I know this is a thread about props, but it's about improv, too, so I posted it here. Nyaaah. :p

The ability to improvise is not in any way in conflict with the development of a recognizable clown character. Too often, I have seen books and articles and heard from "clowns" who think that being a "professional" party clown means you have a routine and some patter and you STICK to it.

Bovine product, I say.

Here's an exercise you can do to improve your improv (that sounds like Begin the Beguine).

Get a friend, fellow clown, spouse or whoever to select a shoe-box-full of random items. It can be a bigger box or even a table-full if you're like me and have a really random assortment of WTF-type items about.

Have the other person/people sit somewhere where they can face you as if you were on "stage" or in the performing area at a party.

DO NOT explain what you are doing with the items or what they could be used for. Do your best to USE the items to demonstrate whatever it is you are trying to get across.

DON'T, if it can be helped, use any items for what they are intended for unless it makes visual and/or comedic sense (for instance, if I had a hat and a funnel, I might use the hat for a steering wheel and the funnel for a hat, unless I was playing an old man, in which case I might wear the hat and use the funnel as a hearing horn).

TRY IT! Try to get laughs WITHOUT any pre-scripted patter or props all set up. It will not only improve your improvisational skills, it will help you think quicker when you need to improv some patter when a set piece goes badly, or a prop fails, or you forgot a piece for your show, or for whatever reason there's a wrench in the works.

Oh, and please... DON'T, whatever you do, assume that you're funny or clever or quick enough... you might one day work a kids' party with a drunk or plain rude parent heckling you. You have GOT to be quick with your wits in order to keep a show moving and still family-friendly. I used to try to pretend the hecklers weren't there, but in the end, it just made the hosts feel bad and forget lots of good things about the show. When we can be funny at the drop of a hat (pun TOTALLY intended), we polish the act even more and make ourselves look indispensable when the next party comes around.

Thank you.. thank you. No applause, please. Just throw money. Or sign up as a sponsor of my charity shows. ;)

I try to do this exercise regulary.
Do you know more improvising exercises, without props?

Snoetje, there's always what I call "suicide skits". They're similar, I suppose, to the skits used on the US television show "Whose Line Is It, Anyway?" that used to be pretty popular (I have no idea if it's even on anymore since I don't watch network TV).

The basic idea is that there are a bunch of topics written down on slips of paper and placed either in a hat or a box or what-have-you. One player or team selects a topic and begins acting it out. The only rule I have used is that the ONLY preparation for the team doing the selecting is that they all read the topic. No pausing, no talking it over... someone uses a kitchen timer set to 5 or 10 seconds, and then when the bell goes off, the player or team has to begin improvising. The trick, and the difficult part, is that the OTHER player or team has 30 seconds to watch and then join in appropriately.

An example:

Team one gets "people on a commuter train". Within 30 seconds team two must find complimentary and (hopefully) DIFFERENT characters to add to the skit.

Once everyone on both teams has assumed a character, play stops and the next player or team selects a topic. It's a great party game as well.

Another tool for building improv skill is to stand near a mirror, but out of its line of sight. Practice stepping in front of the mirror and changing expressions, voices and posture as many times as you can. This can also be done in a group, as the improviser can stand in front of others and be given directions. Again using a timer, the player has a set amount of time to get through X number of different emotions, situations, expressions, poses or whatever. The point in this exercise is to be able to control facial and emotional reactions. In short, try to act out laughing hysterically and then SUDDENLY change to angry or furious WITHOUT a lag in between. Make the transitions as fast as if you were watching TV and changed the channel from a stand-up show to a wrestling bout.

Of course, if you REALLY want to grow in your improv skills, you can dress as a character (old lady, bum, student or whatever) and just go insinuate yourself into daily life. Go shopping dressed as an old lady (or man). Take a downtown bus dressed in a rented tux and talk about being in a symphony orchestra from some other country.

The deeper you want your characters to resonate, the more you're going to have to LIVE as them as much as possible. Clowns, especially, can't just "own" a character like an actor; you have to, at least in a dualistic way, actually BE the clown you are inviting people to love, play with and enjoy having around.

Might try the mirror one, I don't have a group to practise with.

These are extensively used exercises when studying drama too. A good way to keep you on your toes and increase ability for quick thinking and reaction.
Although I do a lot of party clowning, I have yet to perform two shows the same as so much depends on the audience. I would even go as far to say that if two shows were identical then they may as well get in a video for the kids. Interaction is key.
Thanks Glupi for this productive post. I hope many will practice these exercises.

A great post, once again, Glupi!!

I think this is a forgotten art in comedy and clowning. I always enjoyed watching Tim Conway on the Carol Burnett show. He would often deviate from the script and if he could get poor Harvey Korman laughing he would then keep going.

I have a tendency to do that also when performing with others. Some people just go along with it, and others will not perform with me because of it. I think that it adds a wonderful element to a routine. At risk of going out on a limb, that is also why I loved and talk about growing up up in NJ watching the Uncle Floyd show. So much of the show was the cast members starting with an idea for a bit and then just going for it and seeing what happens. When done well, it can create magic.

Nice post, Glupi! Sounds a lot like one of the lectures I teach!

The only thing I plan out is what we teach. When I am just out at an event I don't have anything planed. I have some walk around props but everything else is organic. Life is whats funny and it has no script.

At risk of going out on a limb, that is also why I loved and talk about growing up up in NJ watching the Uncle Floyd show. So much of the show was the cast members starting with an idea for a bit and then just going for it and seeing what happens. When done well, it can create magic.

Who wants to bet that Glupi actually IS Uncle Floyd?

Thanks a MILLION, Tim, but no, I'm not Uncle Floyd. I have half-siblings, but I don't know if they have any kids, so I can't be sure if I'm an uncle at all. I'm also only in my 30s, so Uncle Floyd could almost be my grandfather.

Believe it or not, I'm just a guy who has dabbled in a lot of different artistic media over the years. I've been singing for as long as I can remember and I play several instruments. I have been in community theater productions even though I couldn't dance if you paid me (well, I could, but you'd want your money back for sure).

Improv, along with its cousin, prop comedy, is just something that's very close to my heart. Growing up taller and bigger than 90% of the kids around me, but not a bit tougher (since I hate fighting), I had to learn to sharpen my wit and think on my feet faster than them.

It's the ability to diffuse tension and negative attitudes that first drew me to improvisational acting/comedy, and, IMHO, it's the natural realm in which a clown should be able to operate. Take the clown's outlandish appearance and combine it with a child's ability and desire to live in a world free of so many adult conventions, and there's already a "draw" for the kid. Now, take that clown and endue him with a PROACTIVE enthusiasm for the absurd, and before you know it, the clown is taking ordinary people, places and things and turning them upside down for not only the mirth and joy of the child(ren) in question, but for himself as well.

Opinions, please: Would it be worth my effort to try and advertise a "beginner's Improv" and/or "Into to Clowning" class in my area? I know several places where I could likely secure a stage or gym to use free or cheap. I know there are veteran performers on the Forum who have appreciated what I've written, but do you think this would help newbies as well?

If you have the student base for it do it. I share most of your ideas. With that being said I would go to one of your classes in a heart beat.

That'd be one #*%^$ of a drive from TN to way up here, but ok... I'd knock like 2 bucks off your class fees. :p

Around here, I don't think drumming up students would be terribly hard, but I will just have to try and see what happens. Whatever it takes for me not to have to go back to "joe job" status, that's what I'll do.

Yes, I think you'd be a great clown educator. The kind of background you have and offerings/insight you offer are sorely needed even in the established clowning community. The trick, indeed, would be finding enough people interested in attending the classes and establishing your own reputation such that others were interested in having you, perhaps, teach elsewhere also.

Thanks, Tim... now, I just have to find some $^#&# work.

Any camp or convention organizers want to hire a bum of a clown
to teach a class or bore you with a lecture?

I work cheap, don't eat much and love to travel. I'll also be a shill
for whatever products or souvenirs you want me to hawk for the crowds.

Sounds like you'd make a good candidate for the old Clown College.

Why, thank you, Tim. I'm not sure how much of that was compliment and how much was commentary, but I think I get it ;)

I would actually LOVE to make starvation wages doing what I love. Problem is, bookings are real slow.

In actuality, I have a family of 5 and we have ZERO income right now. If we weren't in the housing situation we are in, who knows what would be happening right now?

Anyway, not to play a sad song here, I said that just to point out how tough it is to work for yourself, especially in the arts.

If I were a skinny 20 year old who could yell nonsense over a pre-recorded drum track, I'd probably be rich. Damn this artistic integrity thing! ;)

Coming in late to the party here, but for what it's worth...

I'm an improv person too -- both longform and shortform (shortform is games like Whose Line... longform is, well... look it up!). The training is invaluable just for *life*, but the key is to get to a point where you can trust yourself 100% onstage to say the right thing. When you learn to remove your censor, you'd be amazed at how quick/smart you really are.

I recently had to do a one-off bit that I'd never done before, which was 50% improvised with an audience volunteer. The hard part was that the script was full of questions. And there's a rule for standups that "you never ask a question that you don't want answered", because that's when you get thrown curveballs. So it could have gone anywhere... and it did. And it was fine, because I didn't trip myself up by second-guessing what I was about to say.

So if you can get to that point by putting in the stagetime, great -- but taking improv classes is a nice fasttrack, in my opinion.

If I were a skinny 20 year old who could yell nonsense over a pre-recorded drum track...

I'd insert another satirical Ringling clown quip here, but I've met and have too much respect as musicians for their drummers in the live bands to do that to them.

You make me ...NormaL T. THINK,... THANK YOU FOR THAThttp://www.clown-forum.com/members/normal-t-joey-albums-fool-s-wisdom-clown-circus-christian-bros-show-picture6946-red-hat-day-nursing-home.jpg