I’ve seen two main approaches to characters in improv scenes: playing characters that are just slightly different versions of ourselves (“Excited Randall” or “Despondent Randall” or “Sensual Randall”), or playing characters that are physically and vocally distinct from ourselves. The latter are generally more memorable, but can often devolve into caricatures that are difficult for [&hellip

This is part 3 of a 4 part series. These 32 items are compiled from a list that I brainstormed, and include principles that I learned in workshops from David Koechner, Micah Sherman, Mandy Butler, Kevin Patrick Robbins, Armando Diaz, Dad’s Garage, The Village Theatre, and Automatic Improv, as well as a few of my own thoughts. Don’t be boring; be interesting. Don’t spend [&hellip

One of the greatest dangers for an improviser is getting stuck in a scene – that sinking feeling when you can tell that a scene is not going well and the audience is not engaged. Your mind freezes, hijacked by the thought of “I don’t know what to do,” and you get stuck in a [&hellip