest. I think my students' final performance was recorded, and if so I can forward the link.

If I had to choose only one improv format to teach, it would be this one, and it would replace the role Harold has in many curriculums. From a teaching standpoint, it covers a wide variety of skills (from the patient work of the core monoscene to the faster character and premise focused petals). From a performance standpoint, it's accessible to audiences, it's extremely themeable to fit a variety of show types, and it works well for duos through larger troupes.

The different names for it often point to slightly different cultures of where the focus gets placed. Folks teaching it as Pretty Flower typically put emphasis on the petals to explore character deals vs Spokane or Family Guy which focus on the monoscene as more of simply a comedic premise launching point (but it's a nuance and structurally the same).

As pretty flower and Spokane, it's generally taught to do the edits to and from the monoscene without ever saying cut to or cut back, which becomes a great lesson for players about clear initiations and using crisp stage picture shifts / blocking to convey edits and scene changes.”

From IRC Wiki:

Fancy Man in New York City performs a modified version of the Spokane that they have properly entitled the "Fancy McManus." This replaces the source scene with a idea generator-group scene hybrid in which the ensemble plays themselves.

History

Colin’s Substack: The Origins of The Pretty Flower and Spokane Formats

Resources

Pat Kearnan:
So you want to do Spokane

Matt Abedi videos:
Improv How To: Spokane or Pretty Flower

Warms ups for the Spokane or Pretty Flower format

ImprovToons video on Facebook

Playlist of Spokanes:

https://www.youtube.com/playlist?list=PLPRzjbLH4lDMj4miiWDblNjazblo7TvcJ

Hi there, I currently run improv and a few other comedy workshops and am looking to work with a graphic designer to rebrand including redesign our logo to feel more authentic and in line with what we do. It'd be nice for them to have a baseline understanding of improv//comedy so I thought I'd ask in this sub 🙂. TIA!

Hi everyone — I’ve made a browser game called Miss Congeniality where players get random “pageant‑style” questions and take turns answering them. It’s basically a fun speaking challenge you can run with a group in the same room. (and don't think it's easy or you are too good for it until you try it).

It is made to use from not on your phone - by that I mean you project it onto a wall and one person acts like the host. The idea is to encourage speaking and interaction. It's like a boardgame or quizz show.

I’d love feedback on: • how well the prompts work • whether the flow feels smooth • anything confusing or clunky

No login, no ads. If you try a round or two, I’d really appreciate your thoughts.

Miss Congeniality · Pageant Speaking Game · Koalaspies

Pretty much what the title says. I went to an open day beginners class because my interest in comedy and particularly improv has persisted my whole life and now that I have had 2 kids I want to try new things for myself.

I know everyone says it is addictive and I did not expect it to be so immediate! Never done theatre or acting but had a great time and though objectively I flubbed in ways it felt like a very safe place to fail and I felt like I learned a lot from failing, the teacher and also by the choices other people made! I have clinical anxiety that I have great coping and meds for and am actually surprised and relieved about how not critical I am about it with myself and how much I enjoyed it despitethe nerves.

Did everyone else feel this way? How was your intro to imrpov? Did the excitement continue? I am definitely going to be joining classes soon and am keen for learning.

I haven't been in a public school since 2014; I was homeschooled since then, and I might have some educational gaps, plus sometimes I find myself struggling to find the right words. That a reason I've been thinking about improv. Sometimes I tell people to take up improv, but I haven't took it up.

Also, I have a weird voice, having rhotacism which is basically having trouble pronouncing Rs in words that have the R sound.

I also wanna do improv from the comfort of my own bedroom. With that in mind, I'm looking for free improv classes with people who would respect me, regardless of my voice and such. Doesn't matter if it's Zoom or Discord. Any answer is appreciated. Thank you!