Jason Mantzoukas: "Improv is Funny, But it Doesn't Have to Be"

Summary

The transcript from an improv-focused video discusses the pitfalls of prioritizing humor over scene building in improv performances. It emphasizes that while comedy is essential, it should not overshadow the development of a compelling narrative. The speaker, drawing from UCB's improv philosophy, illustrates how true success in improv is about creating a comfortable atmosphere and being at ease with silence. They share personal experiences from long-form improv, highlighting the emotional depth and dramatic shifts that can occur, leading to more profound comedic moments. The video concludes with a call to action for viewers to explore more content on the topic.

Takeaways

• 🎭 The script emphasizes that in improv, being funny is not the ultimate goal; it can sometimes hinder good scene work and the overall show.
• 😂 The pursuit of laughter can lead performers to prioritize personal glory over the success of the scene or show, which is counterproductive.
• 🤔 Improv is about putting the audience at ease and being comfortable with the absence of constant action or humor.
• 🧘‍♂️ A key exercise in improv is learning to be comfortable doing nothing on stage, which highlights the discomfort many performers feel under scrutiny.
• 🤝 Success in improv often comes from those who are at ease with being watched and can create a connection with the audience without relying on humor.
• 🕒 The script discusses a specific improv format, the 'mano scene,' which is a one-hour long improvised scene that allows for a natural ebb and flow of comedy and drama.
• 😢 The emotional depth of improv can lead to serious and dramatic moments, which can be just as impactful as the humorous ones.
• 😄 The script recounts a specific scene where a dramatic turn led to an emotional breakthrough, followed by a cathartic moment of laughter for the audience.
• 🎬 The freedom to explore various emotional and intellectual levels in improv can lead to richer and more satisfying comedic outcomes.
• 👏 The script concludes by encouraging viewers to subscribe and explore more content, highlighting the value of the insights shared.

Q & A

What is considered one of the biggest mistakes in improv according to the transcript?

Trying to be funny is considered one of the biggest mistakes in improv because it can distract from building a good scene and sacrificing the show for personal glory.

Why does merely being funny not suffice to hold an audience's attention during a comedy show?

Just being funny may satiate the audience's thirst for laughter initially, but it's not enough to sustain their attention over a longer period like 30 minutes to an hour. It lacks depth and engagement beyond humor.

What is the primary goal of improv according to the speaker?

The primary goal of improv is to put the audience at ease and be comfortable with nothing happening, focusing on building a good scene with a partner rather than pursuing personal glory through laughs.

How does the discomfort of being watched play a role in improv exercises?

In the advanced improv classes at UCB, an exercise involves performers sitting on stage doing nothing to confront their discomfort with being watched, which helps them learn to be comfortable even when not performing for laughs.

What is the significance of the one-hour improvised mano scene mentioned in the transcript?

The one-hour improvised mano scene is significant because it allows for a real-time unfolding of a scene, which can incorporate serious or dramatic elements, providing a richer and more dynamic experience for the audience.

Why does the speaker believe that improv performers should be comfortable with not making the audience laugh?

The speaker believes that improv performers should be comfortable with not making the audience laugh because it allows them to focus on the scene's development and emotional depth, leading to a more satisfying and cathartic experience for the audience.

What is the impact of a performer's insecurity on the quality of an improv show?

A performer's insecurity can lead them to pursue laughs over building a good scene, which can degrade the quality of the show by focusing on personal glory rather than the collective experience.

How does the speaker describe the experience of performing in a long-form improv show?

The speaker describes the experience as having the freedom to explore and move forward on an emotional and intellectual level, even if it means not making the audience laugh all the time, which can lead to a more profound and engaging performance.

What is the cathartic moment that the speaker refers to in the context of a long-form improv scene?

The cathartic moment refers to an instance in a long-form improv scene where, after a period of serious or dramatic tension, something funny happens that releases the emotional buildup and provides a satisfying comedic payoff for the audience.

Why does the speaker emphasize the importance of not being in a rush to make the audience laugh during an improv performance?

The speaker emphasizes this because rushing for laughs can detract from the development of a scene and the overall quality of the show. It's more important to build a strong foundation with a partner and let the humor emerge naturally from the scene's progression.

What is the secret link provided by the speaker for accessing the hour-long version of the conversations?

The secret link provided by the speaker for accessing the hour-long version of the conversations is 'offcamera.com'.

Outlines

00:00

🎭 The Pitfalls of Pursuing Laughter in Improv

The paragraph discusses the common misconception that being funny is the primary goal in improv comedy. It emphasizes that while humor is expected, it should not overshadow the importance of building a strong scene with a partner. The pursuit of laughter can lead to performers prioritizing personal glory over the collective success of the show. The speaker shares personal anecdotes from teaching at UCB, highlighting the discomfort performers feel when doing nothing on stage and how true improvisers are comfortable with the absence of laughter. The narrative also touches on the unique dynamic of long-form improv, where the absence of constant laughter allows for deeper exploration of emotional and dramatic elements, leading to more meaningful and impactful humor.

Keywords

💡Improv

Improv, short for improvisation, refers to the art of creating performances spontaneously without a predetermined script. In the context of the video, improv is the core activity, where performers create comedy scenes on the spot. The video emphasizes that while humor is a part of improv, it's not the sole focus. The script mentions that 'just being funny isn't enough to hold an audience's attention' and that performers should focus on building scenes and engaging the audience on a deeper level.

💡UCB

UCB stands for Upright Citizens Brigade, a renowned comedy theater and training center that has a significant influence on the world of improv. The video refers to UCB as a 'Bible for improv', indicating its authoritative status in the field. The script discusses UCB's teachings, particularly regarding the importance of not solely pursuing laughs at the expense of scene work and the overall show.

💡Scene Work

Scene work in improv involves the creation of a coherent and engaging performance based on a given suggestion or scenario. The video stresses that while humor is important, the focus should be on building a good scene with a partner. It's about creating a narrative that is engaging and meaningful, not just a series of jokes. The script uses the phrase 'good scene work' to highlight the importance of collaboration and narrative development over individual comedic moments.

💡Personal Glory

Personal glory in this context refers to the pursuit of individual recognition or success, often at the expense of the collective performance. The video warns against performers seeking laughs for their own sake, which can detract from the overall quality of the show. It suggests that true success in improv comes from putting the audience at ease and being comfortable with the natural flow of the scene, rather than forcing humor for personal acclaim.

💡Insecurity

Insecurity is mentioned as a potential reason why performers might focus on being funny to gain immediate approval from the audience. It implies a lack of confidence in one's ability to hold the audience's attention through more nuanced and developed scene work. The video suggests that overcoming this insecurity is key to becoming a successful improviser who can create a more profound and lasting impact on the audience.

💡Comedy Show

A comedy show is a performance where the primary goal is to entertain the audience through humor. The video acknowledges that audiences come to comedy shows expecting to laugh, but it also points out that humor should be a part of a larger narrative, not the sole purpose of the performance. The script discusses how just being funny can satiate the audience's thirst for laughter but may not necessarily contribute to a memorable or meaningful show.

💡Emotional Level

The emotional level refers to the depth of feelings and emotions that can be explored within an improv performance. The video describes how an improv show can transition from comedy to more serious or dramatic elements, allowing for a richer and more engaging experience. It gives an example of a scene where emotional intensity leads to a powerful and cathartic moment for both the performers and the audience.

💡Intellectual Level

The intellectual level in improv pertains to the cognitive and thought-provoking aspects of a performance. It involves engaging the audience's minds beyond just humor, by exploring complex ideas or themes. The video suggests that a successful improv show can move forward on an intellectual level, even if it means temporarily shifting away from comedy, which can ultimately enhance the overall experience.

💡Catharsis

Catharsis in the context of the video refers to the emotional release or relief that can occur after a period of intense emotional or dramatic performance. It is exemplified by a moment in the script where a serious and emotional scene leads to a funny moment that provides relief for the audience. This concept is used to illustrate how a well-crafted improv show can create a dynamic and satisfying experience that goes beyond simple humor.

💡Urban Flow of Comedy

The urban flow of comedy is a term used in the video to describe the natural ebb and flow of humor within a long-form improv performance. It suggests that comedy can be interspersed with more serious or dramatic moments, creating a dynamic and varied show. The video uses this concept to explain how an improv performance can evolve over time, allowing for a more complex and satisfying audience experience.

Highlights

One of the biggest mistakes in improv is trying to be funny at the expense of scene work.

Improv should not just be about making the audience laugh; it's about building a good scene with a partner.

Chasing laughs can lead to sacrificing the show and scene for personal glory.

Insecurity can drive performers to seek laughs over creating a cohesive scene.

Success in improv is about putting the audience at ease and being comfortable with inactivity.

An exercise in improv involves performers sitting on stage doing nothing to confront their discomfort.

Great improvisers are comfortable being watched and can handle the pressure of inactivity.

Improv shows can have serious or dramatic elements that engage the audience beyond just comedy.

A one-hour improvised scene can explore emotional and intellectual levels, leading to richer comedy.

The freedom to pause comedic momentum allows for deeper exploration and more significant payoffs in improv.

An example of a dramatic turn in improv is a scene about a marriage counselor leading to a divorce revelation.

Emotional vulnerability in improv can lead to powerful, cathartic moments for the audience.

The ability to shift from drama back to comedy enhances the overall experience of an improv show.

It's important for improv performers to understand that the audience doesn't need to laugh all the time.

The value of improv lies in the exploration of various emotions and situations, not just comedy.

A secret link is provided for those interested in watching hour-long versions of these improv conversations.

Transcripts

in the book that is the Bible for UCB it

says one of the biggest mistakes you can

make is to try to be funny okay can you

sort of explain that because your improv

is funny improv is funny but it doesn't

have to be you know just being funny

isn't enough to hold an audience's

attention for 30 minutes to an hour you

know it just being funny is it satiates

the audience is thirst for a laugh they

came to a comedy show they want to laugh

and it makes the performer feel as

though they're doing their job right but

it's actually not the most important

thing it oftentimes can get in the way

of good scene work or a good show

because if you're pursuing laughs

instead of building a good scene with

your partner

you're sacrificing the show and the

scene for personal glory

and that really is someplace that a lot

of performers end up because they are

insecure or because they're just you

know I you know I say this a lot to

people who improvise is like success at

improv is putting the audience at ease

and is being comfortable with nothing

happening like when I used to teach the

advanced classes at UCB

one of the first exercises I would do is

I would have people get on stage and sit

and just have the audience watch them

watch them do nothing you know and

people's discomfort with being watched

is palpable you know with knowing that

they can't get out of it knowing that

they can't do a funny aside knowing that

they can't whatever people who really

succeed as improvisers are people who

are like I don't care that I'm being

watched

I am perfectly comfortable just sitting

here standing here doing whatever and

that is a great place to start because I

know if I step on stage I know

eventually I'll make an audience laugh I

don't mind waiting I don't mind

you know like I do a show once a month

at UCB omma Kayla Watkins talked about

it on this show and it is a one hour

improvised mano scene it's we get a

suggestion and then we just improvise a

scene for an hour like a real time

folding scene and a lot of times because

it's going on so long there is a real

urban flow of comedy so oftentimes this

show starts to starts to have elements

that's that become more serious or more

dramatic and suddenly the audience is

not laughing anymore and so this can go

on for I did a scene with Darcy Cardin

once where we were waiting to see our

marriage counselor and all of these kind

of personal grievances and gripes keep

bubbling up and then 20 minutes into

like a 60-minute shows she says I want a

divorce

and I just started crying and the

audience went silent and it was like I

don't know six seven minutes of very

unsettling weeping man talking to a

woman who the more emotionally upset I

became I felt like the more the more

clear she was that she was doing the

right thing in divorcing me and it was

brutal and then I don't know maybe six

seven minutes later something happened

that was so funny that it was like a

catharsis for the audience and you don't

get that in other shows because you

don't you don't you don't really get the

freedom to kind of really grind

everything to a halt comedic ly but

fully continue to explore and move

forward on an emotional level on an

intellectual level and as a result

everything that comes after that even

better even funnier even richer doesn't

matter if an audience isn't laughing all

the time you know hey folks thanks for

watching if you like what you just saw

then why not subscribe click right here

for lots more off camera and if you want

to see the hour-long version of these

conversations I'm gonna give you the

secret link here it is off camera calm

check it out

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