How to Kill Your Scene In One Easy Step

There are few things more annoying while working an improv scene than to craft a character or create a reality out of thin air, only to have it bulldozed by a player who is either A) not playing attention, or B) not willing to give up control. Oh yeah, there's also C) they're looking to be "funny."

The importance of chivalry in improv simply cannot be emphasized enough.
   

One must respect the creation

of another and accept it and all

that goes with it, or you will 

never be a strong improviser.  

Fail to do so often enough and no one will want to play with you.  There is enough uncertainty built into the structure of improv without adding more to it.

So...when someone creates a character, acknowledge that character and build yours along with it.  It is of primary importance that you listen to everything that is happening on stage.  That bears repeating: listen to EVERYTHING that is happening on stage.  A good improv actor will drop clues as to who she is; if she comes out, assumes a lower status than another character and calls that character "Miss," then you would be right to assume that person may be a servant or caregiver.  To then try to endow that character as "Mother" would be inappropriate and dismissive of the groundwork already laid by your fellow actor.

Beware the improv actor who tries to control a scene at all costs; he will, without a doubt, twist your character and environment to suit his purposes.  If you start a scene by speaking in a "Yoda" voice and say, "Hmmm...Late you are!"  he will reply, "Now, Jeff, stop using that accent; it's not that good."  This is a fear response.  The actor in question does not like giving up control, so he will try to make the other actor seem "crazy," or "stupid."   

In order to dilute his 

fear of the unknown, 

he will deny the reality 

created by his fellow actor

 and insinuate his own 

reality onto the scene.  

This makes for poor, uninteresting improv scenes.  It also makes for fellow actors who will either not trust that actor, or will simply give up and let the fearful actor control all the scenes.  Audiences can sense choices made from the standpoint of fear, and they will not respect them.

Learn to let go.  If you have a gun and another character takes it from you, put your hands up and, if need be, allow yourself to get shot.  Don't pull another gun out of your pocket.  You created a reality, the other actor respected it.  They may have taken your gun, but they didn't point at it and call it a banana or a water pistol.  Be chivalrous.  Allow yourself to be changed.  The audience will appreciate it.

Happy improvising!