17th
Dramatic Improv, part 3
Part of the hazard of doing dramatic or non-comedic improv is that it invariably uses the word “improv”. (Aside: I actually dislike the this term I’ve been using: “Dramatic Improv”, but I started with it so let’s finish with it.) For the general public, improv (if they’ve even heard the word) means comedy. Doing an improvised show without comedy would be like doing a stand-up show without comedy. The very first obstacle to doing a show like this was: how do we advertise this thing to people who barely know improv or, if they do, expect comedy?
Setting an audience’s expectations is important here. If people come to see our show expecting “improv”, they will be disappointed. Obviously, there are people doing non-comedy improv but it’s either a tiny percentage or not called improv but it’s 0% in Montreal (not even in French, to my knowledge). I’ve seen many terms thrown around online to try and encompass what I’m talking about with Dramatic Improv: Unscripted Theatre, Improvised Theatre and so on. In Austin, where they have an Improvised Play Festival (*sigh of envy*), I believe the term is Narrative Improv but that also encompasses comedy.
We went with the title It’s Not You, It’s Me: An Improvised Tragedy. The first part described the theme of the show, a break-up (and was a play on the actors’ previous collaboration, You & Me and Me & You). The second part let people know that it had no script and that it was quite the opposite of a comedy. Brain surgery, right?
Letting the public know what kind of improv you’re doing when you’re veering away from comedy is essential and fighting the idea that “improv” doesn’t necessarily mean comedy is an uphill fight that is unlikely to be won. But I think it is a worthwhile effort to try and push improvised theatre away from comedy and finding the label/marketing for it is just one small aspect of it.
- vinny
