Improvisation is a very old and time-tested form of theater. The earliest use of improvisation is found in records of a Roman farce performed in 391 BC. Given its long history, it’s surprising to me that in our modern world, comedy–and comedic improvisation–is considered a low-brow form of entertainment. It is generally eschewed by the erudite. But it shouldn’t be.
My own experience with improvisation spans 20+ years. And in the middle of that I took a hiatus from performing when my husband and I started a family. For four years, I did no improv. And my brain seemed to stutter to a screeching halt. I felt dull and less energetic. Creativity started taking more effort than it had previously. I felt like I was on autopilot. But I chalked that up to being a new, perpetually sleep-deprived parent. I’m sure that sleep deprivation didn’t help, but at the time I didn’t even realize what the real problem was.
Ramping up my brain
When I first came back to improv from that break, I felt like my brain was having to wade through mud to get ideas out. I looked at my fellow troupe members and marveled at how quickly they could craft a scene or throw out ideas. But after a couple of months with the troupe, my thoughts moved much more quickly. I could keep up with the rest of my team, and I suddenly felt so much more alive than I had in years.
I noticed something else. My creative process at work started to go into overdrive. I was able to generate, dismiss, or accept design ideas very quickly. It was much easier to do collaborative creative brainstorming and get dozens of ideas out because my thought processes had become accustomed to it. I felt like my mental Rolodex (here’s a link for the young whippersnappers who have no idea what a Rolodex is) was stuffed with ideas and was spinning impossibly fast; ideas were flying.
It was a wonderful feeling–like moving out of the fog into the sunlight.
The science behind creativity
I decided to do some research on this, and as it turns out, this isn’t just a fluke, it’s a proven scientific method of improving brain function.
Dr. Charles Limb, a Johns Hopkins University neuroscientist, has dedicated his research to the art of improvisation and how it increases creativity. He has a fascinating TED Talk on the topic. His studies focus on jazz piano improvisation, and he demonstrates that the same increase in creativity is seen when the subject is improvising while rapping.
A post by self-proclaimed “biohacker” Dave Asprey about Limb’s studies summed up what was found to occur in the brain while improvising:
“During improvisation, the self-monitoring part of the brain (lateral prefrontal for you brain hardware hackers out there) deactivated, while the self-expression part of the brain got activated (medial prefrontal). Literally, that means that to be creative, you have to stop picking on yourself while boosting your self-expression abilities.”
Turn off your filters
If there is one thing you get practice doing in improv, it’s in turning off your brain’s filters. In improv, there are no bad ideas, you don’t hesitate on an impulse–you must charge forward with the scene and be fearless about making mistakes.
Applying the same principles in creative work comes more naturally once your brain is trained to do it in an improvisational setting.
So how can you bring this into your own work when you don’t perform improv on a regular basis? Bring the improvisation to your team. There are simple exercises you can do in a team setting that will help break down the voice of doubt and hesitation.
You can begin very simply so that your team becomes accustomed to the idea of improvising. If the idea of finding extra time to do this is daunting, take advantage of weekly meetings (like staff meetings). Set aside one of those meetings a month to do improvisational exercises.
The pep talk
Make it clear to your team that this is an activity where mistakes are expected and even welcome. This is a safe environment for them to be silly…because when everyone looks silly, no one looks silly.
Tell them not to overthink reactions and to act spontaneously. That means listen to what the other players are saying without trying to formulate a response before they’re finished. This forces the players to practice some of the key elements of active listening.
You’ll also want to review some of the basic rules of improv with the team.
Warm up exercises
Keep in mind that in all of these games, there needs to be a coach. Someone directing the team members in what to do. The coach can participate in the warm up exercises, but there are some structures that require a “director” and the coach should fulfill that role.
To get your team engaged, start with an alphabet challenge. There are many names this particular structure goes by, so I’ll leave it up to you to call it what you’d like.
Have the team stand in a circle.
Decide who goes first.
The first person starts by saying a word that starts with the letter “A”, and points at another player.
The second player must quickly say a word that starts with the letter “B”, and point at another player.
Repeat this until the team has gone through the entire alphabet.
This is a simple game, but it primes the brain and gets everyone on the same footing.
A more complex warm up exercise is called “What are you doing?”
Have the team stand in a line.
The first player steps forward and begins miming a simple action. (Example: buttering bread.)
The second player steps forward and observes the first, then asks “What are you doing?”
The first player responds with something completely different than the action they are miming. (Example: “I’m climbing a mountain.”)
The second player begins to mime the action the first player said–climbing a mountain in this case.
The first player steps back to where they were in the line.
The third player steps forward, looks at what the second player is miming and asks “What are you doing?”
Repeat the steps above until all of the team members have had a chance to participate.
Once everyone is comfortable with the warm-up exercises, you can move on to some more complex interactions. These involve a handful of participants and the rest of the team act as the audience.
This first scene is called Oracle. It requires three players to act as one entity. It also requires a “handler.” The handler should introduce the all-knowing and powerful Oracle, who can answer any question.
Have the three players sit one in front of the other at different levels–one on the floor, one on a chair, and one either standing or on a bar-height stool.
The handler introduces the Oracle and asks if anyone has a question for the all-knowing Oracle. If there is hesitation to ask a question, the handler can suggest a topic.
(Example: “Today the Oracle will answer all of your questions about bacon. What would you like to know about bacon?”)
The players answer in order with only one word each. Each player has to build on the word that the player before them said.
Once that question is answered, the handle asks the audience for another question.
Audience Member: Oracle, why is bacon so good?
Player 1: Bacon
Player 2: is
Player 3: good
Player 1: because
Player 2: it
Player 3: is
Player 1: bad.
The players may want to prearrange a signal that their answer is over. Something physical like waving their arms or snapping would work well.
Freeze tag is a structure that requires players to create a scene based on a physical pose. It takes a little more setup than the other scenes and works best when you have no more than six players at a time. Make sure the coach has a whistle for this one.
The players stand in a line.
The first two players step forward.
If there is an “audience,” ask someone to volunteer to position the two players for the initial scene.
(Positioning rules: The position should be socially acceptable, the position should obey the laws of gravity, and the two players need to be touching. It can be a little touch–like a finger to a finger–or it can be a lot of touch.)
If there is no audience, the coach should tell the first two players to assume a position they would if they were playing a sport. The coach should pick a specific sport, and the same positioning rules apply.
When the players are in position, the coach blows the whistle to start the scene.
The players must build their scene based on the initial position, but should start moving out of that position as soon as possible.
After about a minute, the coach should blow the whistle when the players are in an interesting position.
When the whistle is blown, the players freeze.
The next player in line approaches the frozen players, taps one of them on the back letting them know they can get back in line, and assumes that player’s position.
The two players then start a completely different and unrelated scene based on the new position.
Repeat until all of the players have rotated in and out at least twice.
For more improvisational warm-ups, games, and exercises, you can look through the Improv Encyclopedia.
Remember “Yes, and…”
This handful of exercises will get your team started and help break down mental barriers to creativity. The more you do this, the less they will second guess themselves. And remember to emphasize the king of all improv rules, “Yes, and….”
There is no faster way to kill the energy in a scene than when one player says “no” to another. Forward progress is the objective. If a player tells you that you’re making a documentary on unicorns, don’t say “No, we’re not, because unicorns don’t exist.” The response should be an affirmation and a continuation.