Trying vs. Discovering When Improvising
“We need to allow ourselves to be productively stupid again. To not know the answers and be delighted and curious by the questions. To get back into discovery and move away from delivery.
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Trying vs. Discovering When Improvising
I’ve love the above quote from Patti Styles because she’s written in such simple terms how to approach a rather un-simple topic. In the world of improvisation, the distinction between trying and discovering can often mean the difference between a captivating and shitty experience for the practitioners and those watching. The art of improvising requires a delicate balance of surrendering to the moment while still actively engaging with it. Only, that’s hard! It’s a very Zen-like approach to something that’s immediate, always-changing, and then - poof! - gone in an instant.
So let’s look at this psychological tug-of-war. Let’s examine why the pursuit of control often hinders compelling improvisation, and what can fix those old habits.
How to Identify Trying in Improvisation
When it comes to improvisation, trying can often manifest in subtle and not-so-subtle ways. Here are some key indicators that can help us identify when someone is “trying” when improvising:
Overthinking and Overanalyzing: Trying causes us to get caught up in our heads, constantly analyzing every move we make. We may be overly concerned with doing the "right" thing or making sure our choices align with our expectations of what “should” happen next. This mental noise hinders our ability to fully immerse ourselves in the present moment.
Forcing Ideas, Agenda, and Jokes: Usually, improvisers who constantly generate ideas or jokes are attempting to force something at the expense of the scene's natural flow. I’ve done this! I know most of us have as well. When we do this, we’re not listening and responding organically, but forcing SOMEthing into the scene, disrupting the collaborative process and potentially derailing the story or relationship that’s being developed.
Relying on Ego: Improvisers who fear of being a part of something bigger often prioritize our individual performance over the collective experience. Those who seek to stand out or get laughs are trying.
Once we begin to see these trends, they’re IMPOSSIBLE to un-see. Even if we can’t let them go ourselves, it’s still progress to recognize them. Why? Because it helps us to better see what lies underneath of the non-stop urge to try:
Control.
Controlling Doesn't Work When Improvising
Improvisation thrives on the principles of spontaneity, collaboration, and embracing the unknown. Chasing control is the opposite of that and - therefore - kills the creative process. Here’s why:
Control Destroys Spontaneity: Improvisation is all about embracing the unexpected and responding in the moment. When performers seek control when improvising, spontaneity is stifled. Instead of allowing the scene to naturally unfold, controlling improvisers force predetermined ideas and outcomes, resulting in a rigid and predictable performance. BORING!
Control Is Based on Ego, Not Community: The need for control in improvisation often stems from the ego's desire to be in charge and to be seen as the "star" of the scene. This focus on individual control really crushes the collaborative nature of improvisation, where the ensemble works together to create something greater than the sum of its parts. That leaves scenes feeling boring and uninspiring.
Control KIlls Collaboration: Control in improvisation often leads to performers pushing our own agendas, trying to shape the scene in a particular direction. In MOST cases, this ruins the collective creativity and collaboration that is a hallmark of compelling improv. Improvisers who control the narrative or outcome, always miss opportunities to create something unexpected.
Fine! So, then, what in the @%$& is the alternative to control, ego, and trying? Great question, young grasshopper. Here’s the answer:
DISCOVERY.
The Power of Discovery
There is a magical realm in improvisation (and in most art) where practitioners enter a state of flow. In this place, creativity is abundant and we interact free from the constraints of ego and control. THIS, friends, is where true artistry lives. It is fueled - almost 100% - by releasing of many of the tools we’ve been taught to embrace. That sacrifice may be scary, but here is what awaits us on the other side:
Openness: the art of recognizing possibility
Improvisers who cultivate a sense of openness usually recognize the endless possibilities that exist in every moment. Why? Because when we let go of our preconceived notions or agendas, we’re ready to respond and adapt to whatever arises. This openness creates permission to tap into the cues and energy of our fellow improvisers, our observers, and the environment.
Peace: the Feeling From letting go
When we ditch ego and control, we improvisers experience a sense of calmness and peace that permeates our practice. It feels amazing when this leap is made! Suddenly, the pressure to “perform” or “say the right thing” is ditched and we suddenly realize… we’re FREE. Once we’ve thrown off the restrictions that previously weighed us down, we experience better clarity, intuition, and sensitivity to the dynamics at play. Peace of mind enables improvisers to fully engage with our scene partners and respond with honest-to-goodness authenticity.
Discovery: identifying what is happening in the moment
With are new found experience of peace, we improvisers can easily immerse ourselves in the process of discovery. From this place, we can more-easily see what’s happening RIGHT NOW in the moment, without judgment or attachment. This allows for incredible realizations, even with subtle shifts in our verbal and non-verbal communication cues. Staying in the place of discovery allow us to best recognize opportunities and directions. We focus us on what is, not FORCING what we’d like to see occur. This is where the best comedy (and drama) almost always occur.
Surprises: Being delighted by what actually happens
When improvisers let go of ego and control, we open ourselves up to the joy of surprises. If we’re not planning or forcing or trying, then who KNOWS what might happen?!? Surprises come in the form of unexpected character choices, plot twists, or moments of pure magic that come improvisers being “in sync”. These moments keep both the performers and our observers fully engaged.
By understanding the essence of openness, calmness, discovery, and surprises that emerge when ego and control are left behind, improvisers can unlock the true potential of "discovering" when improvising. In the next section, we will explore how practicing this mindset becomes the greatest tool for staying in the present moment and creating authentic improvisational experiences.
So… What’s It Looks Like in Practice?!
I’ll give an example of one scene, but allow it unfold in two different ways. In the first example, I’ll demonstrate what it looks like when an improviser is TRYING; in the second, what it looks like when the same scene unfolds with both improvisers in a place of DISCOVERING.
TAKE ONE: forced improv - Location: An office break room
Angie enters, grabs a coffee pot and pours herself a cup.
Donna: (sits drinking her coffee) Well, well, well… if it isn’t “Ms. Perfect”, come for her cup of 11am caffiene…
Angie: Excuse me, Donna?
Donna: Oh, PLEASE! Don’t act so innocent. You think I don’t know why you’re all dressed up today, got a smile on your face, and sauntering into the break room to rub it in my face?
Angie: Donna, what - on Earth - has gotten in to you?
Donna: Typical. I guess the day you get a promotion, you suddenly get to act all pompous and arrogant!
Angie: Donna, I poured a cup of coffee because I’m exhausted. That new promotion means I’m here until about 10pm every night.
Donna: (stands up) Well, go on and cry in your coffee but don’t come bitching to me.
On the surface, this scene reads pretty well, right? We’ve got a story and a character relationship really quickly. Donna’s character provides a TON of information about Angie and does so right away. She even finishes her last line with a clever reference to a famous Billy Joel song. But… compelling improv isn’t always about being clever, vomiting out information, or having an agenda.
In this scene, the improviser playing the role of Donna came into the scene with an agenda.
We know that because instead of taking time to discover what happened when Angie entered, Donna immediately began TELLING Angie who she was, how she felt, and what had happed. This approach often prevents genuine connection between characters and either reduces or eliminates any kind of “discovery” mindset. Instead, Angie’s character is simply trying to accomplish goals: setting a tone, labelling and providing info, telling a backstory story, and providing an immediate conflict.
OK. I’m not saying there’s anything “wrong” with that, but let’s see what happens when we try a different approach to the same scene.
TAKE TWO: discovered improv - Location: An office break room
Angie enters, grabs a coffee pot and pours herself a cup.
Donna: (sits drinking her coffee) Wow.
Angie: (looks at her) Wow, WHAT?
Donna: That's your 3rd cup of coffee, Angie.
Angie: (surprised) Didn't know anyone had seen that...
Donna: Um... you know what: nothing. I'm sorry: I shouldn't have said anything.
Angie: What? No! You sound like you're holding back saying something. We're colleagues: speak your mind.
Donna: OK... (whispers) Do you really want to be this caffeinated the day you get a promotion?
Angie: Wait: you heard?!?
Donna: We all did. The email announcement went out about 15min ago.
Angie: (sits down, confides) I am SO scared about what people will think.
Donna: (laughs) They’ll think, “Damn. I wish I could’ve been promoted that quickly.” You earned this, girl.
In this version of the scene, the character give a LOT of space to watch, listen, and then respond to what’s happening, both verbally and non-verbally. EVERYTHING is noticed: Angie pouring a coffee, Donna’s hesitation to speak her mind script, the agreement that Angie had been promoted, etc. That allowed the improvisers to have a more engaging and dynamic scene. The dialogue is full of characters responding authentically to each other's cues and suggestions. The interaction feels natural and alive, creating a sense of connection and excitement for both the performers and the audience. Is it funny?! Maybe, but maybe not.
But improv isn’t SUPPOSED to be funny. It’s supposed to be whatever it’s meant to be.
Trying to be funny is still trying. And trying doesn’t make for good improv!
Conclusion: Practice Discovery When Improvising
The practice of "discovering" when improvising is always far more rewarding than attempting to control and manipulate every aspect of the scene. But it’s also far more fulfilling! By letting go of ego and control, we enter a state of heightened presence and awareness. We get PEACE. We become active participants in the moment, actively listening, observing, and responding with spontaneity and authenticity. This fosters a deep sense of connection and collaboration with our scene partners, resulting in performances that are rich, dynamic, engaging, and often surprising.
The risks? Cultivating our "discovering" mindset requires us to trust in the process and relinquish the need for clarity or certainty. It invites us to let go of assumptions, projections, and the desire to dictate the outcome, allowing the scene to unfold naturally and organically. This level of surrender may be scary for some of us - I get that 100%! - but it leads to surprises and moments of brilliance that can only emerge when we’re fully present.
In contrast, those who attempt to control their improvisation stifle their creativity. Control constrains improvisers to preconceived ideas and predictable interactions, resulting in scenes that lack spontaneity and authenticity. The joy of discovery is replaced by predictability, and the magic of improvisation is lost.
DON’T LOSE YOUR MAGIC, friends.
By embracing the practice of "discovering," we tap into our raw creativity, intuition, and adaptability. We become adept at navigating the unpredictable, embracing surprises, and bringing a sense of playfulness and curiosity to all we do. Ironically, this not only elevates our individual performances but - even better - also elevates the collaborative energy that resonates with other improvisers and their observers. This is where truly transformative experiences happen.
To learn more about how we do this in our studio, sign up for our of our current or upcoming classes, workshops, or open houses.
Change Through Play improv class students, improvising during a our Feb, 2024 performance in Portland, Oregon