Hey improv pals,

I have been performing in some capacity since I was in elementary school (I'm in my 40s now). I've acted, sang in bands, performed solo, done drag, made videos of myself being goofy and posted them on the internet. In the last few years, I've developed an intense level of pre-show anxiety that is fully debilitating. Like, can't sleep at night, feel panicked all the time levels of anxiety.

I started doing improv as a way to try to trick myself into being more comfortable on stage again (thinking...i can't plan for it, i can't obsess about my moves or lyrics, so i can't be afraid, right? wrong!). even though I know that my team has my back and that the audience is supportive, I am still so panicked before shows. Right now I'm only performing 1x per month, but over the summer it will be 3x per month.

I've taken a year of classes and workshops, gone to jams many times, and now attend 2 weekly practice sessions. All in hopes to feel confident enough to just get out there and let the improv happen.

I'd love to hear from any other performers who have managed to find their way out of full nervous system panic to just enjoying the creative tomfoolery of improv/performing again. Sincerely, improv has been such a blessing in my life both creatively and socially. I really get so much out of it and really LOVE when i feel myself in my zone of genius in a scene. I feel so proud of myself for doing it. AND ALSO holy shit, i am worried its gonna give me a heart attack.

(Also, beta blockers kinda stunt my creative flow and give me bad rebound anxiety, so I really would rather not use them!)

Thanks for reading. ❤️

edited to add: i've focused on this topic at length with my therapist as well.

I suffer a lot with anxiety, and I feel like I won’t be able to progress with my Improv if I don’t get more comfortable with Jams.

I have been doing long form improv for a little over two years. I initially got into Improv as a way to work on my social anxiety which can be quite bad.

I’ve done the core curriculum at my theater and am now doing advanced classes. I started an improv group from one of the classes and we even have weekly coachings with one of the teachers.

I’ve also easily done over 25 Jams over the course of two years, but I hate them. They make me feel so anxious and I feel like I’m suffering so much as I’m waiting for my name to be called.

I don’t like jams because you never know who you’re going to perform with (ironic I know, the essence of improv is all about dealing with uncertainty).

I also feel like I usually embarrass myself at jams and am not particularly funny or just come across as lame. And the more I’ve stuck around the improv community, the more people I’ve gotten to know, which makes me even more anxious about performing badly in front of people I respect- other good improvers and teachers.

I have had a few good nights and gotten compliments here and there from performances, but often I feel super mediocre or bad.

I genuinely do like improv and the aspect of performing theater and having fun while doing it, but my anxiety is really horrendous at times.

Sometimes I black out on stage or feel like I’m on the verge of a panic attack. It’s also hard for me to concentrate because my anxiety is so high and I sometimes disassociate on stage and have trouble listening (not great for improv of course).

I’ve also done tons of therapy for my anxiety, including group therapy, self help groups, and even intensive outpatient.

I once even managed to do a 5 minute stand up set, and I was amazed that I didn’t run off the stage in panic. The set actually went quite well, but I feel like I can’t repeat it because my anxiety is so painful which is a real downer- I’m still so worried about embarrassing myself.

How do you guys accept that you might make a fool of yourself on stage or not be funny, and not be bothered by it? It feels crushing to me- I sometimes have felt so down after a performance that I felt crushed for several days afterwards and it was just generally embarrassing and shameful.

I would love to hear from anybody in a similar situation, but things like “Don’t worry what other people think or “You’re overthinking it”, I really don’t find helpful.

How do I get over this? I’d love to think less and live my life and continue getting better at Improv, but it’s like my body won’t let me.

I frequently perform a narrative improv in front of nontraditional improv audiences - basically folks of all ages (including kids) who have never stepped foot in an improv show. Recently as I'm in the middle of a ridiculous bit everyone's enjoying a kid keeps piling up "that can't happen." Thankfully kid's parent was on it because I was at a loss at how to handle the audience denying a scene when I know how I'd handle it if it was a scene partner. Has this happened to you?

I just got done with a show for my house team. The show was good, but out of all the scenes, I only initiated one, and hung back for the majority of the show. In my defense, I did not sleep at all last night and have been exhausted all day. So I think that contributed to my predicament. But, this has happened before, where I just don’t have any creativity coming to me. The show was popping, there were definitely games and characters and callbacks. But on the side line, and for the life of, I couldn’t think of anything new or any new game moves to make.

Has anyone encountered this? Has anyone figured out a way to lock in when your brain is just empty?

Hello improv community! My name is Don Fanelli, and I founded the improv group Fuck Th*t Shit (A Comedy Team) over 3000 years ago.

I started a new podcast called Mutterfly, where three pairs of improvisers begin with the same two lines of dialogue and then improvise the rest of the scene however they want, resulting in wildly different outcomes. I message them their lines separately right before we start recording, so they do not know each other's lines.

My most recent episode reunites all members of FTS, so have a listen and support the pod if you dig it. Other episodes have included Abbi Jacobson, D'Arcy Carden, and Nicole Byer.

That's all for now! Thanks for the support over the years! In Billy Joel We Trust!

I could probably write several more paragraphs, but don’t want to present a wall of text.

This is about Long-Form/Game style improv.

POV and Conversations – In real life I struggle to have a strong opinion about most things. I’m very much a “It’s not for me, but good for you if you like it” person, but to such a degree that it makes me seem apathetic about almost everything….and if I’m honest, I kind of am. My internal, natural response to someone telling me something in real life is “Oh cool” or “Wow that sounds rough” or just a simple one line response, unless it’s something I’m interested in, like one of my hobbies, so I have trouble keeping the conversation going. When performing I try to fake having a strong opinion, positively or negatively, about whatever’s happening in the scene, or if someone gifts me a label, but my logical self tends to take over and I lose the “weirdness” quickly. This leads me to playing the voice of reason almost every time. I also have trouble finding a game if we’re doing organic because I play things SO normal that eventually I or my scene partner has to do/say something outlandish to keep things moving.

A while ago I took a class that was focused on slowing things down and being ok with silence and really listening to each other. Perfect for me, right? Nope. There were 2 exercises we did that I think are great, but that I completely failed at. One was a 2-person scene where we were told to just have a normal conversation, don’t look for game, don’t say ridiculous things, just talk to each other. In my scene we ended up being neighbors and our conversation was so flat, boring, and awkward that afterwards the teacher said something to the effect of “Man, that’s a conversation I would want to get out of as quickly as possible.” The other exercise was again 2-person scenes, and you weren’t trying to find game or anything, but you had to say how what the other person said made you feel after each time they spoke. I can’t say exactly what happened because it’s pretty specific, but towards the end the teacher said something like “What IS this?” in a laughing with disbelief sort of way. I know I make the teacher sound bad, but they’re actually really great and supportive.

Overthinking – I overthink, but not in the normal ways like worrying/ruminating on the past/future. Instead it’s more in the moment, like in my head I’m just thinking “What do I do/say now?” over and over again, like my head is blank. If I’m doing organic I might be able to start a scene, say in a kitchen, and have 2 or 3 back and forths with my scene partner, and I’ll have my character be doing something – reading the paper, looking at phone, making coffee, e.t.c….. – but the whole time in my head it’s just “So….what now?” or “Ok I’m reading the paper. What’s in the paper? News. Ok, lots of news is politics, let’s stay away from that. Uhh…..” And since most improvisors, especially those near my experience level or less, can’t seem deal with silence AT ALL, me taking 3 seconds to respond to someone or say something leads to them just babbling on, doing something way out there, or someone tagging me out even though we haven’t established anything close to a game yet.

So yeah. I almost never initiate when doing organic, I have trouble keeping conversations going beyond the first couple lines, I never play a character-y character (interesting voice/physicality/non-human), and I just can’t think of what to say.

I’ve been doing improv for almost 4yrs. Never been on an actual team (besides temporary ones that last a month for a particular class-type thing).

For the record I do understand having a good voice of reason is important, but each part is important, and I would like to also be good at other things.

https://youtu.be/9DrZyOjxvc4?si=CeSuK6kMqW7E5rAh

I'm not sure if I'm allowed to post this on here, but I uploaded a video essay a couple days ago about how Ben Schwartz is helping longform improv become more mainstream amongst people not in the comedy scene. I cover what longform is, why longform exposure is important, and how Ben is contributing to it's exposure. I'm really proud of this one, so if you like Ben Schwartz and want more improv related reccomendations, give it a watch :)

Hey all. I am a beginner currently learning basic forms, and in class we were taught both the Armando and the Asscat. Now, I get that everyone in improv uses terms, let's say "freely", and things often switch names and parameters. That said, I've heard both of these names often enough to assume that they do have some distinctions that at least a large chunk of improvisers can identify.

So I had a couple of questions:

1. My understanding is that the major difference between an Armando and an Asscat is that in the Armando, the monologist is an outsider from the team who also gets to edit the scenes. Meanwhile in Asscat the monologist is part of the team and also does more monologues throughout the set on average than the one in Armando would. And edits are done the usual way amongst the team. Is that more or less correct?

2. Our teacher said that anyone could step forward to do a new monologue during an Asscat. It's possible that she meant it as part of the learning process, but I wanted to check - is that a thing? Because my understanding is that the Asscat still has just the one person doing monologues.

In general, I appreciate any insight into the forms, how they're different, and how much consensus there even exists on their specifics.

I’d say one of them you can develop is sticking to your shit. I see so many improvisers introduce things in a scene and throw it away or come in with a strong perspective or even an accent and drop it four line in. I feel like you can train yourself out of that.

Hey all!

We typically share these Improv is Dead live sets on our Patreon the first few weeks and then post to Youtube after. This one is from April 11th with Damian Anaya, Tim Lyons, Ollie Hobson and Kyle Bethea. Unfortunately, Damian's mic went out just before we got on stage for this one so we're picking him up in the other lavs and one of the camera's.

Logan Square Improv is working on a sick little 3 camera set up so hopefully they'll be more shows captured from their space.

Enjoy!

What have you seen improv theaters / training centers do that reassures you they

1. hold themselves accountable,
2. they avoid building a cult around themselves, and
3. that they protect volunteer-performers?

Green flags and red flags are welcome. I'm looking for specific examples (you don't have to say the theater, just what the green/red flags are)

EDIT

just a thought -- do any of your theaters connect performers to external resources, other organizations?

Got great suggestions for Chicago last year, anyone know any theatres I should check out in London?

hey! mud city improv festival in Chicago is happening this coming weekend; it is probably one of the biggest midwest festivals around. im on one of the college teams, and unfortunately one of my teammates can no longer attend the shows we purchased tickets for. considering probably half of you all live in chicago, i thought id come here! we are selling the ticket for the thursday 7pm show at the io fremont theatre for $10 and the saturday 7:15pm show at the den theatre for $20. only one ticket for each show! if you’re interested please dm or comment and i will get you in touch with him. also, if you havent already, i recommend following mud city on instagram and checking out their other shows! it’s gonna be lit. thanks!

I was in a scene earlier this week where I clearly established who, what where and myself as the weird person in the first 3 lines. The scene, second and third beats were ok but we noted that there was never a justification provided. I realized this while in the scene, but was relying on my scene partner to ask me a Why question which never name.

Which brings me to my question, does any one have any tips and/or strategies for getting out a justification when you aren't being asked why you are doing something? It seems stilted or awkward to say "Well let me tell you why I'm like this". Thoughts?

Edit: Doing Harolds at UCB for context.

I appreciate that we need to learn the rules of improv to be able to cut loose -- but I feel that 101 sparked a lot of delight and I felt funnier as a result of doing it. While in 201 -- I understand the -steps- of what I'm being asked in a drill sergeant 'do this' kind of way', but I don't really get more deeply what the point of matching the Harold style is? Or what the point of justification is?

I get the answer might be 'to do a Harold' properly, but did anyone really start doing improv classes with the aim of doing Harolds, or did that get made the aim along the way?

(EDIT - really stressing this as I'm not sure people are seeing this >>>>>) I'm not trying to say there's no point to learning these rules and the value of them, but I hate doing things 'just cos', and would love to have a teacher or style that prizes the underlying principles and explaining them in a way that isn't just 'do this', but actually lays the groundwork more deeply than rushing through it.

Any online courses (wherever) or if in-person, I'll be moving back to the UK next year, so knowing courses that deal with this well, especially useful to know about even if they're not currently running

I’m new to improv. I’ve taken one class in my hometown and seen local shows. I’ve never seen long form and would like to check it out while in NYC this week. Any recommendations for a good introduction to long form? Any theater recommendations? TIA

Here is the link to those interested: https://www.brooklyncc.com/show-schedule/pour-decisions-5-16

Format: audience makes 5 rules that the performers are unaware of, and if they break a rule during the improv then they have to take a shot of alc!

Also - if you ever want to participate and live in NYC please reach out we are always looking for more collaborators!

Our improv group in Milton Keynes, UK has been performing together for years. Last year we started recording some improvised plays as a podcast called Puddleford. We'd love to know what you think.

https://open.spotify.com/show/1MhWw8jOD7L36ayZKyHTmd

The concept: Puddleford is a fictional English town, and each episode is a self-contained 30-minute story set in a different period of its history. The 1790s, the 1930s, 2003, and very specifically 1983. Everything is made up on the spot. No scripts, no outlines, just a setting and a time period.

We're not famous. We're not from UCB or Second City. We're a group of people who have been doing this long enough that we know each other's instincts, and that chemistry is what makes the show work (when it works, which is most of the time, and when it doesn't, that's funny too).

If you're into long-form improv and want something that isn't American (nothing against American improv, we just sound different), we'd genuinely love to know what you think. We're somehow already the 223rd most popular comedy podcast in Canada, which feels like exactly the kind of thing that would happen in Puddleford.

Also on Apple Podcasts and everywhere else: www.mktoc.co.uk/puddleford

https://simplyapauling.com/the-benny-winner-show

Hey ya'll!

If anyone is interested in some audibly enhanced improv comedy freebies from our podcast Improv is Dead (formerly Fudgecast, formerly Improv is Dead) we have a pack of bonus eps and scenes for free on our Patreon that we update every so often to give folks a taste of what we do outside of the free main feed eps. You can also join the Patreon for free to see when we drop new free stuff!

Improv is Dead Freebies

If you've never heard of Improv is Dead, you can listen to us for free on Apple, Spotify, or wherever your pods drop. We do long form scenes interspersed with conversations and then slap on some slick post production sfx. We have a lot of great provisers on from Chicago, LA, and New York. Name drops include TJ Jagodowski, Thomas Lennon, Lily Sullivan, John Lutz, Erin Whitehead and more!

Appreciate ya!

-Tim

Hello everyone!

If you’ve ever wondered what a monoscene looks like or what could be achieved check out this livestream. They’re doing a marathon of all their sets within the past few years. The one that takes place in Hoboken NJ was very impressive.

Streaming free Sunday 4/12 at 7:30pm PST Special guest Eugene Cordero

Watch here: https://www.youtube.com/live/uIkeUlhNjRw (link will turn into the recording after the show)

Living Room Living Room is WGIS’s signature long-form improv show, where real stories get turned into fully improvised scenes by some of LA’s best performers. Filmed at The World's Greatest Improv Theater in Los Angeles. Every Sunday at 7:30pm.

April 12th Cast:

Will Hines (Broad City, Comedy Bang Bang, Brooklyn 99)

Jim Woods (Jury Duty: Company Retreat, The Office, How I Met Your Mother)

Sarah Claspell (Brooklyn 99, Dropout TV, Drunk History)

Dave Theune (St. Denis Medical, Frasier, Comedy Bang Bang)

Beth Appel (Sex Lives of College Girls, Never Have I Ever)

Molly Johnson

Rocky Strobel

Anja Boltz

Freddie Sandilands

Subscribe for weekly streams

https://www.youtube.com/@WorldsGreatestImprov