Getting your teams at work to engage in theatrical improvisation is one of the best ways to break the ice when you’re introducing one group to another, or striving for more of a sense of teamsmenship within a group. Sometimes, the mere mention of the words “We’re gonna do Improv!” can strike fear in the hearts of many. It’s important to start the event with a game that is light, fun, and quickly defuses the angst.
NAME & GESTURE is a simple, fun and effective game that I learned at the Upright Citizen’s Brigade in New York City. Here’s how it works:
Name & Gesture:
Everyone forms a large circle. The first (brave) person says their name and does an associated bodily gesture to accompany their name. For example, the 1st player (let’s say Scott) says “Scott”, and slaps his thigh. Then EVERYBODY in the circle repeats “SCOTT!” and slaps their own thigh. Then, the player to the right of Scott, (let’s say, Ellen) says “SCOTT!” and slaps her thigh, and then says “ELLEN!”, and spins around in a circle. 1-by-1, all the way around the circle, each plays says the previous names & gestures of all the previous players, ending with their own name & gesture. This goes all the way around the circle. Finally one brave soul must do the names & gestures of the ENTIRE circle.
In early December this month Improv Alive began offering a Business Improvisation boot camp for Puget Sound area businesses to send their employees to, in order to learn and practice some new and different communication & collaboration techniques. There were Business Consultants, Life Coaches, Marketing Directors, Tour Guides, and even a retired Fish & Wildlife Scientist! 14 people in all, and the range of personalities throughout the group couldn’t have been wider. It was a fun and successful morning of play and learning, and the reviews were positive, but one review caught me by surprise. I share it here:
“I wanted to just share an observation about my experience today in Boot Camp: What I noticed was that there were quite a few extroverts (makes sense for tour guides) who were really into the improvisational opportunities. In the moment, I recall feeling a little out of place, and I recall kind of taking a back seat, allowing others to just go for it while I hung back. After the workshop, I spoke to a number of the other attendees, and each of them complemented me on how outgoing and engaged I was during those same exercises. Thinking about this, I wonder which one happened. I wonder if you have any thoughts on this?”
This feedback made me acutely aware of how differently one person may experience an improvisational engagement from another. An engaging teacher with a masterful lecture may take a fiendishly boring topic like.. Taxes, (sorry accountants), and create an intriguing lecture that inspires a diverse audience. The feedback would most likely be uniformly positive, the audience would have had similar praises and critiques, but they will all have experienced the same lecture.
In my experience as a teacher of improvisation for people who are not “improvisers”, this that the common experience phenomenon I mention above simply does not occur when one is engaging in Improvisation. The reason for his is that when one is engaged in the act of improvising, they are operating at an elevated state of consciousness, just as an athlete, or an artist is when they are in the midst of their performance. It’s called “the zone”. The person is said to be “in the zone”. When one is acting “in the zone”, there often occurs a kind of amnesic effect that literally changes, or more to the point, re-writes the participants’ recollection of the experience.
When leading corporate teams in improvisation workshops, I rely on the zone to help people overcome their inhibitions and escape self-judgment (because what difference does it make if they can’t even remember how bad or good they performed anyway?!)
Can the tools used, and principals gained from practicing theatrical improvisation help ordinary people to rediscover their extraordinary ability to communicate, to make decisions, and to lead? This is the question that came to me in my first days of Improv training at the Upright Citizen’s Brigade, one of New York City’s well-known improvisation schools for actors.
In order for a group of actors to perform on stage successfully, each actor must adopt a few simple but powerful principles: Listen with your whole body. Be in a state of agreement and build on what your scene partner is creating. Silence your self-judging inner critic. Own, celebrate, and share failure.
Having come to improvisation from a career in IT, Technical training and Recruiting, it seemed to me that many of the skills one needs to create a good stage improvisation are very much the same skills one needs to be successful in business. The principles seemed so basic, so universal, so easy, yet so powerful! I wondered why they had remained vastly un-adopted in the business world today.
When I moved back to Seattle in 2007, I began exploring how I might pass along the skills I had learned in my improvisation training to “regular people” in a non-scary, but engaging way. My first improv class, which I taught through the Seattle Free School, consisted partially of actors and partly of non-actors, including professionals from Microsoft, AT&T and REI. It became clear to me as class progressed, that the students who seemed to be getting the most out of the sessions were the non-actors. I went on to teach subsequent improv classes, and the more I taught, the clearer it became to me that the ones who were consistently finding abilities within themselves that they never knew they had, were the ones who had never explored improvisation. Repeatedly, I was told by these students how they wished they could bottle this stuff up and take it to work.
So why is it that the skills gained from improvisation remain relatively unknown in the business world? In my experience, the answer can be summed up in three words: FEAR OF FAILURE. At some point between toddler-hood and adolescence, many people become conditioned to hide their mistakes and apologize when they don’t perform the way they think they’re expected to. They often forget the gift they were endowed with at birth. Yes, creativity comes as standard equipment in humans. So, the trick to fostering creativity in an individual or organization is to create, through improvisational play, an environment in which each person allows themself to rediscover their creativity by breaking down their self-imposed limits, and in doing so, unleashing their innate creativity.
I believe that creativity comes as standard equipment in humans. The trick to fostering creativity in an organization is to find a way to allow each person to discover that creativity within themselves. This is a scary thing for almost everybody to do! We all seem to have this deep fear of failure. “Screwing up” is almost always not an option, and the more responsibility one has, the higher one’s position in an organization, the more pressure is on that person to “perform well”. So, along the way, we become conditioned to hide our mistakes and apologize when we don’t perform the way we think we’re expected to. This is where many of us forget the gift we were given at birth. Luckily, this is also where the magical fundamentals of improvisation step in to restore that understanding.
If you want to make your muscles stronger what do you have to do? Exercise them. If you want to be able to play the Moonlight Sonata on the piano, what must you do? Practice, make mistakes, practice, make mistakes, and practice some more. If you want to be more creative, be a better communicator in your place of work! It’s no secret – you must exercise and practice!
~ Julian Schrenzel, Improv-Alive.com
