Comedy Improv Vs. Pure Improvisation

Michael Rohd's ideas and theories surrounding improvisation are very interesting. Reading his take on the definition of improvisation and its importance in group work completely altered how I perceive improvisation as a group activity. Previously, I considered improv something one did for entertainment. My ideas of improv were similar to the common misperception identified by Rohd-improvisation as comedy. Rohd defines comedy improv as a form which "...will go anywhere for a laugh...Denial is one form of sharp contrasting realities and often produces that big laugh."

All of my previous experiences surrounding improvisation in theatre had involved comedy improv. The one that immediately comes to mind is my involvement with the Lakeshore Players Summer Youth Project in White Bear Lake, Minnesota. This program consisted of a youth theatre group that worked together to put on plays such as "Comedia Del Delight," (an Italian takeoff of Shakespeare's "Comedy of Errors") and "The Haunting of Shakespeare." We would do improvisation activities as icebreakers and to practice performing in front of an audience.

One game in particular fell under the realm of comedy improv. All the children would stand in a circle, and one would stand in the middle and silently pretend to do anything that popped into his or her head. This could be dancing, holding an imaginary baby, kicking an imaginary dog, or anything else. We were encouraged to ham it up and think of creative and funny actions to perform. Then, as the first child acted, a second child would walk into the circle and ask, "Whatcha doin'?" The first child had to come up with an answer that was anything but what he or she was actually doing. For example, if the child was pretending to brush his or her teeth, the answer would be "I'm playing Monopoly!" Then, the second child would pretend to play Monopoly and a third child would ask what he or she was doing, and so on.

This game fits Rohd's idea of comedy improv perfectly. Its purpose is to entertain and make others laugh, and it expressly uses denial to achieve that end. I learned a lot about improvisation from fun games like the one described above, but never was introduced to the type of improv Rohd describes and labels as "pure improv." According to Rohd, "Pure improv involves living in a pretend world in a given circumstance, from a character's point of view, and playing every moment truthfully and imaginatively." Pure improv may very well be entertaining, but that is not its purpose. Instead, it aims to explore emotions and ideas, build trusting relationships, and help participants reach past their comfort zones and learn from potentially uncomfortable situations.

As a high school student, I did have a few experiences that were somewhat similar to Rohd's description of pure improv. However, these experiences did not take place in a theatre environment, but they did involve a form of creative drama: dance. I had just switched dance studios, and now was a member of the Performing Line at Larkin Dance Studio, which was well known in the dance world as a highly competitive and intensive place of training. On my first day, I expected to spend hours training at the ballet barre.

I was very surprised when the instructor, Michele Larkin, introduced an improvisational dance activity, which we participated in for the entire dance practice. Two or three students had to stand in the middle of the studio while Michele gave them a scenario. This might be an argument with a parent, breaking up with a boyfriend or getting arrested. Then, she'd play a song that fit with the given situation, and the designated students would have to perform a dance that expressed their reactions and emotions regarding the scenario. The emphasis was on working together to create a story. Michele expressly told us that the purpose was not to make others laugh, but instead to convey emotion and move the audience. This activity felt very uncomfortable at time, and many dancers struggled to face their fear of appearing vulnerable. But the experience brought our dance line much closer together than any comedic form of improv would have. As a result of the improv activity, our team was able to forge strong connections and work through the toughest of situations together.

After reading Michael Rohd's ideas surrounding pure improv and reflecting on my own experiences, I realize the importance of pure improv in building trust and exploring uncomfortable ideas and feelings. I plan to use these ideas as I pursue a career in Elementary Education, because I believe that introducing pure improv activities would enable students to work together, explore physical, mental and emotion responses to various situations, and create meaningful group connections. Using pure improv in the classroom would be an excellent way to build trusting relationships between students, teachers and the community at large.

Source: Rohd, Michael; Theatre for Community, Conflict and Dialogue: The Hope Is Vital Training Manual