[[Improv]] terms as informed by Baltimore improv classes and Upright Citizen's Brigade Theater manual: See also: [[Musical Improv Terms]] | Term | Definition | | ---- | ---- | | **Absurd Character** | A character in improv who exhibits unusual behavior guided by a philosophy or belief | | **Agreement** | Consenting to the reality created by your scene partner | | **Base Reality** | The character, relationship, location, emotion, and activities of the scene. | | **Breaking** | Laughing or losing character due to a funny moment in a scene. | | **Character of the Space** | A silent choice that estabkushes activity, location, environment, or condition of a scene (UCB Manual Page 20) | | **Comedic Idea** | The central humorous concept or theme driving a scene or game. | | **The first unusual thing** | An idea that is unexpected for a given a base reality | | **Format** | The overall structure or style of an improv show, including the order of scenes and games. | | **Framing** | Letting your scene partner know they have done something unusual to highlght or underline that they've done something usual. This can be: reacting with a question or exclamation, reacting honestly, or agreeing and matching | | **Game of the Scene** | The comedic pattern that forms the basis of an improv scene. | | **Group Game** | A short, collaborative scene involving all performers. | | **Harold** | A long-form improv structure developed by Del Close and performed by The Upright Citizens Brigade. | | **Heightening** | Increasing the intensity or absurdity of a comedic element within a scene. | | **Initiations** | The first line or action of a scene. The line introduces a premise, character, or situation. | | **If this is true, what else is true?** | A guiding question, encouraging performers to explore and expand on the established reality of the scene. | | **Matching Scene** | A scene where characters share the same point of view, creating a "peas in a pod" dynamic. | | **Object work** | Miming props on stage | | **Opening** | An phase at the beginning of an improv set where players generate ideas drawing inspiration from the audience's suggestion | | **Organic** | Allowing scenes and interactions to develop naturally without forcing or pre-planning. | | **Organic Initiation** | Starting a scene without pre-planned ideas or themes, allowing it to unfold naturally. | | **Premise** | The underlying concept or idea upon which a scene or game is built. | | **Premise Initiation** | Introducing a central idea or concept at the beginning of a scene. | | **Scene Painting** | Providing details about the environment or setting by describing it verbally or physically. | | **Second Beat** | A continuation or exploration of the ideas established in the first part of a scene. | | **Set** | A collection of scenes, games, or interactions performed by one team of performers during an improv show. | | **Show, Don't Tell** | Instead of saying "I'm unloading a dishwasher", start unloading it. | | **Suggestion** | A prompt, often provided by the audience, that serves as the starting point for a scene or set | | **Support Move** | Actions or statements made by a performer to support and enhance their scene partner's choices. | | **Sweep Edit** | Ending a scene by physically sweeping a performer offstage, signaling a scene change. | | **Tag Out** | A move where one performer replaces another, tapping them on the shoulder in the middle of a scene. | | **Top of Intelligence** | Playing to your true knowledge as a performer, using your real knowledge to inform your choices. | | **Unusual Thing** | An intentional or unintentional element in the scene that players react to, often adding comedic or absurd elements. | | **Voice of Reason** | A character who provides a logical or sensible perspective within the context of the scene. | | **Walk-on** | A brief appearance by a performer who enters a scene, contributes, and exits. | | **Who , What, Where** | Who your characters are, what they are doing, and where they are | | **Wimping** | Failing to fully commit to a choice in a scene, hindering its development. | | **Yes, And** | The fundamental rule of improv where you accept your scene partner's contribution ("Yes") and build on it ("And"). |