Comments for Story Robot

Comment on Intro to Improv: the build up pt2 by Michael

Michael — Mon, 06 Sep 2010 17:52:11 +0000

Michael Says: Your comment is awaiting moderation.
September 6, 2010 at 5:07 pm
I love this graph idea and the drawings are great, but if you’re going to make an example of good improv why not use dialogue that works for more than story? Here you are 4 lines in and we know nothing about the relationship, we’ve introduced a 3rd character and now have to change locations! Something like this builds story AND relationship:

Awesome camera!

I’m taking pictures of all my Heroes. ( takes photo of partner)

thanks! Uh, you’re… my… um… hero too. (begins nervously pouring drinks)

Boy, that didn’t sound sincere. Thanks for nothing. (slams drink down, spilling it)
——
Now we’ve got story, physical actions and relationships started. Not to mention an emotional reaction.

Comment on Leave for the Same Reason by Daniel Allan

Daniel Allan — Sun, 15 Aug 2010 08:51:56 +0000

Remember the old saying that you should never condescend to your audience. I reckon if it’s hillarious in a workshop it’ll be hillarious in front of a paying crowd. The main question with putting ‘experiments’ in front of an audience is how, as an MC, you broach the game. ie why are we getting the players to do this for you, the audience. Do things need to be explicable within the wider context of the show?

Comment on Second Circle by Daniel Allan

Daniel Allan — Sun, 15 Aug 2010 08:41:36 +0000

Brilliant!
Also links in with Declan Donellan’s idea of the target being something outside you. Funny how theories are often just different spins on the same absolute truth.

Comment on Good improviser/Bad improviser by improbable

improbable — Fri, 09 Jul 2010 23:35:59 +0000

Hmmm. It might well and truly be gone now. That’s a shame because it is a great article.

Here’s the key point

“Suppose we played as if “The only person whose job it is to accept is me.” We would then take what we might otherwise perceive as another player’s block of our offer and treat it instead as an offer that further defines the reality of the scene.

When another player denies the reality I have established (”Hello Uncle Frank!” “I’m not your Uncle Frank.”) it becomes a block only if I am unable to justify the reality of what we both have established. (”I know. It’s just that after you risked your neck to get me get out of the mob, you feel like family to me.”)”

Comment on Good improviser/Bad improviser by Tom Johnson

Tom Johnson — Fri, 09 Jul 2010 19:12:50 +0000

The lost article link is lost…

Comment on 3am Improv Thoughts by Pichler

Pichler — Wed, 07 Apr 2010 18:09:31 +0000

This is has some great advice and refreshers! Thanks for boosting confidence levels.

Comment on Axe Cop! by vinnyfrancois

vinnyfrancois — Wed, 07 Apr 2010 13:45:18 +0000

Holy crap, this is awesome.

Comment on Axe Cop! by improbable

improbable — Thu, 01 Apr 2010 04:29:22 +0000

Also check out the ‘Ask Axe Cop’ section.

Comment on Axe Cop! by Ian

Ian — Wed, 31 Mar 2010 09:22:41 +0000

Oh my god, this is SO good.

Comment on Good improviser/Bad improviser by improbable

improbable — Thu, 28 Jan 2010 20:35:26 +0000

Great post Ian. Rhythm is so important. I remember an interview with Mel Brooks saying drumming should be mandatory for comedians to develop their comic timing.