The Craft

Improvisational theatre, more commonly known as “improv,” is a type of theatre performed without forethought. In its purest form, it is theatre without a script. As such, the traditional accouterments of scripted theatre, like costumes and props, are commonly absent. Features, like props, are pantomimed.

Often performed with an ensemble and usually comedic, improv is generally categorized as either “shortform” or “longform.” As implied by their names, longform entails a lengthier performance than shortform.

Improvisors performing shortform improv will create one or more scenes (a single scene is common) within the confines of pre-established rules–which are usually shared with audiences beforehand–and scene work lasting between five to seven minutes is often the result. Because of its relatively shorter length and use of rules, shortform improv is regularly described as a type of game. And in keeping with that description, there are many different short form games, each with their own unique set of rules.

Longform is usually marked by relatively little audience participation. Whereas it is not uncommon for a shortform game to repeatedly incorporate audience members, a longform frequently relies upon only a single prompt from an audience, which is often followed by 20 or more minutes of uninterrupted scene work somehow inspired by that prompt. One of the typical goals of a longform is to have had scene work that, when finished, demonstrates some sort of cohesion and completeness.

In order for improv to reach its full potential, agreement is paramount. If a believable world is ever to be portrayed in a scene–especially one without costumes and props–the established rules of that world must be followed by every performer. For example, in a scene set on the moon, if all but one improvisor moved as though they were underwater, the reality of that scene would be lessened. Similarly, if an improvisor has established a location where a table exists and a fellow performer simply walks through that location, verisimilitude is damaged.

Just as important for the functioning of an improv scene is agreement where attitude and plot are concerned. Whereas conflict is a staple of scripted theatre, conflict, as a rule, is a hindrance to improv. In an improv scene, conflict stalls discovery and growth.

If one improvisor’s character is always contrary (e.g. “No, I didn’t,” “That’s not what I said,” “No, I’m not holding a bologna sandwich,” etc.), a scene with that character will likely never move beyond a series of arguments about facts. And those arguments are likely to not even be made by characters with any identifiable personalities, since character development would be overshadowed by conflicts demanding resolutions.

Concerning the subject of an improv scene–what that scene is about–agreement, reflected through acceptance, is also important. Most any subject–if not all–can be explored in improv in an entertaining and thoughtful way. As such, any time spent disregarding an idea presented by a fellow improvisor is wasted time, time that could have been spent exploring that idea instead of exploring for an idea. The exploration of someone or something is when the spontaneity of improv can be used to its fullest potential.

Improvisors distill these understandings of agreement down to a foundational idea and perspective that is reflected in the phrase, “Yes, and…” This phrase embodies the two elements necessary for an improv scene to function: agreement and addition. Embracing this idea, an improvisor will always honor what has already been offered by other performers and contribute a new element, by which the scene progresses. 

Creativity in Problem-solving

Characters in What’s Next?! use elements of creative problem-solving to reunite the dog Fluffy with his family. Not just a way to signify creativity being used to find a solution, creative problem-solving is an actual, specific process that relies heavily upon nonjudgmental attitudes and risk-taking.

Developed in the mid-twentieth century by Alex Osborn and Dr. Sidney Parnes, creative problem-solving is intended to solve problems using solutions unthought of before. The process can be broken down into four stages:

1) Clarification: What, exactly, is the problem?

2) Ideation: What are new ways to answer the questions raised by the problem?

3) Development: What answer to the problem is best and how could it work?

4) Implementation: How will the solution be carried out?

During creative problem-solving, two types of thought processes are used: divergent and convergent. Whereas divergent thinking should result in a multitude of ideas and could use techniques like brainstorming, someone involved in convergent thinking would work to narrow in on a single idea that’s been offered. Companies that have seen success from embracing the idea of creative problem-solving include Airbnb, GE Healthcare, Netflix, Oral B, and UberEats.