Fast
A few weeks ago, in a practice group, a performer I admire got upset with herself for not being a "fast improviser."
A main theatre teacher I had, Danny Hughes, talked about this, so I wanted to explore it in a build-my-own-lightsaber sort of way as well.
The Rewarding of Fast
Quick Performers > Slow Performers?
Danny Hughes
- My main thought is that improvisers, in general, are faster than they think. One experience I had growing up in improv was getting beaten to the punch by more experienced improvisers, which was frustrating. At times this felt stifling. I think a good thing is to step outside your cohort and play with slower and faster people to feel the pace and play the pace. Feel the challenge of the tempo, but if you don't have the space to act, it makes sense to move to a level that challenges you without crushing you. This is the kind of experience you can find in a healthy community.
- I think fast improvisers don't always listen well—or yes, and. I think Danny is right that improv teachers reward the fast, but sometimes what's being rewarded is a failure to listen. If someone moves quietly out from the backline and then the scene is wiped before that person has a chance to act, a thing that has happened to me, I think that should be discussed in class. This is a challenge of coaching.
- Speed is sometimes a Dark Pattern in improv. Currently, I'm working on a Harold team, and I find that I'm frequently getting noted for editing too quickly when I'm playing on a montage team. I think being able to feel a multitude of patterns based on whatever format or group I'm playing with in my bones is probably the ideal.
