For those of you reading all of my articles, you might realize the similarities between them. This is so for two reasons.

One, preparation for talent shows is not that different from an audition, or any other competitive event. Professionalism in one’s career takes passion, preparation, natural ability, guidance and connections. So this formula can be plugged into almost any talent field.

Two, if I just wrote an article for actors, a singer might never read it, even though those same steps might translate into singing and could be used by singers. I’ve received feedback from some performers that have said just that and I began thinking that some performers might be missing out. Why? They don’t bother reading the article if it doesn’t directly pertain to their specific talent. Okay, with that all being said, let’s get started!

Decide on a talent. What are you best at, if you are multitalented? Now, very important, know that you are the best in that talent. Something that I’ve written about many times is that you must be confident. If your passion drives you to compete, your confidence will help you win. Also, don’t be afraid to show them something they’ve never seen before, or at least haven’t imagined in a long time. If you’re good at singing or dancing or both, do it. However, if you can juggle bowling pins and balance a table on your chin, while reciting poetry on a trampoline I think you might have something there. If you can and want to, be weird, be bizarre, it’s all about being noticed and remembered.

Find a talent show that matches your chosen talent. This might seem like a “duh” moment, but hey, I had to say it. This is a guide for beginners after all. You can also find a talent show first, and see if you have a talent that can be performed in it. Either way, these two steps should be done first. Having a goal to train for, in this case competing in talent shows, is better than training without a purpose.

After you’ve selected a talent show and talent, you must make your talent unique. How can a judge and audience differentiate your talent from others if you are both singing or dancing? Maybe your voice isn’t anything out of the ordinary, but the song you sing might be. You want to wow them. Make them laugh, make them cry, but above all, make them feel something. It’s also important to pick something the crowd can relate to or remember. A current song or dance from a music video might really hit home.

Ok, so you have the talent to win the show, but do you look the part? Costume just adds to the visual aspect of your performance, don’t deprive the audience of the total package. Take the time to pick out appropriate attire and whatever else goes with your act. However, don’t overdo it. You do not want your accessories to upstage your talent. You do not want people to remember you for your elaborate makeup, jewelry or dress, and forget all about your amazing talent. You can be subtle and still impressive. Not saying there isn’t a time and place for elaborate arrangements. That is something you will have to decide. Keep this in mind when deciding your costume and talent performance, “know your audience”. If you are performing in front of a bunch of senior citizens, dressing in sexy lingerie singing some seductive pop song might not be the best choice. If you’re going to be a ventriloquist and your puppet dummy is some farm animal, dressing up in an overdone, stereotypical farmer outfit might go very well with your routine. This brings me to another quick point that can be taken care of in any of the previous steps. You should have a concrete plan of what you’re doing, and that means any props you might need should be sorted and ready.

It’s time to show your sincerity and discipline, time to train. Practice makes perfect, and if you practice you will see how true that saying is. If you don’t see progress in your skill and performance, you’re doing something wrong and might need to seek professional help for your talent. Even if you were doing well on your own, I would recommend getting a personal trainer, choreographer, coach or mentor to help refine your talent. Also, don’t forget to test out anything else you will be using in your performance. You don’t want the head to fall off your puppet during your ventriloquist act. What should you take away from this paragraph? Practice–practice–practice.

Have you ever seen the movie “Gladiator”? Proximo gives Maximus some good advice that is relevant here. “I was the best because the crowd loved me. Win the crowd and you will win your freedom.” Now, you won’t win your freedom, but you could win the talent show. The point of this quote is that your level of skill doesn’t always translate into winning. Sometimes, people have to like you. You don’t always have to be the best in your talent. Showmanship goes a long way. Connect with the crowd, and they will repay you. Touch them, metaphorically speaking, by conveying raw emotion to them via your performance. Again, make them feel something. Even if you can’t make them laugh or cry, make them feel like the odds are against you but you are trying your best. Be the underdog, be the favorite–be something rather than nothing.

Remember, breath and have fun. Don’t stress out. Get plenty of rest before the talent show. If you are prepared, you are ready and your talent will do all the work. Good luck!

That being said, there are rules which can, in general, make a scene better. As with any art form, you can break all of the rules and still have quality scenes. However, those best able to break the rules are those who first learn and understand them.

So, let’s look at some of the basic rules of improv.

1. Say “Yes’and!”

For a story to be built, whether it is short form or long form, the players have to agree to the basic situation and set-up. The who, what, and where have to be developed for a scene to work. By saying yes, we accept the reality created by our partners and begin the collaborative process from the start of a scene. The collaborative process or group mind helps make us giants, animals, villains, saints and more importantly put us in situations that we would normally avoid.

2. After the “‘and,” add new information.

An improvised scene can’t move forward or advance unless we add new information. That is why new information is added after the “Yes” of “Yes ‘and!”

Example:

Yes, I washed big dawg and I fed him your steak too!

Rather than:

Yes, I washed big dawg. (SILENCE)

Example:

Yes, I accept being your assistant Heir Doctor and will gladly get you the princess’s body from the morgue tonight.

Rather than:

Yes, I accept being your assistant Heir Doctor. (SILENCE)

Saying “Yes’and” does not mean there will not be conflict or that we would accept something our character would not accept.

3. Don’t Block.

The opposite of saying “yes’and” is blocking or denial.

Denial destroys or stops the addition of new information or worse negates what has already been established. Blocking is a way of minimizing the impact of new information. It is also a method for the performer to play it safe. The performer maintains control and avoids vulnerability by blocking. But in improv we say the opposite of what we would say in real life, “go there.”, rather than don’t go there.

Blocking at its simplest levels involves saying “no,” or avoiding a subject. At a more advanced level, blocking is something that keeps the action from moving forward or the players from changing.

4. Avoid Questions.

Another form of blocking (in its more subtle form) is asking questions. Questions force our partners to fill in the information or do the work. It is a way of avoiding committing to a choice or a detail. It is playing it safe. However, on more advanced levels, questions can be used to add information or tell your partner the direction to go in.

Example:

I know you’ve been seeing Jenny for four years.

Rather than:

Are you going to tell me about her?

Example:

I can see how excited you are about going to Pirates Isle in the ghost ship, me too!

Rather than:

Are how do you feel about going to Pirates Isle in that ship?

5. Focus on the Here and Now.

Another useful rule is to keep the focus on the here and now. A scene is about the people in the scene. The change, the struggle, the win or loss will happen to the characters on the stage.

Focus on what is going on right this at this moment.

Why is your partner moving away from you?

Why did she use a questioning tone?

What did the slight smile mean?

How do you, as your character, feel about what she is doing?

Remember, it isn’t just about the words; it is about what is happening. The words are tools used to accomplish or to pursue a goal (objective or need).

6. Establish the Location!

Good scenes take place somewhere and at sometime. They do not take place on an empty stage. A location can easily be established in one or two lines without breaking the scene.

Examples of opening lines that establish a location:

Example One:

My God, Bob you’ve put the tiger in with the bison again. The zoo manager will be so pissed at us.

Example Two:

Cast off the main line already Sheila, we’re going to win the race, the 1970 Lake Boona race, not like the 67, 68 and 69 races! With the new rudder we should have smooth sailing.

Example Three:

Hmm, so you’re riding one of them auto-mobiles. Damn, well it is the 1890’s. You New York City people, Markus, have all the modern things. Next you’ll say you have electricity. I knew coming to New York would be exciting, my dear brother.

Each of the opening lines above provides an idea of a location. By working with your partner, the specifics of the location are further worked out. Of course, it is even better when you can establish location without words or with minimal use of dialogue.

(We’ll talk more about establishing location in silence in a future article.)

7. Be Specific- Provide Details!

Details are the lifeblood of moving a scene forward. Each detail provides clues to what is important. Details help provide beat objectives and flesh out characters.

Example One:

You’re the best brain surgeon in all of West Valley, Mark. That’s why I chose you to operate on mom.

Rather than:

You’re the best doctor in this town, which is why I chose you.

Example Two:

You mean like when you stole Dad’s purple heart, you know the one he received in World War I for charging the German Foxhole with just a pistol!

Rather than:

Like when you stole the medal he won in the war.

8. Change, Change, Change!

Improv is about character change. The characters in a scene must experience some type of change for the scene to be interesting. Characters need to go on journeys, be altered by revelations, experience the ramifications of their choices and be moved by emotional moments. We go to the theater to see the unusual days characters have, not the everyday moments of stasis and stagnation.

9. For serious and emotional scenes, focus on characters and relationships.

A long form improv set should contain a variety of scenes. Some scenes will be emotional, some will be tense, and some should be funny. The easiest way to make a scene serious is by focusing on the relationship of those on the stage (their characters).

Other ways to make a scene dramatic is to hold a moment, use the silence, and focus on the shifting emotional points that emerge as a scene unfolds.

10. For humor, commit and take choices to the nth degree or focus on actions/objects.

A good long form set is balanced. Shakespeare knew that too much pathos was wearing on the audience; hence, he had minor characters in humorous scenes such as the drunken porter in MacBeth. To create humor in improv, commit to choices to the nth degree or focus on actions and objects. Another way to create humor without doing so at the expense of the scene is to take every offer literally.

So the first ten improv rules for 2005 are:

1. Say “yes’and!”

2. Add new information.

3. Don’t block.

4. Avoid asking questions- unless you’re also adding information.

5. Play in the present and use the moment.

6. Establish the location.

7. Be specific and provide colorful details.

8. Change, Change, Change!

9. For serious and emotional scenes, focus on characters and relationships.

10. For humorous scenes, take choices to the nth degree or focus on actions/objects.

There are a ton more rules, but these are a good starting point. And if you really want to break the rules- commit to everything you’re doing and find moment to moment objectives, listen to what your partner says (and doesn’t say), look for the why in everything said and done by those in the scene, choose, use and play status, be changed with every beat.